AP Art History Review

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

M: Limestone T: Stone masonary/ stone carving F: to act as a central location for subject nations to bring tribute and exchange gifts C: Tall central hall with 72 columns and stairs leading to the main enterance DT: Walls engraving with hundreds of figures which illustrate multiple ethnic groups paying tribute . Stairs leading up to the main central hall, over 20m high and 1000 sq foot. M: symbol of the kings power because gift exchange was one of the central elements in Persian style.

POST-IMPRESSIONISM 1886-1892

The Post Impressionists were a few independent artists at the end of the 19th century who rebelled against the limitations of Impressionism. They developed a range of personal styles that focused on the emotional, structural, symbolic and spiritual elements that they felt were missing from Impressionism. Their combined contributions form the artistic roots of modern art for the next eighty years.

98. The Tête à Tête, from Marriage à la Mode. William Hogarth. c. 1743 C.E. Oil on canvas.

- Based on stories OL: London, England. T:Basic oil o n canvas, satirical. F:Was painted to satirise marriage. C: The second of Hogarth's satirical moralising series of engravings, it was on the topic of marriage at the time. DT:Organic lines, few geometric shapes. Plenty of open space in room, many small hidden symbols and only 4 characters present. M:Oil on canvas

128. The Kiss. Gustav Klimt. 1907-1908 C.E. Oil and gold leaf on canvas.

- Influenced by Japanese painting - golden background. White and red plum blossom - Separated by different patterning.

78. Entombment of Christ. Jacopo da Pontormo. 1525-1528 C.E. Oil on wood.

- Mannerism: breaks out from the Renaissance perfection and triangular settings - Elongated figure - Bright and weird color

109. The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm). Thomas Cole. 1836 C.E. Oil on canvas.

- Romanticism - Gives meaning to landscape - Hudson River School - new landscape art school

American Romanticism

- Sublime

Gothic

-Artists began to sign their work and create contracts with their patrons. -There were many advancements in art, with sculptures becoming more 3-D and free standing. -Architecturally, the churches reached new vertical heights and became much more lavish. -In painting, artists began to be more experimental and expressive with composition and color.

BAROQUE 1600-1750

-Baroque art, especially in Italy and Spain, has its roots in the Catholic Counter-Reformation. -Many of the stricter Protestant sects argued that all religious art violated the Commandment that banned the worship of idols.At the Council of Trent, however, the church re-affirmed its use of religious art as an educational and devotional tool.

FAUVISM 1905-1908

-Fauvism has its roots in the post-impressionist paintings of Paul Gauguin. It was his use of symbolic color that pushed art towards the style of Fauvism. Gauguin proposed that color had a symbolic vocabulary which could be used to visually translate a range of emotions. -By breaking the established descriptive role that color had in painting, he inspired the younger artists of his day to experiment with new possibilities for color in art.

Romanesque

-Large-scale architecture was revamped to accommodate the massive amounts of people coming for worship. -Additions to the traditional church model were added, including the apse, rib vaults, arcades, concrete advancements, ambulatories and bays. -Portal sculptures in the churches stressed themes of the Last Judgment and the need for salvation. -Cathedrals became the defining religious structures of the Romanesque period. -Romanesque art opened the door to a new type of highly narrative didactic art.

MANNERISM 1530-1589

-Mannerism suggests art that exhibits certain playfulness and does not exactly conform to the idealized, classical "beauty" of the Renaissance culture. -By using unusual colors, elongated forms, over- exaggerated expressions, odd arrangements, or bizarre scenes, mannerist artists developed their own aim of expression through their art beginning in the second decade of the 16th century.

Italian Renaissance

-Meanwhile, in Florence, artists were receiving more commissions from private sources and had made the switch from tempera to oil. -Because of the new establishment of the Vatican in Rome, this city became a center for new Christian art and Renaissance ideals. -Leonardo incorporated techniques such as sfumato as well as experimenting with chiaroscuro (Italian for "light- dark").

BYZANTINE 500-1453

-The Byzantine Empire continued the classical Roman tradition in a Christian framework -Mosaics, manuscript illuminations and icons were prevalent in this time period. -Art's purpose was to depict and clarify the spiritual world. -Artwork was geared towards churches and was used as visual representation during worship.

EARLY RENAISSANCE 1401-1490s

-The primary technique of the artists during this period was panel painting, favored by patrons for everything from altarpieces to small portraits. -While Italian artists valued tempera (an oil based pigment), the Flemish artists skillfully mastered the art of oil painting during the 15th century. -The more notable artists of the Flemish style are Robert Campin, Jan van Eyck, and Rogier van der Weyden for their use of light illumination, religious themes, and oil technique in depicting figures and landscape. -Because many of the commissions were for churches, Flemish art was usually associated with religious themes such as the deposition, annunciation, or prayer scenes. -In sculpture, figures were made more dramatic through exaggerated poses and gestures. -In painting, artists emphasized linear and atmospheric perspective with radical foreshortening and low vanishing points.

HIGH RENAISSANCE 1495-1520

Art from this period reflects the artist's and society's reactions to the Protestant Reformation. Many Protestants destroyed religious artwork (i.e. stained-glass windows), and instead had a greater focus on landscape, courtly scenes, and acceptable religious pieces.

THE PACIFIC ART 700-1980

Art of Pacific cultures refers to those from the oceanic regions of present day Australia, Melanesia, Micronesia, and Polynesia, including areas as far as Hawaii and Easter Island. Art from these peoples vary throughout different regions and cultures. Themes of the supernatural and fertility are the most common. Masks, tattoos, painting, petroglyphs, stone and wood carving, and textile are the most common art forms.

CUBISM 1908-1920s

Cubism was an attempt by artists to revitalise the tired traditions of Western art which they believed had run their course. The Cubists challenged conventional forms of representation, such as perspective, which had been the rule since the Renaissance. Their aim was to develop a new way of seeing which reflected the modern age.

142. The Jungle. Wifredo Lam. 1943 C.E. Gouache on paper mounted on canvas.

D: 1943 CE P/S: Surrealism/Afro-Cuban A: Wilfredo Lam Pa: None OL: Spain M: Gouache on paper mounted on canvas T: Drawing F: It shows the role of Cubans as being the exporters of sugarcane of which was a very grueling process and deviates from the image of Cuba being a tourist spot for Americans. C: Cuba was used by Americans for their sugarcane and also their beautiful coastlines for tourist getaways. DT: Afro-Cuban, Surrealism, Spain, Cuba, Wilfredo Lam, Gouache, Sugarcane, Tourism, Abuse, Coastlines M: This piece deviates from the normal belief by Americans that Cubans enjoyed the producing sugarcane and also that there is more to Cuba than just tourism.

118. The Valley of Mexico from the Hillside of Santa Isabel (El Valle de México desde el Cerro de Santa Isabel). Jose María Velasco. 1882 C.E. Oil on canvas.

DOC: 1882 C.E Period: Romanticism Style: Impressionism Origin: Mexico City, Mexico Context: It can be viewed as a re-interpretation of the common late eighteenth-century German subject, "pastoral idylls," where a sense of poetic harmony and daily life were united. He introduces his figures as key components behind the composition's poetics. Meaning: Encircling Mountains and the water of Lake Texcoco, the eternal snow covering the peaks of Popocatepetel and Iztaccihuatl. He incorporated points towards the historicist nationalism invoked with the display found in the lower-left hand corner of the painting of an eagle and a cactus appearing, making a clear reference to the myth of the founding of Tenochtitlan by the Aztecs in 1325.

DADA 1916-1920

Dada or Dadaism was a form of artistic anarchy born out of disgust for the social, political and cultural values of the time. It embraced elements of art, music, poetry, theatre, dance and politics. Dada was not so much a style of art like Cubism or Fauvism; it was more a protest movement with an anti-establishment manifesto.

207. Ryoan-ji. Kyoto, Japan. Muromachi Period, Japan. c. 1480 C.E.; current design most likely dates to the 18th century. Rock garden.

Date: 1480 CE; current design dates to the late 18th century Period/Style: Muromachi Period Artist: Highly believed to be Saomi Patron: Hosokawa Emperors Original Location: Kyoto, Japan Material: White sand stones, rocks, moss, concrete walls Technique: Landscape, karesansui garden Function: One of its original functions in its early years was to serve as a mausoleum to the late Hosokawa Emperors. But the temple's main purpose soon became to serve as a place where Zen Buddhist monks could work on obtaining enlightenment. The garden of Ryoanji embodies the teaching of Zen philosophy and is the perfect setting for contemplation. Context: There are many interpretations for the meaning of the garden. It was believed to be originally named "Tiger Cubs Crossing the Sea", so it was therefore interpreted that the rocks represent baby tigers crossing a river. Descriptive Terms: Aesthetic, harmonious, rhythmic, austere, simplicity, contemplative, meditation, balance, contrast, religion Meaning: This piece is important because it is the most important and well-known Zen garden out of all of the rock gardens in Japan. It is also important because its simplicity and mundane design differs from most rock gardens, but it is still able to elicit a high level of peace, serenity, and meditation.

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

Date: c. 1429 - 1461C.E. Period/Style: The Early Renaissance/Fifteenth century Italian art Artist: Filippo Brunelleschi (architect) Patron: Andrea Pazzi, head of the Pazzi family Original Location: Basilica di Santa Croce. Florence, Italy. Material: used bearing masonry in its construction, which is mason units or concrete blocks with lime and man made adhesives to stick them together. Technique: based on simple geometrical forms,[1] the square and the circle, but not for the building's execution and detailing. Function: The main function of the building was as the cathedral chapter house (meeting room for the governing chapter) and use as a classroom for the teaching of monks and other religious purposes Context/Relevant Ideas: There was also a chapel behind the altar where the commissioning family had the right to bury its dead. Descriptive Terms: The size of the chapel was predetermined by existing walls, creating an unusual situation, however, where the space was not square as in the Old Sacristy, which was the model for this building, but rectangular and transept-like[ and thus in contradistinction to the square, axially-placed altar. Despite this, and its complex history, the building gives us insight into the ambitions of Renaissance architects in their struggle to bring coherence to the architectural language of columns, pilasters, arches and vaults.

EXPRESSIONISM 1905-1933

Expressionism is a term that embraces an early 20th century style of art, music and literature that is charged with an emotional and spiritual vision of the world.

IMPRESSIONISM 1869-late 1880s

Impressionism was an art movement in France at the end of the 19th century. The Impressionists were a group of artists renowned for their innovative painting techniques and approach to using colour in art.

POP ART 1960s

It was the visual art movement that characterised a sense of optimism during the post war consumer boom of the 1950's and 1960's. It coincided with the globalization of pop music and youth culture, personified by Elvis and the Beatles. Pop Art was brash, young and fun and hostile to the artistic establishment. It included different styles of painting and sculpture from various countries, but what they all had in common was an interest in mass-media, mass-production and mass-culture.

51. San Vitale. Ravenna, Italy. Early Byzantine Europe. c. 526-547 C.E. Brick, marble, and stone veneer; mosaic.

N: 51. San Vitale D: Early Sixth Century CE P/S: Late Antique Europe/ Early Christian Art A: Multiple Pa: Emperor Justinian I OL: Rome, Italy M: Brick and Stone, wooden roof T: Basilica Art form F: A house of worship for the catholic religion C: The church was erected on the site of the martyrdom of saint Vitalis. Mosaics of their emperor of the major saints like Moses, Israel, and Judah are all erected in the church. DT: Church, Catholic, Justinian, Mosaics, Wood, Stone, Rome M: Meant as a place of worship and also to pay homage to the catholic saints which is a foundation of their religion.

178. Aka elephant mask. Bamileke (Cameroon, western grassfields region). c. 19th to 20th century C.E. Wood, woven raffia, cloth, and beads.

N: Aka Elephant Mask D: 350 B.C.E- 1000 C.E P/S:Aksum A: African society members Pa:Higher ranking members of society OL: Bamileke, Cameroon M: Wood, woven cloth, and beads T: Mask F: Worn only at funerals, celebrations, or important events C: Only high ranking members of society had wore and owned these DT: Geometric patterns M: Power symbol

175. Bundu mask. Sande Society, Mende peoples (West African forests of Sierra Leone and Liberia). 19th to 20th century C.E. Wood, cloth, and fiber

N: Bundu Mask D: 19th to 20th century C.E P/S: African/ Kush A: Mende People Pa: Unknown OL: Sierra Leone/ Liberia M: Wood, Cloth, and Fiber T: Wood Sculpture F: Worn for Initiation or Celebration C: Worn Only by Women For Celebration DT: Polished and Blackened Hardwood, Costume M: Spirit of Fecundity and Incarnation of Female Waters

170. Sika dwa kofi (Golden Stool). Ashanti peoples (south central Ghana). c. 1700 C.E. Gold over wood and cast-gold attachments.

N: Golden Stool D: c.1700 P/S: African Art A: Ashanti People PA: Osei Tutu OL: South central Ghana M: Gold, bells, wood T: Divine Funiture F: House the spirit of the Ashante nation C: Descended down from heaven to the King DT: Throne, Images on it M: Symbolic of a chieftain's leadership

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

N: Annunciation Triptych (Merode Altarpiece) D: 1427-1432 C.E P/S: Early Renaissance A: Robert Campin PA: Peter Engelbrechts; commissioned for private use, him and his wife are included in left panel. OL: Tournai, South Netherlands M: Oil on Wood T: Early Netherlandish Style F: A paid commission, the patron was specific in his requirements, most definitely a religious one. As well it is believed that the women in the far left was added at a later date when the patron (the man in the far left) got married. It was most likely important for the patron to be depicted viewing a momentous occasion of the Archangel and Mary. C: The artist shows amazing detail, you can see the street with stores from the garden door in the far left panel. The far right panel depicts different tools that each have religious meanings. The middle panel shows the archangel Gabriel in the Flemish home near Virgin Mary reading. The artist over emphasizes Mary's purity and Virginity in the painting. DT: domestic styles, Malardal School, The Northern Renaissance, religious painting M: The altar piece was solely for personal use based on the patron's depiction as well as the theme of the angel which is in reference to the patrons name Englebrechts (angel bringer).

63. Arena (Scrovegni) Chapel, including Lamentation. Padua, Italy. Unknown architect; Giotto di Bondone (artist). Chapel: c. 1303 C.E.; Fresco: c. 1305. Brick (architecture) and fresco.

N: Arena (Scrovegni) Chapel, including Lamentation. D: c1303(chapel) c1305(Lamentations) P/S: Proto Renaissance A: Unknown Architect but believed to be designed by Giotto Di Bundone(chapel) Giotto Di Bundone(Lamentations) Pa: Enrico Scrovegni, a wealthy Paduan merchant OL: Padua, Italy M: Brick(chapel) Fresco(Lamentations) T: barrel vaulted room with nearly quadrangular chancel(chapel) F: (Chapel) Private use for the Scrovegni family (Lamentations) To express the raw, powerful emotion of Christ's death C: (chapel) Originally intended for thw Scrovegni familys private use and was built adjacent to their palace. Some believe it was designed by Giotto Di Bundone the artist of Lamentation and the other painting within the building because of its abundance of flat paintable space that works perfectly for all the paintings. DT: majestic, holy, proud(chapel) grieving, human, death, sorrow(Lamentation) M: Believed by some to have been by Giotto Di Bundone to perfectly showcase a complete rendering of Christian Redemption(Chapel)

218. Buk (mask). Torres Strait. Mid- to late 19th century C.E. Turtle shell, wood, fiber, feathers, and shell.

N: Buk (mask) D: Mid to Late 19th century P/S: N/A A: Torres Strait Islander people Pa: Elders of the Torres strait society OL: Mabuiag Island, Torres Strait, Australia M: Turtle shell, wood, fiber, feathers, shell T: hand-crafted and unique to ceremony F: Turtle-shell masks in the western Torres Strait reportedly were used during funerary ceremonies and increase rites (rituals designed to ensure bountiful harvests and an abundance of fish and game). C: The ceremonies often involved performances in which senior men, wearing the masks together with rustling costumes of grass, reenacted events from the lives of culture-heroes, drawn from local oral tradition. DT: Rough, made of native materials, resembles totem pole M: This work displays the composite human and animal imagery typical of western Torres Strait masks, and provides insight on the beliefs/religion of the islanders at the time.

60. Chartres Cathedral. Chartres, France. Gothic Europe. Original construction c. 1145-1155 C.E.; reconstructed c. 1194-1220 C.E. Limestone, stained glass.

N: Chartres cathedral D: 1159 AD A: Unknown Pa: Catholic Church OL: Chartres France M: limestone Function: Church, held mass C: The size of this church showed how powerful the church was to be able to commission this building DT: stained glass windows M: To show that the church was heavily invested in icons for their religion, and the importance icons were to the faith itself P/s: Romanesque and gothic T: Architecture

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

N: Church of Sainte-Foy D: built circa 1050-1130 C.E. P/S: Romanesque A: Abbot Odolric Pa: none in particular (does house religious relics) OL: Conques, France M: stone T: N/A F: Catholic Church and a popular destination for pilgrims (houses many relics) C: started as an abbey in a very small town, but the creation of the church with the addition of the relics turned the little town to a tourist destination. DT: large, detailed, designed for a purpose, and stores religious relics M: the meaning of this work is to provide a place of worship for those who practice Catholicism (what all Catholic churches are built for)

167. Conical tower and circular wall of Great Zimbabwe. Southeastern Zimbabwe. Shona peoples. c. 1000-1400 C.E. Coursed granite blocks.

N: Conical Tower and Circular Wall of Great Zimbabwe D: 1000-1400 C.E P/S: Kush A: People of Zimbabwe PA: Unknown OL: Southeastren Zimbabwe M: Carsed granite blocks, soapstone T: Architecture F: Trading place, mutlifunction C: Early human settlement DT: Stone wall M:Place for interaction of the early zimbabwe people

174. Female (Pwo) mask. Chokwe peoples (Democratic Republic of the Congo). Late 19th to early 20th century C.E. Wood, fiber, pigment, and metal.

N: Female (Pwo) Mask D: Late 19th to 20th century C.E P/S: African/ Kush A: Chowke People Pa: Unknown OL: Congo M:Wood, Fiber, Pigment, and Metal T: Wood Scupture F: symbol of reaching adulthood and motherhood C: Thought to believe fertility and prosperity DT: Mask M: Honors female ancestors

217. Female deity. Nukuoro, Micronesia. c. 18th to 19th century C.E. Wood.

N: Female Deity D: 18th to 19th century P/S: Pacific Art A: unknown PA: unknown OL: Nukuoro, Micronesia M: Wood T: Carving, these figurines were of smaller statrue and most likey required experice to achieve lines on the Deity. F: The figurine is known to have been used in religious cerimonies. However the specific type of cerimony is unknown. Some speculation suggest they may have been used in fertility cerimonies. C: Only 20 left in the world. The Female Deity is shown with many protruding areas from the elbows, shoulders, and breasts. It could be argued that they focused on the functino over the form. Keeping the visual effects simple. DT: Protudring areas, simple, stiff, rigid M: wood

131. Goldfish. Henri Matisse. 1912 C.E. Oil on canvas.

N: Goldfish D: 1912 C.E. P/S: Fauvism A: Henri Matisse Pa: none OL: Paris, France M: Oil on canvas T: Oil painting F: Matisse wanted his art to have the same effect as a comfortable arm chair for a tired businessman. C: From around 1912, goldfish became a recurring subject in the work of Henri Matisse. He lived through dark times and experienced two world wars, but his art does not express any grievance or references to any events at the time. DT: vibrant, movement, contrasting M: The painting is a still life with goldfish and celebrates domestic life.

52. Hagia Sophia. Constantinople (Istanbul). Anthemius of Tralles and Isidorus of Miletus. 532-537 C.E. Brick and ceramic elements with stone and mosaic veneer.

N: Hagia Sophia D: 532-537 CE P/S: Byzantine A: Anthemius of Tralles and Isidorus of Miletus P: Emperor Justinian and Empress Theodora OL: Constantinople (Istanbul, Turkey) M: Brick, Ashlar, Limestone, and Marble T: Carving F: Place of worship for Eastern Orthodox (537-1204, 1261-1453), Roman Catholicism (1204-1261), and Islam (1453-1931) C: From the date of its construction in 537 until 1453, it served as an Eastern Orthodox cathedral and seat of the Patriarchate of Constantinople, except between 1204 and 1261, when it was converted to a Roman Catholic cathedral under the Latin Empire. The building was a mosque, after the Ottoman Turks gained control, from 1453 until 1931. It was then secularized and opened as a museum on 1 February 1935 DT: Dome, mosaics, richly decorated, pendentive, squinch, many windows, minarets M: Place of worship

219. Hiapo (tapa). Niue. c. 1850-1900 C.E. Tapa or bark cloth, freehand painting.

N: Hiapo (tapa) D: 1850-1900 C.E. P/S: Pacific Art A: Unknown P: Unknown OL: unknown (somewhere in the Pacific islands) M: Tapa or bark cloth T: Freehand painting on the cloth. The tribe's people would beat the cloth after weaving to strengthen bonds. F: The Pacific Islanders were known for wrapping their sacred items in tapa cloths which was unique to their culture. The clothes varied in size and what they protected. C: In the Islander culture the women's jobs were to weave and beat the Tapa clothes for use. DT: geometric organization, intricate patterning M: There is very few remaining authentic Tapa clothes, although they were meant to protect sacred items because few remain they in themselves have become sacred.

132. Improvisation 28 (second version). Vassily Kandinsky. 1912 C.E. Oil on canvas.

N: Improvisation 28 (second version) D: 1912 C.E. P/S: Expressionism/Abstract A: Vassily Kandinsky P: N/A OL: Guggenheim Museums M: Oil on canvas. T: Abstract F: Direct impressions of "External nature" expressed in drawing/ painting form. ( Raw emotions and thoughts expressed in colors and scattered) C: Paintings that were inspired by "events of spiritual type" DT: Curves and sweeping forms of chaotic events. Very abstract and spontaneity, the left reveals a calm. Towards the right reveal symbols of hope. M: Come from the literary source of the Revelation of Saint John the Divine; which brings together the worlds of forces from good and evil in one final confrontation.

177. Lukasa (memory board). Mbudye Society, Luba peoples (Democratic Republic of the Congo). c. 19th to 20th century C.E. Wood, beads, and metal.

N: Lukasa D: 19th to 20th century C.E P/S: African/ Kush A: Luba People PA: Luba Royalty OL: Congo M: Wood, Beads, and Metal T: Mnemonic Device F: Memory Board C: Source of Knowledge, History and Rule for the society DT: Sculpture and Memory Board M: Preserve Luba Culture

140. The Two Fridas. Frida Kahlo. 1939 C.E. Oil on canvas.

N: Las Dos Fridas D: 1939 P/S: Mexicanism with elements of surrealism A: Frida Kahlo OL: Mexico M: Oil on canvas T: Smooth brush strokes with vivid use of colors F: C: Made after Frida Kahlo's emotional divorce to her husband Diego Rivera. DT: strength, sadness, high contrast, yin yang, unity, vibrant M: Las Dos Fridas expresses the pain Frida felt after divorcing her husband and showing that she is trying to move on even though it feels hopeless.

126. Les Demoiselles d'Avignon. Pablo Picasso. 1907 C.E. Oil on canvas.

N: Les Demoiselles d'Avignon D: 1907 C.E. P/S: c.1907-c.1920/Cubism A: Pablo Picasso Pa: None OL: Paris, France M: Oil on canvas T: multiple perspectives, passage C: Picasso was inspired by an exhibition of the works of the late Cézanne and the avant-garde. A first study draft was created with two male figures, a sailor representing lust and a doctor representing knowledge, which were never added into the painting. The three women on the left were inspired by Iberian art while the two on the right were inspired by African art. This piece is often considered the first cubist piece. F: To satisfy Picasso's rivalry with Matisse and establish himself as a radical and controversial artist. DT: flat colors, sharp figures M: The presence of the five prostitutes in a brothel setting expresses sexual desire as well as the fear of sexually transmitted disease.

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

N: Lindisfarne Gospels: St. Matthew, cross-carpet page, St. Luke portrait page, St. Luke inscript page D: 700 C.E. P/S: Early Medieval/ Hiberno Saxon A:Eadfrith, Bishop of Lindisfarne Pa: Presumably created in honor of St. Cuthbert OL: off the coast of Northumberland at Lindisfarne M: ink, pigments, and gold on Vellum T: Illuminated manuscript F: Because of the recent death of Bishop Cuthbert, who held an important religious significance due to the spread of Christianity, Lindisfarne became an important pilgrimage destination in the 7th and 8th centuries. C: Lindisfarne, also known as "Holy Island", is located off the coast of Northumberland in northern England. At this time, Christianity was being spread through a preacher that was ordered to preach and baptize all the Anglo-Saxons. DT: Radial balance, religious focal points, smooth texture, organic shapes, symmetrical balance. M: The Lindisfarne Gospels is a Christian manuscript, containing the gospels of Matthew, Luke, Mark, and John and the life and teachings of Jesus Christ. The manuscript was used for ceremonial purposes to promote and celebrate the Christian religion and the word of God

150. Lipstick (Ascending) on Caterpillar Tracks. Claes Oldenburg. 1969-1974 C.E. Cor-Ten steel, steel, aluminum, and cast resin; painted with polyurethane enamel.

N: Lipstick (Ascending) on Caterpillar Track D: 1969-1974 C.E. P/S: Contemporary/ Pop Art A: Claes Oldenburg P: Commissioned January 1969 by Stuart Wrede and students at the Yale School of Architecture OL: Beinecke Plaza at Yale University, Connecticut M: Cor-Ten steel, steel, aluminum, and cast resin; painted with polyurethane enamel. T: Used cost efficient raw materials, sculpture F: Interpreted as female coeducation, emphasizes student protest C: Inspired by Andy Warhols tongue-in-cheek pop art. Stands infront of Alumni War Memorial building, becoming focal point of antiwar. DT: soft, inflated lipstick section, and wooden treads M: Created to express feelings towards World War I, demonstrating antiwar and student rebellion.

222. Malagan display and mask. New Ireland Province, Papua New Guinea. c. 20th century C.E. Wood, pigment, fiber, and shell.

N: Malagan display and mask D: c. 20th Century P/S: Tribal Art/ Ceremonial Art A: Unknown Pa: None OL: New Ireland Province, Papua New Guinea M: Wood, Pigment, Fiber, and Shell T: Weaving, Figure-making, free-hand painting F: To serve as visual part of ceremony in which the dead are celebrated and assisted in their transition to the spiritual realm, the ceremonies length can be from months to years so sturdy materials for elaborate structures can withstand long time frame. C: The culture behind the Malagan display and mask greatly treasure ancestry and the soul/life force of an individual which is what is often portrayed in these displays. They also believe that their loved ones spirits enter into the Malagan so these pieces are treated with the upmost care until they are no longer needed. Once they are no longer needed they are often burned in fear of confusing other spirits trying to find their way. DT: Natural, mystical, elaborate, large, complex, interwoven, cohesive. M: These pieces serve to represent the deceased's souls in our world and the ceremonies help to push them on to the spirit world. Also because of the cultures sense of community and familial values we also see it as a way for the entire village to mourn and to publically display the death of a family member. The Malagan, lastly, are very substantial in displaying class because more powerful people were made grander structures and masks.

147. Marilyn Diptych. Andy Warhol. 1962 C.E. Oil, acrylic, and silkscreen enamel on canvas.

N: Marilyn Diptych D: 1962 C.E. P/S: Pop art A: Andy Warhol Pa: N/A OL: New York, United States M: oil, acrylic, and silkscreen enamel on canvas T: the use of a diptych, inspired by Pollock and Willem de Kooning F: to mass produce, and spread the image of the well known icon Marilyn Monroe C: this work is copied from a photo shoot Marilyn did, instead of Warhol painting her himself- shows an emotional flatness. DT: careless handling of the paint, even distribution of form and color across the entire canvas, photographic imagery, silkscreen technique flattens her face M: Marilyn Monroe, a manufactured star with a made-up name, is seen here as merely a one-dimensional sex symbol—perhaps not the most appropriate object of our almost religious devotion, as suggested by the use of a diptych.

134. Memorial Sheet for Karl Liebknecht. Käthe Kollwitz. 1919-1920 C.E. Woodcut.

N: Memorial for Karl Liebknecht D: 1921 CE P/S: Expressionism A: Kathy Kollwitz Pa: Family of Liebknecht OL: Germany M: Wood T: Woodcut F: To serve as memorial for the executed communist leader, Karl Liebknecht C: During the 1920s, Germany was in a state of economical and political distress- still suffering from the effects of World War 1 DT: Strong emotions: faces of shock and worry, contrast M: Depicting the distress of the peasants losing influential leaders

221. Navigation chart. Marshall Islands, Micronesia. 19th to early 20th century C.E. Wood and fiber.

N: Navigation Chart D: 19th century P/S: N/A A: Marshall Islands Inhabitants Pa: unknown OL: Marshall Islands M: wooden sticks, cowrie and small shells T: Rebbelib, a type of navigation chart used to cover a large section of the Marshall Islands. F: It shows the main pathway between the two main islands, the intersecting lines or areas marked by shells indicate locations of islands while the slopped lines indicate wave swells. C: The Marshall Islands in eastern Micronesia consist of thirty-four coral atolls spread out across an area of several hundred miles. In order to maintain links between the islands, the Marshall Islanders built seafaring canoes. These vessels were both quick and manoeuvrable. The islanders developed a reputation for navigation between the islands - not a simple matter, since they are all so low that none can be seen from more than a few miles away. DT: slopped lines that indicate wave swell show technological advancement in society, intricate weaving M: to direct the natives to islands nearby safely and quickly for trade, by predictin wave swells and the exact locations of islands.

138. Object (Le Déjeuner en fourrure). Meret Oppenheim. 1936 C.E. Fur-covered cup, saucer, and spoon.

N: Object (Le Dejeuner en fourrure) D: 1936 P/S: Modernist A: Meret Oppenheim PA: none OL: Paris, France M: Fur Covered cup, saucer and spoon T: unknown F: To illustrate the idea of having to imagine using new senses to appreciate art. C: Apparently Meret Oppenheim, was in Paris one day at a café with Pablo Picasso and Dora Maar. Oppenheim was wearing a brass bracelet covered in fur when Picasso and Maar, said, "Almost anything can be covered in fur!"while admiring her bracelet. As Oppenheim's tea grew cold, she jokingly asked the waiter for "more fur. She then got the inspiration for this piece. DT: Surreal, Sensory Experience

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

N: Palazzo Rucellai D: c. 1450 C.E P/S: Venetian and Northern Renaissance A: Leon Batista Alberti- Architct P: A wealthy merchant family. OL: Florence, Italy. M: T: Opus Reticulatum F: Homr C: In many ways the Palazzo Rucellia is very similar to the Collosseum, which Alberi saw in Rome during his travels in the 1430s.

172. Power figure (Nkisi n'kondi). Kongo peoples (Democratic Republic of the Congo). c. late 19th century C.E. Wood and metal.

N: Power Figure D: 19th century AD P/S: Modern Art/Impressionism A: unknown P: Lila Acheson Wallace OL: Democratic Republic of Congo or Angolop M: Wood, metal, resin, enamel T: Wood sculpture F: The piece was sought to inspire awe, to intimidate, and to evoke power without bounds. C: African power figures are among the ubiquitous genres identified with African Art. Conceived to house specific mystical forces they were collaborative creations of Congo sculptors and ritual specialists. DT: Wood sculpture, Spiky, Rough. M: The power was represented as a presiding authority and enforcing lord or king.

223. Processional welcoming Queen Elizabeth II to Tonga with Ngatu Iaunima (tapa cloth). Tonga, central Polynesia. 1953 C.E. Multimedia performances (costume; cosmetics, including scent; chant; movement; pandanus fiber/hibiscus fiber mats) photographic documentation.

N: Processional Welcoming Queen Elizabeth II to Tonga with Ngatu launima (tapa cloth) D: 1953 C.E. P/S: Modern Art/ Video Art A: Unknown Pa: None OL: Tonga, Central Polynesia M: Multimedia performance (costume; cosmetics, including scent; chant; movement; and pandanus fiber/ hibiscus fiber mats), photographic documentation T: Photography, documentation. F: To show respect and gratitude towards Queen Elizabeth II for visiting Tonga and for commemorating the war memorial. Also I believe this served as a way of the two countries signaling their alliance and partnership. C: During both world wars the people of Tonga and England have fought for same cause and have even assisted each other at times so in order to so union between two countries English royal family visits Tonga for the first time and honors those who died in the line of duty. DT: Elaborate, native, unique, representative, grand-scale, natural M: The meaning behind the display involves along lasting peace agreement between both queens and Queen Elizabeth's desire to thank those who served, fought, and died in World War II, is what inspirers her arrival. Because it was the first time any English Queen had stepped foot onto the island so it is a celebration of many years of peace and common cause in the war efforts.

62. Röttgen Pietà. Late medieval Europe. c. 1300-1325 C.E. Painted wood.

N: Rottgen Pieta D: c.1300- 1325 P/S: Gothic/ Medieval Europe A: Unknown Pa: None OL: Cologne, Germany M: Painted wood T: Sculpture F: To explain/show a religious event C: Virgin Mary holding dying Jesus DT: Brown hues, inorganic lines, carving, sculpting M: Showing the sorrows and pain the Virgin Mary went through losing her son

133. Self-Portrait as a Soldier. Ernst Ludwig Kirchner. 1915 C.E. Oil on canvas.

N: Self-Portrait as a Soldier D: 1915 P/S: Expressionism A: Ernst Ludwig Kirchner Pa: none OL: Berlin, Germany M: Oil on canvas T: Oil painting F: Documents the artist's fear that the war would destroy his creative powers C: Kirchner painted this piece during World War I while he was on leave from artillery training. DT: psychological, nightmare, distorted M: reveals his unshakeable, almost pathological, fear of the effects of war on himself as an artist and a human being.

151. Spiral Jetty. Great Salt Lake, Utah, U.S. Robert Smithson. 1970 C.E. Earthwork: mud, precipitated salt crystals, rocks, and water coil.

N: Spiral Jetty D: 1970 C.E. P/S: Contemporary Art A: Robert Smithson Pa: N/A OL: Great Salt Lake, Utah, US M: Earthwork: mud, precipitated salt crystals, rocks, ad water coil F: Smithson was attempting to create an art piece that was unpredictable as nature which he succeeded in doing. In certain parts of the year the Spiral Jetty is not even visible. C: The state of Utah owns the Spiral Jetty because Smithson had to acquire the land rights from the state. DT: earthwork sculptor M: The reason that the Spiral Jetty is so revered is no one person will ever see the same Spiral Jetty ever again. This means that as the weather changes and the water levels of the lake shift the art piece changes along with it. The piece is 1500 feet long and only 15ft wide it took 6 days for the construction team to assemble. T: a construction team assembled the art work with moving trucks and tractors

216. Staff god. Rarotonga, Cook Islands, central Polynesia. Late 18th to early 19th century C.E. Wood, tapa, fiber, and feathers.

N: Staff God D: late 18th century to early 19th century A: Unknown P: Unknown OL: Rarotonga, Cook Islands, Central Polynesia M: Wood, Tapa, Fiber, and feathers T: The carver may have depicted smaller people below the deities to make it seem that they are coming out of him or that he is creating them. This particular staff did not include feathers however, others were believed to have them on the back staff areas. F: Religious ceremonies (possibly a fisherman's God). It was small in size for the ability to travel with the owner. C: They were used in worship to their deities, at the beginning of the 19th century Polynesians converted to Christianity suddenly and they were forced to destroy similar wood carvings, very few survived. DT: Detail oriented

220. Tamati Waka Nene. Gottfried Lindauer. 1890 C.E. Oil on canvas.

N: Tamati Waka Nene D: 1890 C.E. P/S: Realism A: Gottfried Lindaur Pa: In Lindauer's notebook this portrait is numbered #6 with an inscription saying 'for Mr Partridge' OL: Ngāti Hao, Ngāpuhi M: Oil on Canvas T: Lindauer based this portrait on a photograph by John Crombie who was commissioned to produce 12 photographic portraits of Māori chiefs for the London Illustrated News F: To commemorate the Maorian chief on being the first of the Pacific islands to join the International trade with England. C: Tamati Waka Nene lived in the Hokianga when it was a thriving and prosperous trading society and was said to have been an astute businessman and kindly by nature. Nene saw the advantages of having Pākehā shipping traders in the area, and helped settlers as well as Wesleyan missionaries establish themselves there in 1827 DT: smooth brushstrokes, painted to show kind nature of the chief, compassionate, similar portrait style to the Mona Lisa, painted with tribal face paint to reinforce culture M: to show the Westerners appreciation for the Pacific islanders and their contribution to trading

211. Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as the Great Wave, from the series Thirty-six Views of Mount Fuji. Katsushika Hokusai. 1830-1833 C.E. Polychrome woodblock print; ink and color on paper.

N: The Great Wave off Kanagawa D: 1830-1833 C.E. p/s: Edo Japan A: Katsushika Hokusai P: Unknown OL: Japan M: Polychrome woodblock print; ink and color on paper T: ukiyo-e woodblock F: Express human vulnerability against nature C: Ukiyo-e is a genre of Japanese woodblock prints and paintings, principally produced between the 17th and the 20th centuries and featuring motifs of landscapes, tales from history, the theatre, and pleasure quarters DT: woodblock, print, nature, vulnerability, weakness M: The wave is about to strike the boats as if it were an enormous monster, which symbolizes the irresistible force of nature and the weakness of human beings

129. The Kiss. Constantin Brancusi. 1907-1908 C.E. Limestone.

N: The Kiss D: 1907-1908 C.E P/S: Cubism A: Constantin Brancusi P: John Quinn OL: France, Europe M: Limestone T: Direct Carving F: To stand as a decorative masterpiece on its own. Brancusi claimed it should be placed "just as it is, on something separate; for any kind of arrangement will have the look of an amputation" C: New resurfaced technique of direct carving emerges due to grand interest in "primitive" methods by French Artist. These sculptures signify his shift toward a simplistic form and his interest in contrasting textures. M: Shows 2 individuals embracing each other, fostering a sense of deep connection.

130. The Portuguese. Georges Braque. 1911 C.E. Oil on canvas.

N: The Portuguese D: 1911 C.E. P/S: Analytical Cubism A: Georges Braque Pa: N/A OL: France M: Oil paints. T: Oil on canvas. F: Created to be sold. C: During this time Braque was experimenting alongside Pablo Picasso with Cubism. He studied Cezanne's work on multiple perspectives and developed this new form of fragmented Cubism. DT: Fragments, analytical cubism, sculptural, pictorial. M: The guitar player and the dock in this painting demonstrated all the sides and angles a Cubist painting can retain.

122. The Scream. Edvard Munch. 1893 C.E. Tempera and pastels on cardboard.

N: The Scream D:1893 P/S: Expressionism A: Edvard Munch PA: N/A OL: Oslo, Norway M:Oil, tempera, pastel and crayon on cardboard T: Painting F: An outlet for the artist's emotional turmoil C: The artist had been emotionally and mentally unstable DT: Violent strokes M: Express inner emotions and feelings

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

N: Vienna Genesis P/s: Early Byzantine period D: circa 540 C.E. A: Unknown(s) Pa: None OL: produced in Syria M: Pigment on Vellum T: Uses a naturalistic technique, F: Helps tell the story that is presented above. Offers a visual representation of it. C: A page from the Book of Genesis. DT: painted at bottom of page. Illuminated Manuscripts, portrays a basis for the story. M: Oldest, best preserved, surviving, illustrated biblical page

169. Wall plaque, from Oba's palace. Edo peoples, Benin (Nigeria). 16th century C.E. Cast brass.

N: Wall Plaque from Oba's Palace D: 16th century C.E. P/S: African/ Kush A: Edo People Pa: High Class Edo People OL: Benin (Nigeria) M: Cast Brass, Ivory, Terracotta and Wood T: Metallurgy F: Serve as a Power and Social Status Symbol C: Only used my royals and wealthy DT: Plaque, Engraving M: Honor Oba King

123. Where Do We Come From? What Are We? Where Are We Going? Paul Gauguin. 1897-1898 C.E. Oil on canvas.

N: Where do we come from? What are we? Where are we going? P/S: Post-Impressionism A: Paul Gauguin F: Gauguin looked to tell C: Art historians firmly believe that the artist did not intend to let the deeper meaning of the painting known. Rather leave it open to interpretation as example by the questions asked in the title. DT: Gauguin when personally describing his painting he claims he purposely disproportioned the figures and made them seem to float to make the viewer feel that this was not real life rather they were reading the painting to understand the story. He allows the painting to hint that the viewer should question human existence but does not give the answers to the questions the painting poses. M: Depicts both humans and animal together on an island with great hidden symbolic meaning. The painting was greatly influenced by the author's experiences of living on the Tahiti Island. When looking at the painting it is told in an allegorical sense, the story starts in the low right corner with a small child asleep.

210. White and Red Plum Blossoms. Ogata Korin. c. 1710-1716 C.E. Ink, watercolor, and gold leaf on paper.

N: White and Red Plum Blossoms P: 1710-1716C.E. P/S: Edo period A: Ogata Korin Pa: Tsugaru family (A Wealth Japanese family) OL: Unknown M: Ink, watercolor, gold leaf on paper T: Tarashikomi technique, wavy form, F: used as a background, decoration, or partition to a room C: Ogata Korin is a well-known Japanese artist who painted to sell his art to wealth households, typically merhants. DT: White and Red plum blossoming trees separated by stream. Perspective of looking down. Plums color contrast with everything else. M: Red plum tree reflects toughness and youthfulness while the white plum tree reflects a delicate form and calm individual. Both trees represent opposites of each other of youth and age.

145. Woman, I. Willem de Kooning. 1950-1952 C.E. Oil on canvas.

N: Woman, I D: 1950-1952 C.E. P/S: Abstract Expressionism A: Willem de Kooning Pa: None OL: New York, U.S. M: Oil on Canvas T: aggressive brushwork, layering of paint, and frantic paint application F: to portray a balance between reverence and fear of women C: During this time, women were increasing in social status because of their role in the war effort, in which they stood for their male counterparts and took on factory and labor jobs. DT: intensely colored, hectic, aggressive, bold, heavy, abstract. M: The meaning behind this work is a renewal of an ancient cultural balance between respect and fear of women and it achieves this through its wide-eyed, powerful, and commanding stare by the female subject.

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

NAME: Alhambra Palace DATE: constructed 889; renovated mid-11th century PERIOD/STYLE: the Spanish Nasrid dynasty; Mudéjar style ARCHITECT: current palace and walls built by Mohammed ben Al-Amhar; embellished by Yusuf I PATRON: Muhammad V and others LOCATION: Granada, Andalusia, Spain MATERIAL: whitewashed adobe stucco, wood, tile, paint, gilding TECHNIQUE: the Nasrids used freely all the stylistic elements that had been created and developed during eight centuries of Muslim rule in the Iberian Peninsula FUNCTION: initially served as a fortress; was converted into a royal palace in 1333 CONTEXT: After the Christian conquest of the city in 1492, the conquerors began to alter the Alhambra, symbolic of the "reconquest" of the Iberian Peninsula from the Muslims DESCRIPTIVE TERMS: the color its buildings and the surrounding woods creates an image of "a pearl set in emeralds;" the overall layout is neither orthogonal nor organized due to the lack of a master plan, and as a result some buildings are at odd positioning to each other; decoration consists of Arabic inscriptions that are manipulated into geometric patterns wrought into arabesques; painted tiles are largely used as paneling for the walls; columns and maquarnas appear in several chambers MEANING: the palace is a testament to Moorish culture in Spain and the skills of Muslim, Jewish, and Christian artisans, craftsmen, and builders of their era; is a reflection of the culture of the last centuries of Muslim rule in Spain

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

NAME: The School of Athens DATE: 1509 - 1510 PERIOD/STYLE: High Renaissance ARTIST: Raffaello Sanzio da Urbino PATRON: Pope Julius II ORIGINAL LOCATION: The Stanze di Raffaello (Raphael rooms) in the Vatican's Apostolic Palace MATERIAL: paint, plaster TECHNIQUE: frescoe (permanent lime proof pigments on freshly laid lime plaster FUNCTION: decoration for the rooms now known as the Raphael rooms CONTEXT: the catalyst for the Renaissance was the rediscovery of Greek and Roman culture during the Crusades; depiction of ancient philosophers with likenesses resembling those of Renaissance artists and patrons displays degree to which those more contemporary men were influenced by their predecessors and precursors DESCRIPTIVE TERMS: masterful use of linear perspective to create depth; avoidance of bright, outlandish colors creates serious tone MEANING: There are several possible meaning associated with The School of Athens. The resemblance between the ancient philosophers and Renaissance masters displays the extent to which they drew inspiration from Classical Mediterranean society.

179. Reliquary figure (byeri). Fang peoples (southern Cameroon). c. 19th to 20th century C.E. Wood.

Name: Reliquary Figure (Nlo Bieri) Date: 19th-20th Century P/S: Tribal Art Author: The Fang Original Location: South Cameroon Material: Wood, palm oil Technique: Sculpture Function: To serve as a protective guard Context: These figures were used to guard houses, special treasures, churches, etc. Descriptive Term: Balanced symmetry, application of straight lines and sinuous curves Meaning: Shows that youthful vigor and mature serenity coexist in harmony (as evidenced by a calm facial expression paired with the muscular body structure).

199. Angkor, the temple of Angkor Wat, and the city of Angkor Thom, Cambodia. Hindu, Angkor Dynasty. c. 800-1400 C.E. Stone masonry, sandstone.

Name: Angkor Wat Date: 12th century Period / Style: Khmer architectural style Architect: Suryavarman II completed by Jayavarman VII Patron: Suryavarman II, Jayavarman VII Original Location: Cambodia Material: Sandstone Technique: Mortise and tenon joints, bamboo scaffolding Function: Angkor Wat was built primarily to serve their God Vishnu. Although many claim that it is a temple, some say that it is also Suryavarman's tomb Context: Unlike most of the Hindu architectures of the time, the Angkor Wat is facing west due to its holy 4 purposes. It is commonly believed that Angkor Wat served as a temple when Suryavarman was alive and when he died, it also functioned as a monument embedding the emperor who is embodied by the Vishnu, the original "owner" of the temple. Descriptive Terms: Bold, angular, naturalistic, monumental, rough Meaning: (See function and context)

212. Chairman Mao en Route to Anyuan. Artist unknown; based on an oil painting by Liu Chunhua. c. 1969 C.E. Color lithograph.

Name: Chaiman Mao En route to Anyuan Date: 1968 Artist: Liu Chunhua Period/style: Cultural revolution in china Technique: Poster Patron: n/a Original location: All over china, first created in Beijing Medium: Poster paper, many mediums Function: propaganda poster Context: The people wanted a change in government Descriptive terms: propaganda, naturalist, political statement, political commentary Meaning: Mao is supposed to bring hope to the people of china. Conveys a revolutionary spirit and dauntless before danger and violence. This poster was recreated over 100 million times and was the most distributed piece in china at this time.

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

Name: Dedication Page with Blanche of Castile and King Louis IX of France and Scenes from the Apocalypse, from a Bible moralisée Date: Circa. 1230 Period/Style: Gothic Europe Artist: Unkown Patron: King Louis IX Original Location: Probably Paris, France (no exact location) Material: Illuminated manuscript (ink, tempera, and gold leaf on vellum) size; 14 ¾ x 10 ¼ inches (375 x 262 mm) Technique: The process of illumination 1) Silverpoint drawing of the design were executed 2) Burnished gold dots applied 3) The application of modulation colors 4) Continuation of the previous three steps in addition to the outlining of marginal figures 5) The penning of a rinceaux appearing in the border of a page 6) The final step, the marginal figures are painted Function: To dictate to a Scribe Moralized Bible Context: The dedication page includes drawings of the queen, King Louis IX of France, a cleric and an artist. Descriptive terms: Rinceaux: an ornamental motif consisting essentially of a sinuous and branching scroll elaborated with leaves and other natural forms. Illuminated manuscript is a manuscript with a text supplemented by a decoration, only refers to manuscripts with silver or gold. Meaning: This manuscript was created as advice for the prince that would soon take the upcoming position of the king.

136. Composition with Red, Blue and Yellow. Piet Mondrian. 1930 C.E. Oil on canvas.

Name: Dream of a Sunday Afternoon in the Alameda Park.. Date: 1947 - 1948 C.E. Artist: Diego Rivera. Patron: Carlos Obregon Santacilia. Original location: Hotel del Prado at Mexico City (which is today the Mural Museum of Diego Rivera, Mexico City, Mexico) Materials: Acrylic paint on a mural. Function: To show three principal eras of Mexican History The Conquest - (left) in 1519, Spanish conquistador Hernando Cortez landed on the Mexican coast with a force of 600 men. After burning his ships to prevent his men from returning home, he ventured into the interior of Mexico, defeating some indigenous tribes and making allies of others. The Aztec Empire collapsed, and Cortez was master of Mexico. Context: Alameda Park is the biggest park in Mexico City, therefore Rivera used this location to show part of the Mexican culture. Descriptive details: Rivera uses historical figures in his mural to portrait the troubles of these 3 eras. Meaning: The meaning is to portrait 300 years of Mexican history and culture throughout three principal time periods of Mexican history. Period/Style: Surrealism mural.

139. Fallingwater. Pennsylvania, U.S. Frank Lloyd Wright (architect). 1936-1939 C.E. Reinforced concrete, sandstone, steel, and glass.

Name: Falling Water Artist: Frank Lloyd Wright (architect) Patron: The Kauffman Family Date: 1936-1939 C.E Period/Style: Modern architecture Original Location: Pennsylvania Material: Reinforced concrete, sandstone, steel, and glass. Technique: Use of cantilevers as a basis, counterbalance one another Function: transcends its function as a house to meet a client's needs and symbolizes an American democratic ideal: to be able to live a free life in nature. Context: Wright's was greatly influenced by Japanese architecture which is evident in Fallingwater's appearance. The house was made to be a rural retreat for the Kauffman family. During the FDR administration Descriptive Terms: Innovative, complex, modern Meaning: Fallingwater embodies Wright's deeply held values about the underlying unity of humans and nature, which is reflected in his selection of building materials and the overall location.

144. Fountain (second version). Marcel Duchamp. 1950 C.E. (original 1917). Readymade glazed sanitary china with black paint.

Name: Fountain (second version) Date: 1950 C.E. (original 1917) Period/Style: Dada Artist: Marcel Duchamp Patron: None Original Location: New York Material: Readymade glazed sanitary china with black paint Technique: Reorientation of original object Function: The choice of the object by the artist makes the viewer see the object in a new light beyond the normal use. Context: One of the most well known pieces done by the artist and an icon of 20th century art. The original piece is lost and as a result replicas were made. The Dada movement began in 1916 in Zurich, Switzerland and is associated with being anti-war, having political links with the radical left, and was also anti-bourgeois. Ready-made sculpture; an object found and claimed to be a piece of art. Rejected from being shown in a show after debate on whether the piece was art or not. Descriptive Terms: organic shape, positive space Meaning: The title of the piece is a pun; fountains pour out liquid while a urinal is meant to collect liquid. Meaning of the signature "R. Mutt 1917" is still unknown but it is a possible play on famous comic strip at the time, Mutt and Jeff.

168. Great Mosque of Djenné. Mali. Founded c. 1200 C.E.; rebuilt 1906-1907. Adobe.

Name: Great Hall of the Bulls Date: 13000 B.C.E. Artist: Uknown Patron: Uknown Original Location: Lascaux, France Material: Chalk on Rock P/S: Cave Drawing Technique: Side Front view Descriptive Terms: side front view, overcrossing drawings Context: Most likely whenever they saw something in the wild they drew it in a cave Meaning: The meaning was probably to record what types of animals were in their hunting area

143. Dream of a Sunday Afternoon in the Alameda Park. Diego Rivera. 1947-1948 C.E. Fresco.

Name: Illustration from the Results of the First Five-Year Plan Date: 1932 C.E. Period/Style: Constructivism Artist: Varvara Stepanova Patron: None Original Location: Soviet Union (Russia) Materials: Photographs, texts, newspaper clippings. Technique: Photomontage Function: The purpose of the photomontage was to pay tribute to the success of the First Five-Year Plan that started in 1928. Context: Constructivism began in Russia in 1919 and was a rejection of the idea of autonomous art. Stepanova's art was focused on showcasing the ideals of the Soviet Union. Known for work on the magazine USSR in Construction, publication of propaganda that showed the industrialization of the Soviet Union under Stalin. Descriptive Terms: Geometric shapes, 3 distinct colors, dynamic Meaning: The work creates the image of the success achieved with the Five-Year Plan. Speakers on the left side have the number 5 a symbol of the Five Year Plan.

125. Mont Sainte-Victoire. Paul Cézanne. 1902-1904 C.E. Oil on canvas.

Name: Mont Sainte - Victoire Date: 1902 - 1904 C.E. Period/Style: 1750 - 1980 C.E. / Post - Impressionism Artist: Paul Cezanne Patron: N/A Original location: Aix-en-Provence, Southern France Material: Oil on Canvas Technique: Cubism Function: Cezanne's use of light and color give the impression that it is not his rendering of the landscape that give it a fragmented quality, but that it is an inherent quality of the landscape itself. Context: This painting is of the landscape from Cezanne's home in Aix-en-Provence, where he spent many of his later years painting. He developed a special relationship with this landscape and painted many renditions of it, especially the mountain in the background. Descriptive Terms: He uses geometry to describe nature, and uses different colors to represent the depth of objects. Meaning: The painting clearly illustrates the way Cezanne sought to depict the nature of reality and our perception of it. The mountain gives way to simple forms and the building in the foreground have been devolved into their particular shapes, all the while keeping the entirety of the landscape intact.

148. Narcissus Garden. Yayoi Kusama. Original installation and performance 1966. Mirror balls.

Name: Narcissus Garden Date: 1966 Period/Style:Conceptual Art Artist: Yayoi Kusama Patron: N/A Original Location: Venice Material: Mirror balls Technique: Repetition Context: When she displayed her work at the exhibition, she sold the mirror balls for $2 under the label "Your Narcissism for Sale" which eventually got censured Descriptive Terms:Repetitive, reflective, overwhelming Meaning: It is often said the purpose of this art was to criticize the mechanisation and commodification of art in modern years

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

Name: Pyxis of al-Mughera Date: 968 C.E. Artist:Madinat al Zarha Patron: no patron Original Location: in the Umayyad palace Material: Ivory P/S: Umayyad Dynasty Technique:Carved ivory with jet Descriptive Terms: jet, pyxis, Context: they were reliquaries based off of west culture Meaning: Most likely given to the leader of the people as a gift

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

Name: Statues of Votive Figures Date: c2700 B.C.E. Artist: probably skill workers of tribe Patron: Leader of the tribe Original Location: in an ancient temple Material: black shells P/S: Sumerian Technique: Subtractive method Descriptive Terms: simplified pessimistic conical Context: size could enforce hierarchy Meaning: The meaning was to create something that they could use to pray to the gods away from home

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

Name: The Arnolfini Portrait Date: 1434 Period/Style: Early Northern Renaissance Artist: Jan van Eyck Patron: Arnolfini Original Location: Flanders Material: Oil painting on oak Technique: Application of layer after layer of thin translucent glazes to make intense tone and color Function: Context: Early Northern Renaissance style shown through the woman's fashion. Northern Renaissance artists used and had a great attention to detail. Arnolfini and his wife were from Flanders, the Dutch speaking part of Netherlands. They were fairly wealthy due to ability to afford portrait and expensive clothes worn. Arnolfini was an agent for the Medici family. Descriptive Terms: symmetrical, positive space, deep perspective, geometric and organic shapes, straight, curved, and organic lines Meaning: The meaning of this portrait is to depict the sacredness and sanctity of marriage. It also conveys the idea of love through obvious and hidden signs. The dog shown in the lower portion of the painting is a common symbol of a couple, and their loyalty/fidelity. The shoes placed at the side of Arnolfini means that someone is not wearing shoes because they are walking on holy ground. It is holy ground because of the marriage. The woman is on the side of the room with the bed suggesting that she belongs at home, while the man is on the side of the room with the window because it was mainly the men that would go out into the outside world. The chandelier has only one candle in it which is a sign of God's all seeing presence. The oranges under the window are a common sign of the Medici family and could also possibly suggest fertility and child bearing. The mirror in the middle of the wall bulges out and depicts a fish-eye look. Around the mirror itself are 12 smaller circles which depict the passion of Christ. In the reflection of the mirror the patrons can be seen, along with someone else wearing blue/red, and Jan van Eyck himself. There is also an inscription above the mirror that can be translated to "Jan van Eyck" was here.

206. Forbidden City. Beijing, China. Ming Dynasty. 15th century C.E. and later. Stone masonry, marble, brick, wood, and ceramic tile.

Name: The Forbidden City Date: 15th century C.E. and later Period/Style: Ming Dynasty Artist: N/A Patron: Hongwu Emperor's son, Zhu Di Original location: Beijing, China. Material: Stone masonry, marble, brick, wood, and ceramic tile. Technique: traditional Chinese palatial architecture Function: served as the home of emperors and their households, as well as the ceremonial and political center of Chinese government. Context: was declared a World Heritage Site in 1987, and is listed by UNESCO as the largest collection of preserved ancient wooden structures in the world. Descriptive Terms: the complex consists of 980 buildings and covers 180 acres. Designed to be the center of the ancient, walled city of Beijing. It is enclosed in a larger, walled area called the Imperial City. The Imperial City is, in turn, enclosed by the Inner City; to its south lies the Outer City. Its walls served as both defensive walls and retaining walls for the palace. Meaning: has influenced cultural and architectural developments in East Asia and elsewhere.

141. The Migration of the Negro, Panel no. 49. Jacob Lawrence. 1940-1941 C.E. Casein tempera on hardboard.

Name: The Migration of the Negro (Panel no. 49) Number on the 250 list: 141 Date: 1940 — 1941 C.E Artist: Jacob Lawrence Patron: N/A Original Location: 135th Street Library in 1939. Current Location: The Phillips Collection, Washington, D.C. Materials: Casein Tempera on Hardboard Function: "They also found discrimination in the North although it was much different from that which they had known in the South." —Migration of the Negro, panel 49 Context: Jacob Lawrence was born on September 7, 1917, in Atlantic City, New Jersey. Originally from South Carolina and Virginia, the Lawrence family, like thousands of African-American migrants, had hoped to find more promising economic opportunities in the North. Descriptive Details:Public dining space in the North. Blacks and whites are divided by a yellow barrier that zigzags through the center of the painting Meaning: This powerful portrayal of migration communicates the struggle, strength, and perseverance of African Americans who, between 1900 and 1940, moved from the agricultural communities of the South to the industrial cities of the North and Midwest in search of a better life.

180. Veranda post of enthroned king and senior wife (Opo Ogoga). Olowe of Ise (Yoruba peoples). c. 1910-1914 C.E. Wood and pigment.

Name: Veranda Post: Equestrian Figure and Female Caryatid Date: 19th-20th Century P/S: Yoruba Art Artist: Olowe of Ise Original Location: Africa (most likely, Yorubaland) Material: Wood, pigment Technique: Sculpting Function: to show a ruler's dependence on others Context: In Africa, it was common for rulers to go to their wives for advice and consult Descriptive Terms: linear motifs, exaggerated proportions Meaning: To emphasize the importance of the wife-specifically the wives of rulers- and the roles they carry

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

Name: Virgin (Theotokos) and Child between saints Theodore and Georde Number on the 250 list: 54 Date: 6th to early 7th Century Artist: N/A Patron: N/A Original Location: Egypt, Byzantine Period Current Location: St. Catherine's Monastery, Sinai, Egypt Materials: Encaustic on Wood Function: A Byzantine icon was basically a portable and compact size painting that depicted figures such as Christ, the Virgin Mary, or the Saints. Context: Believed these icons were mediums to connect with holy figures and enhance their spirituality. Personal items that would help them get more in touch with God. Meaning: To worship God/Christianity Period: Early Byzantine Europe Style: Encaustic, enthroned Technique: Encaustic on wood

171. Ndop (portrait figure) of King Mishe miShyaang maMbul. Kuba peoples (Democratic Republic of the Congo). c. 1760-1780 C.E. Wood.

Name: nDop Date: c1760 C.E. Artist: Skilled worker of tribe Patron: King Mishe miShyaang maMbul Original Location: Republic of congo Material: Wood Technique: 3d portrait Descriptive Terms: power figure smooth symbol showed as leader Meaning: The meaning is to serve as a power structure which they believe had power that they could use from the leader of the tribe

100. A Philosopher Giving a Lecture on the Orrery. Joseph Wright of Derby. c. 1763-1765 C.E. Oil on canvas.

OL: England T: strict realism utilized, renders figures with distinct details, great use of chiaroscuro F: Challenged the rigid, French dedicated, religious themes in favor of enlightened scientific themes. C: Caused a great stir in artistic movements as it depicts enlightened scientific "miracles", moving away from old traditional religious values DT: only source of light is the orrery lamp, philosopher is wearing red shirt. Most individuals seem intrigued except for one. Outside of the orrery light, everything else is mostly dark. Composed in a circular fashion M: Enhance the ideas of the enlightening. To elevate the theories and inventions of the Industrial Revolution. Especially those related to science.

106. Y no hai remedio (And There's Nothing to Be Done), from Los Desastres de la Guerra (The Disasters of War), plate 15. Francisco de Goya. 1810-1823 C.E. (published 1863). Etching, drypoint, burin, and burnishing.

Original Location: Spain P/S: Spanish war Technique: Dry point etching Context: A picture in revolt of the Spanish war Descriptive Terms: drypoint etching burin burnisher Meaning: The meaning was to show the brutalities of the war they were in at that time

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

P/S: Baroque C: created in the midst of the Thirty Years War between the Protestants and the Catholics. It was created with a lot of religious iconography to be used as a weapon in this religious war because it shows the King and Queen of France siding with a certain religion. DT: Short long brush strokes, shading to create texture and depth, dark color pallete, organic lines, religious iconography M: The allegory in the painting suggests that Marie de' Medici is God-like herself, which was frowned upon during this time of Absolutism. But the way the portrait is presented to King Henry IV, literally states that their marriage is a match made in Heaven.

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

P/S: Baroque Pa: Cardinal F: Borromini was commissioned to create a cloister, living quarters, and church for the order of Discalced Trinitarians, whose main objective was the raising of funds to liberate Christians captured by the Moors. C: The church belongs to a convent founded by Spanish Discalced Trinitarians. The Trinitarian order of friars was founded near Paris at the end of the 12th century by St John of Matha, and its purpose was the ransoming of Christians taken prisoner by Muslim pirates and slave-raiders as well as during wartime. The Spanish Discalced Trinitarians set about founding a house at Rome at the start of the 17th century, and chose a site on the summit of the Quirinal. DT: serpentine, elegant, M: The church is dedicated to St. Charles Borromeo and the Holy Trinity. The church takes its name from the fact that at the intersection where it stands there are four fountains, one at each corner. There wasn't enough room to build either a "Greek Cross" (four equal arms) or "Latin Cross" (longer base leg) church, so Borromini used two equilateral triangles joined base-to-base as his plan to represent the Holy Trinity

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

P/S: Baroque T: Tenebrism, creates suspense and dramatic C: The subject traditionally was represented either indoors or out; sometimes Saint Matthew is shown inside a building, with Christ outside (following the Biblical text) summoning him through a window. Caravaggio may well have been familiar with earlier Netherlandish paintings of money lenders or of gamblers seated around a table like Saint Matthew and his associates. F: to depict the biblical story of the Gospel of Matthew DT: tenebrism, use of light, descriptive figures, linear perspective, positioning f the figures mid-action shows potential energy in the work M: Carvaggio recreates this Biblical story with his own way of portraying things in the Renaissance fashion. He portrayed the scene in a backroom of a bar or tavern and with ordinary people, not royally presented and lavishly adorned. He splits the painting up to show the youths on the left who are unaware to Christ's presence which suggests condemnation to Hell.

82. Il Gesù, including Triumph of the Name of Jesus ceiling fresco. Rome, Italy. Giacomo da Vignola, plan (architect); Giacomo della Porta, facade (architect); Giovanni Battista Gaulli, ceiling fresco (artist). Church: 16th century C.E.; facade: 1568-1584 C.E.; fresco and stucco figures: 1676-1679 C.E. Brick, marble, fresco, and stucco.

P/S: Baroque OL: Rome, Italy T: Carving, chiaroscuro F: Place of Worship C: The Church of Il Gesu in Rome is one of the first designs of the late 16th century that establishes a prototype that served the Roman Catholic Church throughout the period of the Counter-Reformation as well as in the following centuries. DT: Roman, Baroque, church, frescoes, dome, cross-vault

87. Self-Portrait with Saskia. Rembrandt van Rijn. 1636 C.E. Etching.

P/S: Baroque T: Etching (draws on material with a needle to OL: Netherlands C: the image of Rembrandt appears to be outlined in dark sketches and closer to us in the painting but Saskia is outlines in light sketches and appears further back in the painting. This creates a greater emphasis on the artist than on Saskia. DT: Sketch, mysterious, marriage, shady M: A self-portrait with the artist and his wife Saskia represents three ideas. One is the type of style that was apart of everyday life in the time period, the second is the emphasis of the artist himself in the portrait which portrays his view of a patriarchal society, and lastly, marriage.

92. Woman Holding a Balance. Johannes Vermeer. c. 1664 C.E. Oil on canvas.

P/S: Dutch Golden Age OL: Netherlands C: During this time there was a plague, war, and economic crisis therefore Vermeer tried to get extra income to get out of debt. DT: Holy, calmness, principles, moderate, spiritual. M: Remind people of the importance of not being materialistic and living moderately to achieve salvation.

75. Sistine Chapel ceiling and altar wall frescoes. Vatican City, Italy. Michelangelo. Ceiling frescoes: c. 1508-1512 C.E.; altar frescoes: c. 1536-1541 C.E. Fresco.

P/S: High to late Renaissance Pa: Pope Julius II Last Judgment - F: to serve as a decoration for the church and to remind churchgoers of the glory and the wrath of God; to illustrate the underpinning of the Catholic religion C: The Renaissance was a revival of the ancient world. During this period of rediscovery, the Sistine Chapel ceiling was painted. As a result, it conveys a great sense of beauty, elegance, and ideal proportions. The ceiling depicts scenes from the Book of Genesis. DT: Ceiling Frescoes - bright, elegant, peaceful, ideal Last Judgment - grotesque, hectic, twisted, pessimistic M: The ceiling frescoes show the power of God in his ability to create man and everything else, and value put in God by churchgoers. The Last Judgment shows that God will damn sinners to suffer in Hell, and churchgoers should not sin because of this.

119. The Burghers of Calais. Auguste Rodin. 1884-1895 C.E. Bronze.

P/S: Impressionism A: Auguste Rodin Pa: The city officials of Calais F: Monument an occurrence in Calais' history and honor the burghers C: Calais was under siege by the British in 1337 during The Hundred Year's War DT: Multiple Perspective, Multi Figure Statue M: Commemoration of the brave local hero

116. The Saint-Lazare Station. Claude Monet. 1877 C.E. Oil on canvas.

P/S: Impressionism T: Little use of perspective and lines. The artist strays away from tradition landscapes of the time. The figures in the painting are unclear and non-defined. F: The painter was trying to represent the train station and the modern transportation and architecture. He attempts to make a plain place into a beautiful painting. Paris was at an economic high at the time and the city had recently been renovated. C: Monet was known for his landscapes of plant life. However, although this painting is not a landscape of nature but rather something Monet may have seen every day of his life for a time. Monet requested to use the station for a period of time to paint the piece. DT: This painting is an impressive representation of impressionism through his use of light and color. The use of the steam from the engines of the train with the water allows him to play with the light of the painting. Monet attempts to convey emotion rather than the reality of the scene. M: Monet was a new comer to the city and looking to represent its beauty and functionality. He represented something used in a person's everyday life as something striking and distinctive.

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

Period/Style: Baroque Patron: King Phillip IV Technique - Makes the foreground figures larger and background figures lower to create illusion of depth in his painting. Function: Context/Relevant Ideas: The focal point in this painting is the daughter of King Phillip IV. Descriptive Terms: Chiaroscuro Meaning: Velazquez took pride in his work and displayed it through Las Meninas by portraying a basic day in the House of Capet.

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

P/S: Late Middle Ages F: It is believed that the semblance of Madonna may represent Lucrezia Buti (Lippi's Wife). Also, symbols of holiness in the work are dim, which shows Lippi's displacement with religion and rather focuses mainly on reality. C: Reveals a transition from medieval art to renaissance art. Focuses more on nature and reality, such as the environment and the figures painted are realistic. Religious symbols, such as the halo and the wings of the angels, are faint and small and not as emphasized as before in earlier works. M: Depicts realistic scenery and human images along with fading religious symbols, which developed into the new idea of humanism at the time. The main focus of the painting is on human matters and the environment more so than divine entities

102. Monticello. Virginia, U.S. Thomas Jefferson (architect). 1768-1809 C.E. Brick, glass, stone, and wood.

P/S: Neoclassical C: Presidential residence DT: Italian renissance inspired M:Self made private property and home of President Thomas Jefferson

105. Self-Portrait. Elisabeth Louise Vigée Le Brun. 1790 C.E. Oil on canvas.

P/S: Neoclassical/Rocco F: Portrays her artistic ability, able to compete with other highly known artist. C: Influenced by Peter Paul Rubens technique and use of light. Work was painted in Rome. Very refined and shows her height in social class as a female artist. Enhances social position. DT: Naturalistic pose as she stares back at audience. Uses few muted colors. Subject is Queen Marie Antoinette, dimly seen. M: In this work, Le Brun not only emphasizes her role as a professional artist, but she underscores her formerly important position as painter to the queen by showing an unfinished likeness of Marie Antoinette in her portrait.

103. The Oath of the Horatii. Jacques-Louis David. 1784 C.E. Oil on canvas.

P/S: Neoclassicism F: Expresses David's rebellion against Rococo, shows his classical style, and reflects his support for the Enlightenment. C: This piece portrays a story from pre-Republican Rome, considered the "heroic" phase in Roman history. In the story the cities of Rome and Alba are at war and decide to settle their conflict by selecting three representatives to battle each other. The Horatius brothers are to fight for Rome. In the painting the three brothers are swearing an oath to their father as he holds their swords. DT: Shallow space, stage setting, simple architecture, statuesque figures. Men are rigid and angular. The women have soft, curvilinear shapes. M: To revive the classical styles of ancient Roman and Greece.

83. Hunters in the Snow. Pieter Bruegel the Elder. 1565 C.E. Oil on wood.

P/S: Northern Renaissance Function: paintings by Brueghel depicting the different seasons of the year. Scientists have used his portrayal of the wintry scene to corroborate evidence on the severity of the Little Ice Age, during which the painting was created. Context: The 1560s was a time of religious revolution in the Netherlands, and Bruegel (and possibly his patron) may be attempting to portray an ideal of what country life used to be or what they wish it to be. Descriptive Details: The scene is of hunters returning with their dogs from an unsuccessful hunting expedition. Meaning: Bruegel wanted to show how powerful nature is. Nature will always be superior to humanity (a power any of us can control).

104. George Washington. Jean-Antoine Houdon. 1788-1792 C.E. Marble.

P/S: Post American Revolution F: glorfication of George Washington, symbolizing America C: After Revolutionary War, Virginia General Assembly desired a statue for public display. DT: Right hand cane. Left hand on pillar with sword and jacket. Wearing a military uniform. Standing, fatherly facial expression. Life sized, highly accurate. M: To Invoke the image of an ideal leader, to patronize American leader.

114. Nadar Raising Photography to the Height of Art. Honoré Daumier. 1862 C.E. Lithograph.

P/S: Realism Art Period /Caricature T: printing (lithography), organic lines, geometric shapes F: To serve as a satirical illustration of Nadar and to mock the idea that he is the reason photography became used for art. C: During this time period (1850's) the first camera had been invented and people were coming up with many purposeful uses for it. Gaspard-Félix Tournachon, or better known as "Nadar", had just taken the first aerial photograph from a hot air balloon, which most saw as a very impressive step towards becoming technologically advanced. However, "Nadar", in a statement, suggested that his own ingenuity and new style of photography was the main reason for its growing popularity and artistic media recognition. DT: Simple, monotone, action-scene, mocking, fluid. M: The meaning behind this lithograph, ass intended by Daumier, is to mock and make fun of the renowned photographer "Nadar" after he took credit for making photography popular and establishing it as a valid form of art. He mocks "Nadar" by displaying one of his accomplishments, taking the first known aerial picture, and using the title to literally show him taking photography to a new "height" as the ground below him is already plastered with photography advertisements, further showing he had nothing to do with the increase in poularity.

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

P/S: Renaissance M: In Roman mythology Venus is the most beautiful of all the Roman goddesses' and therefore represents physical attraction. They also believed that once you achieved physical peacefulness you also achieved spiritual peacefulness which is represented by the blue sky and calm waters. It could also be to show the onlookers the divine love.

101. The Swing. Jean-Honoré Fragonard. 1767 C.E. Oil on canvas.

P/S: Rocco T: Atmospheric perspective F: It was for the personal use of the Baron, he requested that Fragonard paint him looking up his mistresses' dress as she was on a swing. This painting was very scandalous at the time shaping opinions about Fragonard and his painting style. C: Fragonard was asked to depict the mistress being pushed on a swing by a priest, however, Fragonard replaced the idea of a priest with her current husband. No painters at the time were willing to follow the request of the Baron because of the scandalous nature. Fragonard nonetheless was intrigued by the idea, and took the job. Fragonard uses dark blues and greens the only light is the blue sky above the trees. He paints an ironic scene because he hints that the women is pure by the color of her dress and the hat that she is wearing while she is allowing the man beneath her to look up her skirt. DT: Light and dark hues of colors, Ironic, intricate M: The painting was used to show the love the Baron had for his mistress however it also conveys the secretive nature of their relationship.

96. Fruit and Insects. Rachel Ruysch. 1711 C.E. Oil on wood.

P/S: Rococo in Reniassance T: Chiaroscuro, bright colors, C: During this time period, the Reniassace was at its peak and many artists were challenging the accepted styles and reinventing the way most art was portrayed at the time. This led to a use of more vibrant colors and uncommon subjects that is visible in this are work. DT: organic, realistic, M: There is no definite meaning behind this painting, however, many art critics have speculated that it has subliminal meaning regarding decay and unnatural occurances, that stems from the unorganized and chaotic nature of the subject, the fruit. Another possible meaning could be the slow beauty of decay which originates from her first hand experience with the taxonomy and floral arrangements her father used to work with to inspire this sense of deterioration through her work.

111. Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On). Joseph Mallord William Turner. 1840 C.E. Oil on canvas.

P/S: Romantic T: impasto (laying paint quickly so it stands） F: To show the horror of the slave trade around the world C: Response to a 1783 occurrence where the captain of a slave ship threw sick and dying slaves overboard so that insurance could be collected on them because insurance could not be collected if the slaves died on board. DT: Dark, rough, hectic, vast M: This painting shows that slavery is unjust and cruel. It also communicates the vastness of nature, compared to which humans are insignificant, which was common in Romantic art.

108. Liberty Leading the People. Eugène Delacroix. 1830 C.E. Oil on canvas.

P/S: Romanticism A: Eugene Delacroix OL: Paris, France F: Commemorates the July revolution of 1830 and depicts people from all social classes following and fighting for liberty (The woman). C: The woman appears to be the focal point, holding a musket and the French flag, and represents liberty. She motivates the people of all social classes and fight together for the same social order: freedom and justice. The painting is therefore known to be the first political of modern painting DT: Optimistic, courageous, violence, beauty, determined, freedom M: Liberty is depicted as a robust, powerful, and majestic woman being followed by revolutionaries. Overall, painting is very emotional and has an optimistic and romantic atmosphere. The feminine image represents the best of what society had to offer and portrays an allegoric presence

112. Palace of Westminster (Houses of Parliament). London, England. Charles Barry and Augustus W. N. Pugin (architects). 1840-1870 C.E. Limestone masonry and glass.

P/S: c. 15th century/Gothic T: highly decorative exterior, large windows F: Place of meeting, work or ceremony for the English Parliament and Monarchy C: Although the modern day Palace of Westminster was built in the nineteenth century, after the original building was mostly burned down in the fire of 1834. In 1835, a royal charter requested the rebuilding of the palace. DT: massive, powerful, elegant, traditional M: The Palace of Westminster is built in the gothic style. The neo-classical style, which was widespread at the time, was ruled out of the contest because it represented revolution and change.

79. Allegory of Law and Grace. Lucas Cranach the Elder. c. 1530 C.E. Woodcut and letterpress.

P: German Renaissance Pa: leaders of the Protestant Reformation F: To be an influential image during the Lutheran Reformation C: The Law and the Gospel explains Luther's ideas in visual form, mostly about how heaven is reached through faith and God's grace. Luther disliked the Catholic idea that good deeds, what he called "good works," could play any role in salvation.

80. Venus of Urbino. Titian. c. 1538 C.E. Oil on canvas.

P:Late Renaissance CONTEXT: the painting would have originally decorated a cassone, a chest traditionally given in Italy as a wedding present DESCRIPTION: It depicts a nude young woman, identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. The Venus stares straight at the viewer, unconcerned with her nudity. In her right hand she holds a posy of roses whilst she holds her other hand over her genitals. In the near background is a dog, often a symbol of fidelity. Titian has domesticated Venus by movin

117. The Horse in Motion. Eadweard Muybridge. 1878 C.E. Albumen print.

PERIOD: Second Industrial Revolution TECHNIQUE: zoopraxiscope FUNCTION: example of Muybridge's photographic studies of the successive stages of human and animal motion CONTEXT: by this time, photography had become advanced and developed enough that it could then capture moments that were imperceptible to the human eye DESCRIPTIVE TERMS: while the horse was moving, the cameras snapped photos at evenly spaced points along a track, creating the effect that each photo occurred in sequence; Muybridge's work was presented using a device called a zoopraxiscope, which he invented to project the sequences of images onto a screen; with this, the illusion of motion was created by a physical fact of human eyesight called "persistence of vision" that caused viewers to see a rapid succession of different images merging into the next MEANING: along with his contemporaries, Muybridge's works portray reality as accurately as possible; specifically, Muybridge's photographs depict the sequential nature of processes normally imperceptible by humans

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

Period/Style: Baroque Period Patron: Louis XIV Function: To house royalty and serve as a place for the court to gather Context: During the 1660's, France was the leading European power Descriptive Terms: Grand, intricate design, symmetric Meaning: To serve as a symbol of absolute monarchy

121. The Coiffure. Mary Cassatt. 1890-1891 C.E. Drypoint and aquatint.

Period/Style: Impressionism- Original Location: France Function: Intaglio printing which was essentially Ukiyo-e printing allowed for her art to be made much cheaper, widening her audience Context: Japanese art greatly influenced many key European artists Descriptive Term: Voyeuristic, limited color palette, sharp lines Meaning: Coiffure is a word that would come up to describe a very extravagant woman which is a complete opposite from the print. This creates a sense of irony within the piece

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

Period/Style: Italian Renaissance Artist: Donatello Patron: Unknown - suspected to be Medici Family Original Location: Florence, Italy Material: Bronze Technique: Canon of proportions Function: to serve as a symbol for the city of Florence Context: Depicts the bible story of David and Goliath. David was a shepherd boy who defeated the great Goliath with a mere rock and sling, along with the help of God. The people of Florence believe, like David, they defeated their enemy of Milan with the help of God. Descriptive Terms: Symmetric, proportional, free standing Meaning: The meaning is still disputed among scholars. Interpretations include the portrayal of homosocial values in Florence to Donatello's effort in making a new style of male nudes.

107. La Grande Odalisque. Jean-Auguste-Dominique Ingres. 1814 C.E. Oil on canvas.

Period/Style: Romanticism Artist: Jean-Auguste-Dominique Ingres Function/Meaning: It functions to convey brutal operations performed by French for colonization purposes which is displayed by the subject's distant and even aloof look in her eyes. Context: At the time France was expanding its colony in Africa and and Near Eastern possessions which increased people's interest in exoticism and recalled a sense of aggression. Descriptive Terms: Distorted, sensuous, fantastical, distant, aloof, smooth

74. Adam and Eve. Albrecht Dürer. 1504 C.E. Engraving.

Period/Style:Northern Renaissance F: Dürer's fascination with ideal form is manifest in Adam and Eve. The first man and woman are shown in nearly symmetrical idealized poses: each with the weight on one leg, the other leg bent, and each with one arm angled slightly upward from the elbow and somewhat away from the body. Context: Under the influence of Italian theory, Dürer became increasingly drawn to the idea that the perfect human form corresponded to a system of proportion and measurements. Near the end of his life, he wrote several books codifying his theories Descriptive Terms: Dürer was a complete master of engraving by 1504: human and snake skin, animal fur, and tree bark and leaves are rendered distinctively. The branch Adam holds is of the mountain ash, the Tree of Life, while the fig, of which Eve has broken off a branch, is the forbidden Tree of Knowledge.

115. Olympia. Édouard Manet. 1863 C.E. Oil on canvas.

Period/style: Realism Function: to portray reality as opposed to academic art Context: during this time, paris was conflicted with corruption. This painting highlighted corruption, racism, as well as a conceptual understanding of life at this time. Descriptive terms: contrast, hues, ordinary, cool indifference Meaning: You are supposedly witnessing this moment, portrayed by the shocked cat. Olympia is a high-end prostitute who is unashamed of her position in life. This painting goes against stereotypes of every day people and everyday life- portrayed in an ordinary setting, an apartment.

73. Last Supper. Leonardo da Vinci. c. 1494-1498 C.E. Oil and tempera.

P：High Renaissance Dscrip : Jesus Christ is having a final meal with his Twelve Disciples and announced that one of the apostles will betray him - The objects depicted in the painting are mostly organic although the place the subjects are in is geometry. Because the painting is in a bad condition, it looks rough and the colors appear very dull and low in contrast Design : The painting symmetrical and the focal point is Jesus Christ in the center. Interpretation : The three windows behind Jesus Christ and the Twelve Disciple in three groups of four are said to be symbol of Holy Trinity. Bright windows also represent paradise, which can be only reached through Christ. The window in behind the Jesus's head is also meant to be a halo. The crowded table makes the painting more vibrant and energetic while such spacelessness separates our world from that of Jesus Christ. Jesus is also in an equilateral triangle which is characteristic of Neo-Platonism

SURREALISM 1924-1940s

Surrealism was the 20th century art movement that sought to liberate creativity from the limitations of rational thought by exploring the hidden depths of the 'unconscious mind'. The Surrealists rejected the rational world as, in the words of André Breton, 'it only allows for the consideration of those facts relevant to our experience'. They sought a new kind of reality that was informed by the insights of the 'unconscious mind'; a heightened reality that was only achievable in a world of dreams and the imagination.

HELLENISTIC 323-30 BCE

The work from the Hellenistic period became even more emotional, displayed more dramatic movement, explored a greater range of themes and the modeling, and became even more realistic.

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

p/s: Italian baroque Pa: Fredrico Cornaro C: This sculpture was commissioned for Cardinal Cornaro for his burial site. He wanted this sculpture made to show the religious workings of God through people DT: emotive, lighting, enhanced M: Theresa has an encounter with God, seen in the way that light is placed perfectly on her body. Sensual and spiritual aspect of the religion. T: sculpture

THE AFRICAN ART 1100-1980

rt of Africa constitutes one of the most diverse creations, owing to the large amounts of independent societies and civilizations, each with its own artistic culture. African art also includes art by African Disporas, such as African Americans. Characteristics common to most art from African culture include: emphasis on human forms, visual abstraction (as opposed to naturalistic representation), sculpture emphasis, three-dimensional qualities, and nonlinear scaling.

ANCIENT GREEK c. 850-323 BCE

-The overall look of Geometric art is highly reminiscent of the Mycenaean and Cycladic styles. -It is a reflection of a new willingness to depict the mortal human, rather than the divine, in their art. The Archaic figures begin to move and show expression. -The Classical period is know for its use of "contrapposto": The figure's hips and shoulders are aligned in opposite angles to create the most naturalistic, relaxed muscular position.

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

N: 15. Seated Scribe D: 2620-2500 BCE P/S: Old Kingdom A: Unknown Pa: Unknown OL: Saqqara, Egypt M: Painted Limestone T: Shaped Limestone F: Signify the high social status of scribes C: It shows how scribes were general wealthy and and respected members of society DT: Egypt, Limestone, Jewels, Saqqara, Old Kingdom, Scribe, and Wealth M: Scribes had to go through extensive training in order to become one and were respected by the level of work that they went through.

158. Silver and gold maize cobs. Inka. c. 1400-1533 C.E. Sheet metal/repousee, gold and silver alloys.

N: 158. Silver and Gold Maize Cobs D: 1400-1533 CE P/S: Incan Art A: Unknown Pa: Unknown OL: Inca Region M: Gold and silver alloys T: None F: The silver and gold cobs display the important resources of the area. C: The Andes region is very rich in precious minerals and used these items to decorate their possessions to display their wealth. DT: Inca. Gold, Silver, Cobs, Andes, Wealth, Power, Minerals, Resources M: The Incas had a very powerful dynasty until their fall to the Spanish Empire and these show the extraordinary wealth that the Incas owned and the immense control they had over their region.

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

N: 161. Machu Picchu D: 1450-1540 CE P/S: Incan Art A: Unknown Pa: Unknown OL: Machu Picchu, Peru M: Granite T: Incan Art F: It was built as an estate for the Incan emperor Pachacuti. C: The Incan emperor used this city as a royal retreat for holiday and as a luxurious place to hold meetings with foreign dignitaries. DT: Machu Picchu, Granite, Inca, Lost City, Royal Retreat, Pachacuti, Luxury M: The city of Machu Picchu was used to show the raw power and influence over the area that they controlled.

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

N: 164. Transformation Mask D: Late 19th century P/S: North American Art A: Kwakiutl Tribe Pa: Unknown OL: Northwest coast of Canada M: Wood, Paint, and String F: The masks were used for storytelling usually and also for rituals. C: The animal outer could be opened to show a human face which helped in storytelling as many dealt with animals. DT: Transformation, Mask, Animal, Storytelling, Myths, Wood, Paint, North American, Canada M: The people would transform into the animals that their masks depicted which helped add into the depth of the story.

EAST ASIAN ART

-Art in China dates back as far back as 10,000 BC, comprising of sculptures and simple pottery. Following this period was a series of art dynasties, each lasting as long as a few hundred years. Art in the Republic of China in Taiwan and other overseas Chinese communities can be considered Chinese art because they originate from the culture and heritage of China. -It ranges a variety of styles, including ancient pottery, wooden and bronze sculpture, and inked silk or paper.

EGYPTIAN 3100-332 BCE

-Extremely symbolic and representing a divine power, Egyptian artwork was often sculptural, or painting in relief. -Gods were portrayed as combinations of animal forms or natural elements, hieroglyphs were often incorporated in the artwork, and the canon of figures was formulaic with the intention of showing as much of the figure as possible. -The focus of art was on representing an un-earthly being, rather than representing reality. -The cycle of life and death was an undercurrent to every work of art created during this time period.

ROMAN 300 BCE-476 CE

-Inspired by the Greeks, Roman artists were extremely interested in perspective and foreshortening. -The city of Rome reflects the ambitions of a powerful empire through the continuous construction and development of monumental sculptures.

MESOPOTAMIA 3500-500 B.C.E.

-Mesopotamian art was intended to serve as a way to glorify powerful rulers and their connection to divinity -Art was made from natural resources such as stone,shells, alabaster and marble, and was often created as didactic pieces. -pieces were meant to embody the subject matter, rather than the creator.

PREHISTORIC 30,000-2500 B.C.E.

-Popular theme of fertility, food, basic human figures, and animals -Prominent use of megaliths, lintels. etc -Mostly cave paintings or portable figurines -Popular material: stone

ETRUSCAN

-The Etruscans enjoyed their wealth and the art reflects their sophisticated tastes. Sarcophagi, jewelry, sculptures and rock-cut chambers are defining works for the Etruscan time period. -The typical Etruscan style focuses on body gestures to communicate an idea, rather than on perfect and idealized form.

ISLAMIC, HINDI, AND BUDDHIST ART

-This category encompasses art produced in the seventh century and onwards by people residing in places inhabited or ruled by culturally Islamic populations. Islamic art does not necessarily include only religious art. It also includes elements from other aspects of Islamic society. Some Islamic theologians actively discouraged secular elements in art. -Indian art originates from India in the 3000 BC, ranging towards present time. Compared to Western art, Indian art is more ornate and sensuous. Strong design is characteristic of Indian art both in ancient and modern times.

21. Mortuary temple of Hatshepsut. Near Luxor, Egypt. New Kingdom, 18th Dynasty. c. 1473-1458 B.C.E. Sandstone, partially carved into a rock cliff, and red granite.

Attribution: Motuary temple of Hatshepsut. Near Luxor, Egypt. New Kingdom, 18th Dynasty. Circa 1473-1458 B.C.E. Sandstone, partially carved into a rock cliff, and red granite. Context: Constructed by Hatshepsuts royal architect Senenmut, the Motuary temple of Hatshepsut also known as Djeser-Djeseru ("Holy of Holies"). Hatshepsut initially ruled as regent for her step son Thuthmosis III but promoted herself to the role of pharaoh instead of passing power to him when he came to age. The temple is three stories high dedicated to her burial area, devoted not only to her funeral cult, but also to the cults of Amon and of other gods. Thus, guardians have been arranged on each story. The central ramps lead to the second and first terraces, the walls are supported by a row of square pillars. A statue of Horus as a falcon stands at each side of the entrance to the ramp. The bottom columns end with both sides depicting huge Osiris statues of the queen. The Hathor Chapel is found on the south side of the second level and the Anubis chapel is found to the north end of the second colonnade. The birth colonnade is on the right hand side of the ramp to the third level. At the birth colonnade, inscriptions written on the walls depict Hatsheptut's divine birth. Media-size: Made out of Sandstone and red granite. 97 feet tall x 121 feet wide

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

Attribution: Doryphorus (Spear Bearer). Polykleitos. Original 450-440 B.C.E. Roman copy (marble) of Greek original (bronze). Context: The original was sculpted by the Greek sculptor Polykleitos. His wish was to create a sculpture encompassing the perfect balance and proportions of the human body. Doryphorus depicts a warrior going out to battle. He can be seen as an idealized version of a Grecian man- the type of man that people idolize and strive to be but can never reach. The original sculpture has never been uncovered; many suspect that it had been destroyed. The piece lives on through the multiple marble copies made by other sculptors. There are copies currently housed in the Minneapolis institute of Arts, the Munich Museum, and more. Media: The sculpture is 213 cm long; ratio of head to body is 1:7. The original Greek sculpture was carved from bronze. The many copies were mainly carved from marble.

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

Attribution: Standard of Ur from the Royal Tombs at Ur (modern Tell el-Muqayyar, Iraq). Sumerian. c. -2600 2400 B.C.E. Wood inlaid with shell, lapis lazuli, and red limestone. Media: This piece has two sides. The end panels are covered with figurative and geometric mosaics which are made of: pieces of shell, lapis lazuli, and red limestone set into bitumen. Size: 8.5 Inches high by 19.5 Inches long Context: The mosaics represent life in early Mesopotamia. One side represents the "War Side" (which shows the defeat of some unknown enemy) while the other is the "Peace Side" (which shows the bounty of the land). This narrates a story from the bottom to the top. For example, the top register on each side depicts a king, who is larger in scale than the other figures (it represents/symbolizes his power). The Standard shows the two most important roles of an early Mesopotamian ruler: the warrior (protects people and secured access to water and natural resources) and the leader (served as an intermediary between the people and the gods.) Current location: The Standard of Ur is currently at the British Museum.

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

Context:It was discovered in 1960s, and it is one of the earliest known Pacific works of art from 3500 years ago. Although function of such artifact is unknown, considering that Papuan's ancient mortals and pestles were in forms of birds, this ambum stone might as well be a pestle. However, this ambum stone has advanced level of figurative qualities than other pestles so other possibility is that it my have served as a sacred object. To support this, the ambum stone especially assembles a long-beaked echidna which is considered sacred and perceived with supernatural powers by present day people of the region where they are used as spirit stones in sorcery and other rituals Media:Greywacke Stone Size:20.0cm height x 7.50cm width x 14.0cm depth

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

D: 2490-2472 B.C.E P/S: 4th Dynasty Royal Sculpture A: Unknown P: None OL: Menkaura Valley Temple M: Greywacke T: Greywacke F: He represents the epitome of kingship and ideal human form. She represents the ideal female form. C: Both figures represent the ideal form for both genders. DT: Vertical Grid, counter balancing horizontals, stiff, artificial posture. M: Hs broad shoulders, taut torso, and muscular arms and legs, all modeled with subtlety and restraint, convey a latent length. In contrast, her narrow shoulders and slim body, whose contours are apparent under the tight fitting sheath dress, represents the Egyptian ideal femininity. As in standard for sculptures of Egyptian men, his left foot is advanced, although his weight remains on the right foot. Egyptian females are shown with both feet together. Although they stand together sharing a common base and back slab, and she embraces him, they remain aloof and share no emotion, either with the viewer or each other.

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

DATE: 6th century BCE PERIOD/STYLE: Classical Greece ARTIST: organized by Peisistratos (r. 567 - 521 BCE) PATRON: Peisistratos ORIGINAL LOCATION: along the main road in Athens, the Panathenaic Way, northwest of the Acropolis MATERIAL: marble TECHNIQUE: carving of marble to the precision and excellence characteristic of Greek architecture FUNCTION: serve as the center of political and public life in Athens CONTEXT: Peisistratos, during his reign, attempted to assert his tyranny over Athens; this is exemplified by his destruction of the primitive Agora in another part of the city and the construction, he ordered, of a new Agora in the center of the city DESCRIPTIVE TERMS: was a large, open area surrounded by buildings of various functions, all utilized for commercial, political, religious, and military activity; buildings included the Peristyle Court, Mint, Strategeion (where Athenian generals convened), and multiple temples dedicated to the Olympian deities, with individual temples for Ares, Zeus, Apollo, and Hephaestus MEANING: The destruction of private homes, along the general construction of the new Agora served as a political statement to strengthen and consolidate Peisistratos' political influence before assertion of his tyranny. Also, the expansive range of temples to the Olympian gods and goddesses, as well as the Agora's relative proximity to the Acropolis, displays the cultural significance of the Greek religion. Furthermore, the central positioning of the Agora along the main road of Athens was a shrewd decision by Peisistratos, as it further supported his political legitimacy by displaying that the Agora was both a literal and figurative "heart" of the city-state

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

Date: 1353 BCE Period/Style: Egyptian Artist: Unknown Patron: Akhenaton Original Location: Amarna, Egypt Material: Painted limestone Technique: Sunken relief Function: Depict a family portrait possibly capturing a joyous moment from Akhenaton Context: Family of Akhenaton are basking in the sun rays of Aton, the sun god that Akhenaton makes up. He is also noted for leaving behind traditional Egyptian polytheism. Instead he encouraged worship around the god Aton. He attempted to leave the traditional religion, but not accepted. Descriptive Terms: Sunken relief, iconography Meaning: In the piece the depiction of the 2 larger human subjects create a sense of a couple, their relationship, and their domestic love. The piece also suggests that god is present. By looking closely into the sun, a cobra can be seen which is the symbol for a supreme deity, the only deity showing his monotheism during this time period. The ends of the suns rays near the 2 larger human subjects have hands on the end, this is a way live life to the people. Therefore giving them the breath of life. In the sculpture a very intimate moment was depicted; as Akhenaton makes a motion for his daughter to kiss him while Nefertiti is holding the other 2 children in the picture. Lastly, by including the whole family, the unknown artist is able to show that they would be ruling Egypt together.

186. Great Mosque (Masjid-e Jameh). Isfahan, Iran. Islamic, Persian: Seljuk, Il-Khanid, Timurid and Safavid Dynasties. c. 700 C.E.; additions and restorations in the 14th, 18th, and 20th centuries C.E. Stone, brick, wood, plaster, and glazed ceramic tile.

Date: c. 700 C.E Artist: Nizam al-Mulk Original location: Isfahan, Iran. Materials: Stone, brick, wood,plaster, glazed ceramic title. Function: To represent the Seljuk's powerful empire Context: In 1051, Isfahan became the capital of the Seljuqs, who arrived in Khwarazm and Transoxiana from central Asia in the eleventh century. Defenders of Sunnism, they aimed at the restoration of the Abbasid Caliphate. The conquest of Isfahan by Tughril Beg elevated the city's status, which was manifested in the rich architectural projects representing the Seljuk's powerful empire Descriptive details: The two towers flanking the southern iwan (a vaulted open room) and the large domes on the north and south rising above the horizon of Isfahan's silhouette and serving as visual landmarks. Meaning: The Seljuks wanted the world to know how powerful they were. Period/Style: Timurid and Safavid Dynasties Technique: architectural expression of the Seljuk rule in Persia (1038-1118).

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

N: 44. Roman Coliseum D: 70 AD P/S: Roman Empire (Roman Amphitheatre) A: Multiple Authors Pa: Emperor Vespasian ( From Spoils of war after conquest of Jerusalem) OL: Rome, Italy M: Limestone, Concrete, Tuff, Tiles, Mortar T: Use of concrete, elaborate support pillars F: Source of entertainment for the roman peoples C: Used as a place for entertainment for the peoples of Rome after the successful conquest of Jerusalem. DT: Ionic, Doric, Corinthian, Tremendous, Concrete, Mortar, Circular, Tunnels, Hypogeum, Arena M: Romans believed that in order to keep the people happy you had to give them "Bread and Circus" and this was their way of supplying the people with entertainment("Circus").

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

N: Acropolis (The Parthenon) D: 447-424 B.C.E P/S: Height of Athenian Power/ Classical Greek Style A: Iktinos and Kallikrates Pa: Goddess Athena (deity built for) OL: Athens, Greece in the small fortress on top of the hill. M: Marble stone T: Ionic columns, elaborate friezes, religiously biased art, scale of construction, vertical columns and horizontally placed slabs of rock. F: Religious Temple to worship Athena (goddess of wisdom) C: During this time period Athenian power was at its strongest so they built structures to demonstrate this control and dominance. Just before introduction of Roman style on a large scale, so was able to keep from Roman style influences. The temples design was made to give it a heaven on earth feel, Gods and humans at same level, empowerment. DT: grand, religious, equal, balance, solid M: Its grand stature can be contributed to the period in which it was built because during 500-400 B.C.E Athenian power was at its peak and this is one of the many landmarks that demonstrated this power. This temple is also very significant because it was dedicated to the Athena, the Greek goddess of Wisdom. This luxurious temple is completely made out of marble and features simple stylistic techniques, such as vertical columns with horizontally laid stone to show balance and equality. Also there is a very unique and technical design on the horizontally laid stone which was most likely placed on there to give the temple a grand and unearthly feeling (to make it feel suitable for only the gods).

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

N: Apollo 11 Stones D: 25,500 - 25,300 B.C.E P/S: Patheolic Era A: Bushmen indigenous people PA: Unknown OL: Nile River M: Stone, charcoal, and ocher T: Rock painting F: Depict daily life C: Homo sapiens at the time were able to create symbolic art and have the capacity to percieve abstract art DT: Hand painted M: Drawing of an animal the person encountered

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

N: Augustus of Prima Porta D: AD14 - AD 37 (real date unknown) P/S: Early Roman Empire. Classical Greek A: Unknown. Pa: Emperor Augustus. OL: Unknown (found in his wife's villa at Prima Porta). M: White marble. T: Marble sculpture. F: Used to send a political message and spread propaganda for the emperor. C: Original was dedicated to Augustus by the Senate and placed in a public place, probably to help spread support for him. Augustus was old at the time be he was portrayed as a young man in order to help strengthen his political message. Cupid was depicted at Augustus's feet to show his divinity. (Cupid was the son of the God Venus from whom Augustus's family was supposed to be descendants of). DT: Organic shapes and lines, extremely detailed, and roughly symmetric except for Augustus's raised arm and cupid at his feet. M: The meaning of this work was to spread Augustus's image in order to gain the support of the people.

189. Bahram Gur Fights the Karg, folio from the Great Il-Khanid Shahnama. Islamic; Persian, Il'Khanid. c. 1330-1340 C.E. Ink and opaque watercolor, gold, and silver on paper.

N: Bahram Gur Fights the Karg D: c. 1330-1340 C.E. P/S: 1256-1353 C.E. / Ilkhanid (Persia) A: Sultan Muhammad Pa: Shah Tahmasp OL: Tabriz, Iran M: Ink, watercolor, silver, and gold on paper T: painting F: To help illustrate the story of the Shahama (Book od Kings), a famous epic poem, and to show the power of the Iranian king Bahram Gur. C: The folio was a part of the Great Il-Khanid Shahama. The king Bahram Gur is depicted slaying a horned wolf. This painting shows the vibrant cosmopolitan nature of Ilkanid society because it not only shows the king wearing material from Europe, it is painted using Chinese styles. DT: dark, intimidating, hectic, noble M: Bahram Gur Fights the Karg shows the power of the Iranian kings and of the Ilkhanate.

188. Basin (Baptistère de St. Louis). Muhammad ibn al-Zain. c. 1320-1340 C.E. Brass inlaid with gold and silver.

N: Basin (Baptistere de St. Louis) D: c.1320-1340 C.E. P/S: Middle Ages A: Muhammad ibn al-Zain PA: Believed to be made for Mamluk a court official named Salar as a gift for his sultan but there is no inscription to identify him as so. OL: Egypt M: Brass inlaid with gold and silver T: Engraved silver inlay and gold leaf F: Used in 18th century France as a baptismal font for several royal children. C: Used to baptize Louis XIII of France which led to its naming. DT: Gleaming, story, metallic, intricate M: To depict life and possibly specific events in the artists time period and region

182. Buddha. Bamiyan, Afghanistan. Gandharan. c. 400-800 C.E. (destroyed in 2001). Cut rock with plaster and polychrome paint.

N: Buddha D: c. 400-800C.E. (destroyed by Taliban in 2001) P/S: Gandharan A: Kushan people of Gandhara PA: Unknown OL: Bamiyan, Afghanistan M: Cut rock with plaster and polychrome paint T: Carved out of cliffs F: To represent the Buddha to his people in that region. C: Created in front of several, until recently, unknown cave paintings DT: Powerful, aweing, majestic, desert M: To showcase the Buddha in all his glory to his followers.

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

N: Camelid Sacrum in the Shape of a Canine D: 14,000-7,000 B.C.E P/S: Prehistoric A: unknown Pa: unknown OL: Tequixquiac, central Mexico M: Camelid bone Sacrum T: no known technique, however it was carved F: The function has been discussed over the years the most likely reason of the carving is for religious reasons wanting to respect the animals around them (just speculation). C: This work was very significant for this region and this time period because it was one of the first known works of art. As well it showed that the people living in this region had started too developed intellectually and were aware of the surroundings around them. The inhabitants were interacting with the animal's native to their area. DT: The bone is a Camelid Sacrum, which is a bone located at the base of the spine or near the pelvic area of an animal that is in close relation to a Camel. M: As said before there is much speculation on meaning of the art work for example, people believe it may have been used as a hunting mask, as well as religious reasons.

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

N: Catacomb of Priscilla D: c. 200-400 C.E. P/S: Late Antique Era/ Christian iconography and fresco style wall art A: Unknown Pa: None OL: Rome, Italy ( still located at same location) M: Paint on Roman conrete walls and groin vaults T: Organic lines, Symmetrical balance, Rhythm, Symbollic Pictoral objects F: Served as a burial site for significant individuals of the church, and was used to promote the Christian belief in life after death and salvation granted by Jesus Christ through the wall frescoes in the catacombs. C: Religious art workwas placed in these catcombs in order to express their belief of life after death. It was also used as a reminder and a warning to those who saw the dead bodies that the Christian religion offers salvation to those who believe and participate in its sevices. Finally some of the frescoes serve as important historical indicators that Jesus Christ was a real man who lived on this earth, with the oldest image of the Virgin Mother Mary residing in these catacombs we are given a view of the non-divine side of infant Jesus breast-feeding from his mother, further reinforcing the Christian belief that Jesus was God's son incarnate on earth. DT: simple, two-dimensional, religiously based theme, soft and organic lines. M: The meaning behind this is caused by the religious affiliation and demonstrates important events in biblical scripture. This leads to the more explained and religiously represented bond between religious beliefs and burial rituals due to the images depicted at a bural site. The images in the catacombs are believed to represent core Roman Catholic belief that through strong dedication to the religion those who have died can move on to heaven, so they would want to be buried somewhere with religious meaning (shown by the frescoes) further leading to the reason for building the catacombs.

153. Chavin de Huantar. Northern highlands, Peru. Chavin. 900-200 B.C.E. Stone (architectural complex); granite (Lanzon and sculpture); hammered gold alloy (jewelry).

N: Chavin de Huantar D: built around 1200 B.C. P/S: Chavin Art A: Chavin civilization Pa: no specific patron OL: Ancash region, Peru M: stone T: N/A F: religious site and the capital of the Chavin civilization C: Used for a religious center for ceremonies and events. However, its main functions changed as time pasted. DT: stone, rigid, organized, functional M: no specific meaning

185. Dome of the Rock. Jerusalem, Palestine. Islamic, Umayyad. 691-692 C.E., with multiple renovations. Stone masonry and wooden roof decorated with glazed ceramic tile, mosaics, and gilt aluminum and bronze dome.

N: Dome of the Rock D: 687-692 C.E P/S: Islamic/Umayyad A: Caliph Abd al-Malik P: Caliph Umar I OL: Jerusalem M: Gold dome, marble interior T: Islamic architecture F: Marks the coming of new religion to the city, sacred to both Jews and Christian C: First dome shrine built, during crusade became Christian shrine before returning to Islamic hands. DT: Persian tiles on the exterior and marble slabs interior, octagonal plan M: Represents a symbolic statement to both Jews and Christians of the superiority of the new faith of Islam.

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

N: Great Altar of Zeus and Athena D: c.175 BCE p/s: Hellenistic A: Unknown P: Unknown OL: Pergamon, Asia Minor (present-day Turkey) M: Marble T: Colonnades, portrait sculptures F: Honor the Greek victories against barbaric warriors. Also a place of sacrifice C: The Greeks finally won countless victories against barbarians. DT: Godly, heroic, ideal, adventure; victorious M: The frieze sculptures show the fight of the gods (Greeks) and the giants (barbarians). Zeus defeats mother Earth, Gaia, which symbolizes the end of matriarchy government and culture. The win also represents a switch of a barbaric world to a more civilized one.

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

N: Great Pyramids and Great Sphinx of Giza D: c. 2550 B.C P/S: Old Kingdom A: Citizens of Giza, Egypt PA: Pharaoh Khufu, Pharaoh Khafre, Pharaoh Menkaure OL: Giza, Egypt M: Soapstone T: Carved out from rock, construction F: To honor the pharaohs C: Created to honor the pharaohs and display their political power DT: Sculpture, Architecture M: To represent the enudrance of the land and the people of Giza throughout the invasions and times of trouble

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

N: Great Serpent Mound D: c. 1070 C.E. P/S: Mississippian (Eastern Woodlands) A: Unknown Pa: Unknown OL: Adams County, southern Ohio M: Earthwork/effigy mound T: Making mounds in the shape of a snake F: To direct spirits of the dead from burial mounds and subsurface graves to the North; Used to help understanding of astrology. Aid the natives during battle. C: The native people during this time were extremely spiritual and would believe that this Great Serpent would heal and even give them strength to have an advantage over other tribes. DT: Huge, spiritual, mounds, effigy, snake M: Unknown; believed to be a representation of the constellation Scorpio

165. Hide painting of Sun Dance. Attibuted to Cotsiogo (Cadzi Cody), Eastern Shoshone, Wind River Reservation, Wyoming. c. 1890-1900 C.E. Painted elk hide.

N: Hide painting of Sun Dance D: c. 1890-1900 C.E. P/S: Eastern Shoshone A: Cotsiogo (Cadzi Cody) Pa: N/A OL: Wind River Reservation, Wyoming M: Natural pigments like red ochre or chalk on deer hide. T: Free-hand painting, stenciling. F: Functioned to record history. C: Natives in this area were nomads and therefore relied heavily on the abundance of animals for their survival, in an effort to get more resources they honored and praised their deity's. DT: Deer hide, pigment, colorful, M: The Sun Dance was done to honor the native's main deity, it was performed to show appreciation for the resources they found on Earth and so that resources would keep being abundant.

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

N: Innermost Coffin of Tutankhamun D: ca. 1323 BCE P/S: New Kingdom (Amarna Style) A: unknown Pa: unknown OL: The Valley of the Kings, Egypt M: beaten gold and inlaid with semiprecious stones such as lapis lazuli, turquoise, and carnelian T: made of wood, which was then heavily decorated on the outside with both paint and gold leaf F: During the 18th Dynasty the outer sarcophagus enclosed a series of inner coffins, the last of which would contain the royal mummy of the Pharaoh. The purpose of the King Tut sarcophagus was therefore the external layer of protection for the royal mummy of Tutankhamun. C: Was perfectly preserved when found in 1922. The coffin gives people insight on Ancient Egyptian burial customs, and expresses Egyptian power and affluence. Have influences of traditional ancient Egyptian art and of the Amarna style. DT: anthropoid (resembling human), ethereal, detailed, smooth M: It was sculpted in the image of Tutankhamun as Osiris, the god who presided over the judgment of the dead. He carries a crook and flail (worn by the god Osiris and the pharaoh), and wears the royal beard and a nemes head cloth - pharaohs wanted to imitate gods to connect to them and be like them. On either side of him, Isis and Nephthys spread their wings in a protective embrace

184. Jowo Rinpoche, enshrined in the Jokhang Temple. Lhasa, Tibet. Yarlung Dynasty. Believed to have been brought to Tibet in 641 C.E. Gilt metals with semiprecious stones, pearls, and paint; various offerings.

N: Jowo Rinpoche D: Brought to Tibet in 641 C.E. in the Yarlung dynasty P/S: Buddhist art A: Believed to be the celestial artist, Vishvakarman PA: Unknown OL: Made in India but now enshrined in the Jokhang temple. Lhasa, Tibet. M: Gilt metals with semi-precious stones, pearls, paint and various offerings T: Cast and filled with sacred relics F: Was a dowry of Queen Wengcheng for her marriage to King Songtsen Gampo in Tibet brought from China. C: Believed to be personally blessed by the Buddha to have the ability to grant your deepest wishes and quicken your path to enlightenment. It is Tibet's most treasured religious artifact. DT: Grand, luxurious, bejeweled, worshiped, blessed M: To represent the glory of the Buddha Siddhartha Guatama

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

N: Lamassu from the citadel of Sargon II D: c. 720-705 B.C.E. P/S: Neo-Assyrian A: Unknown Pa: Assyrian rulers OL: Dur Sharrukin, modern day Iraq M: Alabaster T: Alabaster carving. F: Lamassu were used to protect the city from evil spirits. C: During this time period Assyria was the most influential and powerful empire in Mesopotamia, they created lamassu to demonstrate their power and also to be protected by them. DT: Inorganic, spiritual, protective, strong, natural, hybrid M: Lamassu were placed at the entrance of Sargon II's palace to protect him from both spiritual and mortal enemies.

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

N: Ludovisi Battle Sarcophagus D: 250-260 AD P/S: Late Imperial Rome/Anticlassical A: Unknown Pa: Unknown OL: Tomb near the Porta Tiburtina M: Marble T: Drill work, figures out completely out of the background. F: Sarcophagus for burying a dead person. C: By the 3rd century burial of the dead was common and taking the place of cremation. DT: Intertwined, anticlassical, background-less, free-standing M: Meant to be a memorial of the battle between Romans and Barbarians, depicted the message of triumph over death.

154. Mesa Verde cliff dwellings. Montezuma County, Colorado. Anasazi. 450-1300 C.E. Sandstone.

N: Mesa Verde Cliff Palace D: 1150 - 1300 CE P/S: Southwest Native American art A: The Anasazi Pa: The Anasazi OL: Mesa Verde National Park, Colorado M: Sandstone, mortar, wooden beams T: The sandstone was shaped using harder stones and a mortar of soil, water and ash was used to hold everything together. F: It is thought that Cliff Palace was a social, administrative site with high ceremonial usage. It contains 200 rectangular rooms, mostly used for communal living. C: The Anasazi that constructed this cliff dwelling and others like it at Mesa Verde were driven to these defensible positions by "increasing competition amidst changing climatic conditions." Scattered in the foreground are large circular semisubterreanean structures, called kivas. These chambers were the spiritual centers of the Anasazi. Cliff Palace was abandoned by 1300; some believe a series of mega droughts interrupting food production systems is the main cause. DT: grand, monumental, unreal, natural world, rural, domestic M: The location was not accidental. The Anasazi designed Cliff Palace to take advantage of the sun to heat the pueblo during the winter and shade it during the summer.

203. Night Attack on the Sanjô Palace. Kamakura Period, Japan. c. 1250-1300 C.E. Handscroll (ink and color on paper).

N: Night Attack on Sanjo Palace D: Second half of the 13th century P/S: Kamakura Period A: Unknown PA: Unknown OL: Japan M: Hand scroll T: Ink and color on paper F: Serves to present the battle of the 1159 Heiji Rebellion C: leaders Fujiwara Nobuyori and Minamoto Yoshitomo staged the coup, kidnapping emperor Go-Shirakawa, and setting the palace on fire. DT: Chaos, destruction, inflamed, rebellious, disorder, confusion, pandemonium M: Inspired by interests of new national leadership and threats of foreign invasion

33. Niobides Krater. Anonymous vase painter of Classical Greece known as the Niobid Painter. c. 460-450 B.C.E. Clay, red-figure technique (white highlights).

N: Niobides Krater D: c. 460-450 B.C.E. P/S: 5th to 4th centuries B.C.E./Early Classical A: Anonymous Greek painter known as the Niobid Painter Pa: Unknown OL: Unknown M: Clay T: Red-figure F: Calyx kraters were used to dilute wine with water. C: The early Classical was characterized by the beginning of the development of motion, but the characters still retain some stiffness, evidence of previous times. This vase may have been influenced by the murals of the Greek painter Polygnotus, although this cannot be confirmed because all of Polygnotus's works have been lost. DT: Violent, military, contrasting, slightly stiff M: This krater shows the power of the gods. It shows that they were vengeful if humans boasted or insulted them but would aid the humans if the humans respected the gods.

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

N: Pantheon D:118-125 C.E. P/S: Roman A: ordered to be built by Emperor Hadrian Pa: Roman Gods OL: Rome M: Roman concrete and marble T: N/A F: served as a place to worship Roman Gods C: Created in order to replace the original Pantheon buil in 80 A.D. Used to show the power of the emperor and the importance of Roman Gods in Roman society. DT: symmetric and geometric, oculus, detailed and percise M: used as a place for worship of the Roman Gods

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

N: Temple of Minerva and sculpture of Apollo D: 510-500 B.C.E. P/S: Ancient Greek A: Architect unknown, Sculptor of statues: Master sculptor Vulca P: Unknown OL: Etruscan Society M: The Temple of Minerva and the sculpture of Apollo was built most likely from wood, mud, brick, or tufa (volcanic rock), and stone as the flooring. Because of the materials used the buildings didn't not serve the elements well. Leading to the destruction of all temples. T: Much of the technique used was described in, De Architecture by Vitruvius. The building laid on a thick stone layer with tufa, wood, etc., for the walls and roofs. This particular temple is the foundation that lead to the understanding of all similar temples. The building had to parts a wide room that contained columns then a back section split in to three parts. Many terracotta sculptors would line the buildings, evidently some of these sculptors did survive. F: A place of worship to the female Goddesses Minerva. This was a new style of worship to have a temple specific to the god or goddesses. C: No remaining Etruscan Temples all destroyed, however many assumptions are made about the layout of them. As well the Apollo statue although damaged did survive in good condition. DT: colorful, ornate, weak

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

N: Peplos Kore D: 530 B.C.E. P/S: Archaic period, Attica style A: Unknown, most likely a citizen of Greece P: Possibly the goddess Athena OL: Athens, Greece M: Marble T: Sculpture F: The most commonly believed function of the figure was to serve as a statue of the goddess Athena C: This figure was named after the characteristics that describe it. A Peplos is a Greek costume of rectangular clothe and a kore is a clothed, female figure. The figure is believed to be a representation of the Greek goddess Athens, and many examples prove this to be true - the sculpture was once fully painted, and the figure originally held a bow and arrows, both contributing to the possibility that the figure could have been a depiction of a goddess. Also, the fact that she is fully clothed and that the kore was a commonly sculpted figure during that period shows that women were hardly displayed in art as nude figures during that time. DT: Symmetrical balance shown through posture, organic, curvy lines, rough texture felt by the hardness of the marble, archaic smile suggests that she did not live in world full of emotion, but rose above that level to a more divine state of being. M: Strong evidence and analysis have shown that the Peplos Kore was probably a replication of the figure of the Greek goddess, Athens. The intended message behind the erection of this figure was to most likely promote the worship of this goddess and encourage the practice of the state religion throughout the area. The fact that a representation of a Greek goddess was incorporated into form of a kore, a standard female figure that was widely erected throughout Greece during the Archaic period, shows that the artist felt it quite necessary to make the goddess's presence felt throughout the region.

160. City of Cusco, including Qorikancha (Inka main temple), Santo Domingo (Spanish colonial convent), and Walls at Saqsa Waman (Sacsayhuaman). Central highlands, Peru. Inka. c. 1440 C.E. Sandstone.

N: Qorikancha (City of Cusco) D: 1200 AD A: Inca citizens Pa: It is said to have been constructed under the direction of the Inka ruler Viracocha about 1200 AD, and later embellished by the Inka Pachacuti OL: Cusco, Peru M: Built from large stone blocks finely cut and fitted together without mortar. The temple walls were lined with some 700 solid-gold sheets. T: Masonry F: It was the focal point of religious activities within the city Context: The religious complex of Qorikancha contained the Temple of the Sun which was not only the most sacred site in the Inca religion but was considered the very center of the Inca world. The site was also known as the Golden Enclosure and was dedicated to the highest gods in the Inca pantheon such as the Creator god Viracocha, the moon goddess Quilla and especially to Inti, the god of the sun. The Christian monastery of Santo Domingo was built on top of the complex in a deliberate attempt to signify that one religion had been replaced by another. DT: sacred, forgotten, ruins, elaborate , masonry M: The lay-out of the site, as seen from above, actually resembled a sun with rays shining out in all directions. These were the sacred ceque lines - physical and cosmic roads - of which there were 41 which led to an impressive 328 sacred sites. Cuzco itself was deliberately laid out to represent a jaguar and Coricancha was located at the tail. In typical Inca symmetry the second most important sacred site in the city - Sacsahuaman - was located at the head. Coricancha was also built where the city's two great rivers of Huantanay and Tullamayo met.

4. Running horned women. Tassili n'Ajjer, Algeria. 6000-4000 B.C.E.

N: Running Horned Woman D: 6000-4000 BCE P/S: Prehistoric Cave Painting A: unknown Pa: n/a OL: Tassili n' Ajjer, Algeria M: pigment on rock T: Cave painting F: to describe a ceremonial tradition or to identify a religious significant figure C: At this time, people knew little of their surrounding world, and relied on these religious deities to provide for their basic needs. It was found in a cave, so the artist(s) intended to protect the art which indicates it was valued. DT: organic lines used on the body, rough texture, large scale painting, no depth M: to show the significance of religion in early societies and the important the hunter gatherers played on society

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

N: Seated Boxer D: c. 100 B.C.E P/S: Hellenistic Greece A: Unknown Pa: Unknown OL: Discovered on the slopes of the Quirinal, Rome. M: Bronze statue inlaid with copper. T: Lost wax technique. F: Possibly made to be votive/dedicated by a victorious boxer. C: Rome had been conquered by Alexander the Great of Greece, after his death (Hellenistic Period) this art focused on realism. DT: Stiff, free-standing, rigid, ready, victorious, proportionate M: Votive demonstrating the appreciation for fighters which was a way of entertainment and distraction in Hellenistic Greece.

202. Shiva as Lord of Dance (Nataraja). Hindu; India (Tamil Nadu), Chola Dynasty. c. 11th century C.E. Cast bronze.

N: Shiva as Lord of Dance (Nataraja) D: c. 11th century p/s: Hindu (Chola Dynasty) A: Unknown P: Unknown OL: Tamil Nadu, India M: Cast Bronze T: Sculpting F: Praise Shiva C: Nataraja is a depiction of the god Shiva as the cosmic dancer who performs his divine dance to destroy a weary universe and make preparations for the god Brahma to start the process of creation. DT: Hindu, creation, reincarnation, bronze, loose, green, balanced, M: Nataraja combines a single image Shiva's roles as creator, preserver, and destroyer of the universe and conveys the Indian conception of the never-ending cycle of time. Shiva's dance is set within a flaming halo. The god holds in his upper right hand the damaru. His upper left hand holds agni. With his lower right hand, he makes abhayamudra. The dwarflike figure being trampled by his right foot represents apasmara purusha, Shiva's front left hand, pointing to his raised left foot, signifies refuge for the troubled soul. The symbols imply that, through belief in Shiva, his devotees can achieve salvation

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

N: Stonehenge D: 3000 B.C. P/S: Global prehistory (circular monument) A: Celtic Priests Pa: unknown OL: located in England M: Sarsen Stones T: Symmetry F: Used as a giant clock for the seasons most likely or could be an ancient burial site C: The rocks are lined up so on the summer solstice light shines right through the middle to display the time of year. DT: Stone, circular, pillars, symmetric, inorganic, burial ground, solstice, and religious. M: Their society was based on agriculture, so the knowledge of the seasons was crucial to their survival. Stonehenge served the same purpose as a sundial.

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

N: Templo Mayor D: 14th century P/S: Huastec Art/Post classic period of Mesoamerica A: Aztecs Pa: N/A OL: Aztec capital of Tenochtitlan M: stone T: N/A F: dedicated to both Huitzilopochtli, the god of war, and Tlaloc, the god of rain and agriculture. C: built as the main temple in the Aztec capital DT: large, complex, organized, symmetric M: used to worship the Aztec gods

40. Alexander Mosaic from the House of Faun, Pompeii. Republican Roman. c. 100 B.C.E. Mosaic.

N: The Alexander Mosiac D: c.100BCE P/S: Late Hellenistic A: Philoxenos of Eretrea(only believed to be) Pa: n/a OL: Pompeii, Italy M: Small mosaic tiles T: Tesserae mosaic F: To portray the Battle of Issus C: Made in the House of Faun which was the Largest house found in Pompeii. The house is thought to be built shortly after the Roman conquest of Pompeii and the mosaic proves the wealth and power of the most likely Roman ruling class inhabitant of the home.4 DT: Mosaic, Battle, Roman, Ruling class M: : It is believed to show the Battle of Issus between Alexander the Great and the Persian King Darius III in the year 333BCE

191. The Ardabil Carpet. Maqsud of Kashan. 1539-1540 C.E. Silk and wool.

N: The Ardabil Carpet D: 1540 C.E. P/S: Safavid Dynasty/Persian A: Unknown P: Shaykh Safi (Sufi leader) OL: Funerary mosque of Shaykh Safi al-Din, Ardabil, Iran. M: Knotted pile of wool and silk. T: Made on a loom, knotted. F: Decoration that is highly prized. C: Was a matching pair made for shrine of Safi al-Din Ardabil, enlarged in late 1530s. DT: Rich geometric patterns, scrolls, floral flourishes, golden medallion dominates carpet, cartouches (rectangular-shaped spaces for calligraphy) M: The design of the Ardabil carpet and its skillful execution is a testament to the great skill of the artisans at work in northwest Irain in the 1530's.

190. The Court of Gayumars, folio from Shah Tahmasp's Shahnama. Sultan Muhammad. c. 1522-1525 C.E. Ink, opaque watercolor, and gold on paper.

N: The Court of Gayumars D: c. 1522-1525 C.E. P/S: 16th century/ Safavid (Persia) A: Sultan Muhammad Pa: Shah Tahmasp OL: Tabriz, Iran M: Ink, watercolor, and gold on paper T: painting F: To help illustrate the story of the great king Gayumars and to display his fabled glory for a copy of the Shahama, a famous epic poem. C: The folio was a part of the Shahama of Shah Tahmasp, a collection of works from various artists to illustrate the epic poem by Firdawsi. The manuscript was later disassembled when it fell into the hands of the west and the pages were auctioned off separately. DT: colorful, light, airy, peaceful M: The Court of Gayumars shows the power of the first king of Iran, Gayumars.

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

N: The House of the Vetti D: c. second century B.C.E. rebuilt c. 62-79C.E. P. Imperial Roman A: Unknown Architects Pa: The Vetti Brothers (Aulus Vettius Conviva and his brother, Aulus Vettius Restitutus) OL: Pompeii, Italy ( Ancient Rome) M: Cut stone and fresco T: (wall paintings: first, second, third and fourth style) F: provide sheltering for the Vetti brothers (also serves as an example of daily life in Rome since the house was so well preserved) C: The house was built atop the remains of an earlier house that survives, in part, in the form of the wings (alae) and a doorway. The plan of the House of the Vetti has two large central halls (atria) and, significantly, lacks an office space (tablinum). Entry to the house was gained from the east by way of a vestibule that granted admission to the larger atrium. The stone-lined basin for collecting rainwater (impluvium) lies at the center of the atrium. DT: alae, atria, tablinum, impluvium M: To convey the wealth of the brothers

183. The Kaaba. Mecca, Saudi Arabia. Islamic. Pre-Islamic monument; rededicated by Muhammad in 631-632 C.E.; multiple renovations. Granite masonry, covered with silk curtain and calligraphy in gold and silver-wrapped thread.

N: The Kaaba D: 631 - 632 C.E. P/S: 476 - 1453 C.E. / Byzantine and Islamic Art A: It is believed by Muslims that Ibrahim and his son Ismail built the Kaaba, later modified by others Pa: rededicated by Muhammad OL: Mecca, Saudi Arabia M: Granite, covered in silk and cotton, gold calligraphy, and silver coated thread T: granite masonry and calligraphy F: This shrine marks the place of hajj (pilgrimage) for Muslims and the direction that they should pray in. Muslims who make the hajj walk around the Kaaba in hopes of touching the Black Stone C: The Kaaba has been modified throughout history by different rulers. Muhammad was exiled from Mecca in 620 C.E. but returned about 10 years later. When he returned, having rooted the religion of Islam elsewhere, he took Mecca and the Kaaba, destroying the pagan icons there. The Black Stone is said to be a gift from the angel Gabriel. The caliphs after him expanded the area and mosque around it to accommodate more people or to expand its functions. The silk covering, or kiswa, was added by the seventh century C.E. DT: geometric, dark, elegant, grand M: Shows the power of Islam and its perpetual nature.

24. Last judgment of Hu-Nefer, from his tomb (page from the Book of the Dead). New Kingdom, 19th Dynasty. c. 1275 B.C.E. Painted papyrus scroll.

N: The Last Judgment of Hu-Nefer D: c.1275 BCE p/s: New Kingdom, 19th dynasty; traditional Egyptian A: Unknown P: Hu-Nefer OL: New Kingdom of Egypt M: Vegetable gum painted on papyrus scroll T: twist perspective F: Final judgment of the deceased C: The Book of the Dead was a collection of funerary spells and prayers used in Egypt. Anubis is the god of embalming; Maat is the goddess of truth and right; Ammit devours sins; Thoth is the god who records preceedings. DT: Abstract figures; conservative; traditional; hieroglyphs M: Anubis leads Hu-Nefer into a hall of judgment. Anubis adjusts the scales to weigh Hu-Nefer's heart against Maat's feather. Ammit, half-lion and half hippopotamus, awaits the decision of the scales. Hu-Nefer is awarded eternal life from Thoth.

193. Terra cotta warriors from mausoleum of the first Qin emperor of China. Qin Dynasty. c. 221-209 B.C.E. Painted terra cotta.

N: The Terracotta Army D: 210 B.C.E . P/S: Qin Dynasty A: unknown craftsmen Pa: Qin Shuihuangdi OL: Xi'an province of china (Qin Shihuangdi's Tomb) M: Terracotta, soft clay, bronze (weapons), "yellow earth" (white grit, quartz sand, meia, feldspar) T: Kneading, carving, scraping, pasting, firing, glazing, coloring F: To protect the emperor in the afterlife (belief that inanimate object animate themselves in the afterlife) C: Placed in tomb with the emperor, all are facing away from the emperor and placed in linear, military formation. Proportion of figures were life like DT: proportionate, glazed, smooth, rigid M: Form of funerary art whose purpose was to protect the emperor in the afterlife; portray the army that unified China, and convey the wealth and power that the emperor had.

181. Petra, Jordan: Treasury and Great Temple. Nabataean Ptolemaic and Roman. c. 400 B.C.E.-100 C.E. Cut rock.

N: The Treasury and Great Temple D: circa 312 B.C. P/S: Classical/Nabataean, Ptolemaic and Roman. A: Nabataeans P: Aretas IV Philopatris OL: Petra, Jordan M: Cut rock, monumental tomb facades are cut into pink sandstone cliffs. T: Greek architecture with roman distinctions. F: Metropolitan city and show prosperity. C: Site was unknown to western world until 1812, DT: Stone carvings, camel carvans and betyls (the famous god blocks) set in niches, Sculptures of mythological figures associated with afterlife. M: Serves as a funerary tomb for the wealthy and the dead are guided by the gods/goddesses of the dead.

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

N: Tlatilco Female Figurines D: 1200-900BCE P/S: Pre-Classical period of Pre-Colombian Mesoamerican art A: Unknown people of the Tlatilco region PA: none OL: Central Mexico at site of Tlatilco(The word tlatilco comes from the Nahuatl language which is the language of those who found the ruins of tlatilco; Tlatilco means "the place of hidden things")) M: Ceramic, 3-12 inches tall F: Used as a symbol of fertility, maternity and as a charm for women. C: The tlatilco people had been noted for high quality pottery pieces and had a chiefdom center and complicated burials with grave offerings using ritual and utilitarian ceramics. DT: Matriarchy, fertility, symbol, charm, exaggerated sexual features M: Believed to be a symbol of fertility/maternity and suggest a rare possibility of a more matriarchal society.

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

N: Tomb of the Trinclinium D: c. 470 B.C.E. A: Etruscan Civilization Pa: N/A OL: Tarquinia, Italy M: tufa and fresco T: carving F: The Tomb of the Triclinium was built as a burial chamber. C: It is so named because its frescoes may have once featured three couches like triclinums, dining rooms from ancient Greece and Rome. The frescoes depict a banquet and people dancing to music. It is a single large chamber DT: flat figures, lively, checkered ceiling and floors M: This hints at the cheerful burial rituals of the Etrucans, celebrating a last meal with the deceased.

201. Travelers among Mountains and Streams. Fan Kuan. c. 1000 C.E. Ink and colors on silk.

N: Travelers Among Mountains and Streams D: Around 11th Century B.C.E P/S: Shanshui hua - landscape painting A: Fan Kuan, Chinese Neo-Confucianist P: None or Unknown OL: unknown, likely remote mountains of China M: Ink on Silk T: Chinese landscape Method, Bold directness, Strong depth F: Portrays people as irrelevant to nature. Nature is the almighty C: Fan Kuan turned away from human affairs and decided to paint a more naturalistic image. It has dots of Human inhabitance, rough texture to make tress, but mostly the mountains to stand out over all else. M: Shows people are turning away from the corrupt and unreliable Chinese government and looking toward nature.

197. Todai-ji. Nara, Japan. Various artists, including sculptors Unkei and Keikei, as well as the Kei School. 743 C.E.; rebuilt c. 1700. Bronze and wood (sculpture); wood with ceramic-tile roofing (architecture).

N: Tōdai-ji D: 734 C.E. P/S: Nara architecture A: Various artists, including sculptors Unkei and Keikei. P: Emperor Shōmu OL: Nara, Japan M: Bronze and wood (sculpture); wood w/ ceramic tile (architecture) T: Irimoya, Kōn-do F: Place of worship C: Tōdai-ji is a Buddhist temple complex that was once one of the powerful Seven Great Temples. Tōdai-ji is a temple of the Kegon sect of Buddhism, which reveres the Buddha Vairocana (Birushana in Japanese) as the cosmic, central Buddha. The principal image of the temple is a bronze statue of Vairocana, colossal in scale. DT: Temple, Buddhist, ceramic, pagoda, garden M: Tōdai-ji represents the culmination of imperial Buddhist architecture.

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

N: White Temple and it's Ziggurats P: 3500-3000 B.C.E. P/S: 1st Period Mesopotamian art A: Government hired architect(s) P: Uruk government: all citizens of Uruk OL: City of Uruk, present day Warka, Iraq M: White Mud bricks for Temple, baked bricks for ziggurat T: Layered bricks to create its massive structure F: Place to perform various rituals to the city god, Amu; sacrifice animals and pray to gods. Only select few high religious authorities could enter. Shows massive power. C: Huge size and white color atop allowed for it to be spotted from a distance. Reflects dedication to the city god Amu. Dt: Base ziggurat on bottom and white temple atop. 210ft. by 150ft. ziggurat base and temple 40ft. above ground 60ft. by 16ft. Large, located on flat surroundings. M: Shows dedication to god Amu and power standing of the city

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

N: Yaxchilan D: 5th-8th century A.D. P/S: Mayan Art A: unknown who the main designer was but it was built by Mayan citizens Pa: no patron OL: located on the Mexican side of the Usumacinta River in the state of Chiapas M: stone T: no technique F: severed as a Mayan city and was one of the most powerful Mayan states along the Usumacinta C: contain several monuments, temples, lintels, a Main Plaza, Central Acropolis, and many other structures whose purpose is unknown DT: large, complex, organized, functional M: no specific meaning

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

N:Bandolier Bag D:Circa 1850 A: Unknown Pa:Oklahoma Delaware OL: Oklahoma M:Hide, cotton cloth, glass beads, silk ribbon, wool yarn. T:Beaded, ribbon work F: Used mainly for decorative purposes, early ones had no pockets C:Decorative purpose for Native American Indians DT:Bead work, sewn, ribbon work M: Decorative

194. Funeral banner of Lady Dai (Xin Zhui). Han Dynasty, China. c. 180 B.C.E. Painted silk.

NAME: Funeral banner of Lady Dai (194) DATE: 180 BCE PERIOD: Han China ARTIST: unknown craftsman PATRON: unknown - most likely member of the family ORIGINAL LOCATION: Mawangdui, Hunan Province, China MATERIAL: pigments, silk TECHNIQUE: painted directly onto silk FUNCTION: employed to attract the spirits of the deceased to the coffin, where it could properly start on its journey to the afterlife, rather than remain on the earth with the living CONTEXT: function aligns with the prominent Chinese belief in the veneration of ancestors; use as a sort of "attraction point" for the spirits of the deceased solidifies the belief that they still posses the ability to intervene in worldly affairs; expresses the richness of yin-yang duality in early Chinese thought DESCRIPTIVE TERMS: T-shaped; from top to bottom; segues from heaven, to the human realm, to the underworld; in heaven, dragons and immortal beings appear between and below two orbs - the red sun and it symbol, the raven, on the right, and the silver moon and its symbol, the toad, on the left. On earth, the Marquise of Dai stands on a white platform, awaiting her ascent to heaven; under her, the artist depicted her funeral; two intertwining dragons unify the whole composition MEANING: provides insight into the funerary practices of Han China, as well as emphasizes the importance of yin-yang duality in Chinese philosophy

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

Name: Great Hall of the Bulls Date: 13000 B.C.E. Artist: Uknown Patron: Uknown Original Location: Lascaux, France Material: Chalk on Rock P/S: Cave Drawing Technique: Side Front view Descriptive Terms: side front view, overcrossing drawings Context: Most likely whenever they saw something in the wild they drew it in a cave Meaning: The meaning was probably to record what types of animals were in their hunting area

208. Jahangir Preferring a Sufi Shaikh to Kings. Bichitr. c. 1620 C.E. Watercolor, gold, and ink on paper.

NAME: Jahangir Preferring a Sufi Shaikh to Kings (208) DATE: c. 1620 CE PERIOD: Mughal dynasty, India ARTIST: Bichitr PATRON: Jahangir (r. 1605 - 1627) ORIGINAL LOCATION: unknown MATERIAL: watercolor, gold, ink, paper TECHNIQUE: painting on paper FUNCTION: asserts that Jahangir favors spiritual aspects of oneself over those that are worldly CONTEXT: the cosmopolitan court of the Mughals developed a refined taste for European luxury goods; as a result, British ambassadors and merchants became frequent visitors to the Mughal capital DESCRIPTIVE TERMS: Jahangir is depicted as seated on an hourglass throne an surrounded by a halo that is a mix between the sun and the moon, suggesting that he is the center of the universe and the source of all light; to the right stand four figure: three are significant European political figures, while the topmost one is a mystical saint that is the only figure receiving Jahangir's attention; the painter depicted himself at the very bottom of the painting, below all other figures MEANING: asserts the spirituality of Jahangir; use of both western and eastern symbols reflects the impact of both European and Persian styles on Mughal painting under Jahangir

205. Portrait of Sin Sukju (1417-1475). Imperial Bureau of Painting. c. 15th century C.E. Hanging scroll (ink and color on silk).

NAME: Portrait of Sin Sukju (205) DATE: c. 15th century CE PERIOD: Joseon Period ARTIST: unknown painter PATRON: unknown - likely a supporter of the politician Sin Sukju ORIGINAL LOCATION: Imperial Bureau of Painting, Korea MATERIAL: ink, pigments, silk TECHNIQUE: hanging scroll (ink and colors on silk) FUNCTION: political propaganda advocating the degree of political power and dominance possessed by Sin Sukju CONTEXT: Sin Sukju was a prominent political figure, serving under six kings; the materials the work is consisted of were of very high value and demand, alluding to its importance DESCRIPTIVE TERMS: 109.5 cm by 167 cm; in this full-length portrait, Sin Sukju is in the green official uniform, facing slightly to the right side MEANING: used as political propaganda to display the amount of power possessed by an influential politician, which is evidence of the evolution of art being utilized to convey deeper political intentions

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

Name: Black-on-black ceramic vessel Date: Mid 20th Century C.E. Period/Style: Contemporary Art Deco Movement Artist: Maria Martinez and Julian Martinez Patron: Unknown Original Location: Tewa, Puebloan, San Ildefonso Pueblo, New Mexico Materials: Local clay, raw materials, and temper (sherds of broken pots that had been pounded into a powder or volcanic ash) Technique: Hand shaped ceramics finished with a slip and decorated with iron-rich solution then applying a matte-black design over polished-black Function: Prior to the 1880s pots were used in the Pueblos for food storage, cooking, and ceremonies. But around 1910 the pots were created as something beautiful to look at rather than as utilitarian objects. Context: Making ceramics in the Pueblo was a communal activity, where different steps in the process were often shared in a family. The potters helped each other with the arduous tasks such as mixing the paints and polishing the slip. As the pots moved into a fine art market, Ms. Martinez started to sign her name on the bottom of her pots. Even though this denied the communal nature of the art, she began to do so as it resulted in more money per pot. Descriptive Terms: Symmetric, organic lines, inorganic lines, geometric shapes Meaning: The work of Martinez marks an important point in the long history of Pueblo pottery. Ceramics from the Southwest trace a connection from the Ancestral Pueblo to the modern Pueblo eras. The works brought the distinctive Pueblo style into a wider context, allowing Native and non-Native audiences to appreciate the art form. The elements of the art piece are abstract but suggest a bird in flight with rain clouds above, perhaps a prayer for rain that could be flown up to the sky.

198. Borobudur Temple. Central Java, Indonesia. Sailendra Dynasty. c. 750-842 C.E. Volcanic-stone masonry.

Name: Borobudur Temple Date: c. 750-842 C.E. Period/Style: Mahayana Buddhist Artist: Gunadharma Patron: Individuals of the Buddhist religion Original Location: Central Java, Indonesia Material: Stone blocks Technique: Stupa and candi Function: Blends the Indonesian indigenous cult of ancestor worship and the Buddhist concept of attaining Nirvana Context: Buddhism is a nontheistic religion with the ultimate goal of attainment of the sublime state of nirvana, by practicing the Noble Eightfold Path (also known as the Middle Way). Descriptive Terms: Stupa: mound-like or hemispherical structure containing Buddhist relics, typically the ashes of the Buddhist monks used by Buddhists as a place of meditation Meaning: The monument is both a shrine to the Lord Buddha and a place for Buddhist pilgrimage. The journey for pilgrims begins at the base of the monument and follows a path around the monument and ascends to the top through three levels symbolic of Buddhist cosmology: Kāmadhātu (the world of desire), Rupadhatu (the world of forms) and Arupadhatu(the world of formlessness).

187. Folio from a Qur'an. Arab, North Africa, or Near East. Abbasid. c. eighth to ninth century C.E. Ink, color, and gold on parchment.

Name: Folio from a Qur'an. Date: Eight to ninth century C. E. Artist: Unknown. Patron: Unknown. Original location: Arab, North Africa or Middle East. Materials: Ink, color and gold on parchment. Function: To praise the Islamic religion. Context: The Qur'an is the sacred text of Islam, consisting of the divine revelation to the Prophet Muhammad in Arabic. Over the course of the first century and a half of Islam, the form of the manuscript was adapted to suit the dignity and splendor of this divine revelation. Descriptive details: The two-page spread (or bifolium) of a Qur'an manuscript, which contains the beginning of Surat Al-'Ankabut (The Spider). Meaning: "So each We punished for his sin; of them was he on whom We sent down a violent storm, and of them was he whom the rumbling overtook, and of them was he whom We made to be swallowed up by the earth, and of them was he whom We drowned; and it did not beseem Allah that He should be unjust to them, but they were unjust to their own souls." Period/Style: Abbasid. Technique: Calligraphy.

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

Name: Forum of Trajan Date: 113 C.E. Artist: Apollodorus of Damascus Patron: King Trajan Original Location: Center of royal court Rome, Italy Material: Marble P/S: Roman Realism Technique: Practicalism, spiral frieze Descriptive Terms: Reliefs, Illustrated Scroll, Spiral Frieze, Episodes Context: Placed in the middle for all to see Meaning: The meaning was to celebrate the kings victories over the dacians

192. Great Stupa at Sanchi. Madhya Pradesh, India. Buddhist; Maurya, late Sunga Dynasty. c. 300 B.C.E.-100 C.E. Stone masonry, sandstone on dome.

Name: Great Stupa at Sanchi Date: c. 300 B.C.E.-100 C.E. Period/Style: Maurya, late Sunga Dynasty / Buddhist Artist: N/A Patron: Emperor Ashoka the Great Original location: Madhya Pradesh, India Material: Stone masonry, Technique: Sandstone on dome. Function: to honor and shelter the relics Context: The construction work of this stupa was overseen by Ashoka's wife, Devi herself, who was the daughter of a merchant of Vidisha. Sanchi was also her birthplace as well as the venue of her and Ashoka's wedding Descriptive Terms: Early Buddhist stupas were mounds surrounded by a fence—not unlike the sacred trees and other village shrines found throughout India—that became objects of worship. Devotees walked around the stupa in a clockwise fashion. As stupas became more elaborate, they were crowned with a platform and a series of disks derived from umbrellas (originally used to shade royalty). The dome itself was garlanded with flowers, and gateways were added at the cardinal points. Meaning: Stupas were venerated as a symbol of the Buddha's final release

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

Name: Jade Cong Date: 3300-2200 B.C.E. Period/Style: Prehistoric Artist: Unknown Patron: Original Location: Liangzhu, China Material: Jade Technique: It was crafted out of true jade, also known as nephrite, which is very hard to cut into due to its sturdiness. So to create the designs, sand was rubbed into the stone very carefully. Function: Originally made to be decorative, with lines and circles on the exterior. Used two distinct types of ritual jade objects: a disc, later known as a bi, and a tube, later known as a cong. Context: Their knowledge in the crop allowed for a surplus of rice to be grown, resulting in the ability for their society to become sophisticated. Descriptive Terms: square shaped, hollow ,symmetric, organic lines, inorganic lines, geometric shapes, and organic shapes Meaning: The purpose and meaning of the pieces of why it was produced is still unknown. However, it is thought that the circles are representations of faces. The corners of most cong are decorated with faces, shown through eyes and parallel bars.

200. Lakshmana Temple. Khajuraho, India. Hindu, Chandella Dynasty. c. 930-950 C.E. Sandstone.

Name: Lakshmana temple Date: 930-950 AD Artist: unknown Period/style: chandella period 10th century Technique: architecture Patron: n/a Original location: Khajuraho, India Medium: limestone Function: temple Context: New temple in the middle of nowhere, pilgrimage to visit vishnu Descriptive terms: Buddhist, temple, Vishnu, religious Meaning: There are repetitive images of Vishnu, the god of protection. People would go here in times of sin, meditation, or asking for help. Not much is really known about this temple.

195. Longmen caves. Luoyang, China. Tang Dynasty. 493-1127 C.E. Limestone.

Name: Longmen Caves or Longmen Grottoes Date: 493-1127 C.E. Period/Style: Tang Dynasty/Chinese Buddhist art Artist: N/A Patron: Emperor Xiaowen and Empress Wuzetian Original location: Luoyang, China. The Xiangshan and Longmenshan mountains, running east and west Material: Limestone. Technique: The images, many once painted, were carved into caves excavated from the limestone cliffs Function: served as an important pilgrimage destination for over five hundred years, and during that period it received numerous foreign and domestic visitors and dignitaries. Context: Fifty large and medium sized caves are seen on the west hill cliffs which are credited to the Sui, and Tang Dynasties, while the caves on the east hill were carved entirely during the Tang Dynasty. Descriptive Terms: There are as many as 100,000 statues within the 1,400 caves, ranging from a 1 inch (25 mm) to 57 feet (17 m) in height. Meaning: reflect the heyday of the Tang Dynasty culture (618-907).

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

Name: Ruler's feather headdress (probably of Motecuhzoma II) Date: 1428-1520 C. E. Period/Style: Pre-Columbian Artist: Unknown Patron: Most likely Motecuhzoma II Original Location: Unknown Materials: quetzal and other feathers, gold studs, precious stones Technique: Concentric layers to form a semicircle Function: Though there the actual function is still being debated, the headdress is thought to be a symbol of their last ruler's power before being conquered. Context: The Aztecs and other Mesoamerican people valued feather works along with jade, turquoise, and gold. Feather works were registered as being Moorish, a term that can be interpreted as meaning: non-European or exotic, from a European point of view. However, when in the context of the Mexican feather works, Moorish probably did specifically mean Mexican. Descriptive Terms: Inorganic lines, geometric shapes, radial balance Meaning: Museums and historians are still being put to the task of discovering the significance and meaning of the headdress. It is believed that the headdress was just another example of demonstrating the wealth and high social standing of Motecuhzoma II.

209. Taj Mahal. Agra, Uttar Pradesh, India. Masons, marble workers, mosaicists, and decorators working under the supervision of Ustad Ahmad Lahori, architect of the emperor. 1632-1653 C.E. Stone masonry and marble with inlay of precious and semiprecious stones; gardens.

Name: Taj Mahal Date: 1648 Period / Style:Mughal architecture Architect: Ustad Ahmad Lahauri Patron: Mughal emperor Shah Jahan Original Location: Agra, India Material: Marble Technique: Domes, arch, finial, iwan, minaret, etc Function: To commemorate the death of emperor Shah Jahan's wife, Mumtaz Mahal Context: Mumtaz Mahal was Jahan's third wife who eagerly supported the reign of Jahan and soon became his favorite wife out of the three. Unfortunately she died giving birth to their 14th child and out of grief Jahan orders to build a magnificent mausoleum in remembrance of his wife. Descriptive Terms: Grand, sacred, pure,delicate Meaning: (See function & context)

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

Name: Terracotta Fragment Artist: Unkown, Lapita people DOC: 1000 B.C.E Period: Neolithic Style: Technique: Material: Terracotta Patron: Origin: Lapita, New Caledonia Context: The patterns were incised into the pots before firing with a comblike tool used to stamp designs into the wet clay. Each stamp consisted of a single design element that was combined with others to form elaborate patterns. Meaning: One of the finest examples of the Lapita potter's art, this fragment depicts a human face incorporated into the intricate geometric designs characteristic of the Lapita ceramic tradition.

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

Name: The Code of Hammurabi Date: 1750 BC Period/Style: Artist: Hammurabi Patron: The people of ancient Mesopotamia Original Location: Ancient Mesopotamia Material: Diorite and basalt Technique: Function: The function was to set down a reasonable and unchanging set of laws that addressed the problems in the high kingdom. Context/Relevant Ideas: The upper portion of the Code of Hammurabi is Hammurabi himself receiving a ring and receptor (law codes). Descriptive Terms: Meaning: The meaning of the Code of Hammurabi is to keep a formal legal code for the people of ancient Mesopotamia.

204. The David Vases. Yuan Dynasty, China. 1351 C.E. White porcelain with cobalt-blue underglaze.

Name: The David Vases Date: May 13, 1351 Period: Yuan Dynasty Artist: Zhang Wenjin Patron: Daoist temple in Hong Kong, China Original Location: Hong Kong, China Material: Porcelain Technique: Ancient Chinese kilns used that could reach 1200 degrees Celsius Function: An offering to a general who had recently been made a god Context: Both vases contain the exact date, artist and reason for creation. They both also have a dragon and a floral pattern on the top and bottom Descriptive Terms: Cobalt (known in China as hui hui qing or "muslim blue") came from Iran- the blue paint added to the white porcelain Meaning: Religious way of showing respect to an important figure

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

Name: The Winged Victory of Samothrace Date: 190 BCE Period/Style: Hellenistic Greek Artist: N/A Patron: the kings of fourth century Macedonia Original Location: Island of Samothrace, Greece Material: Parian marble for the statue and gray Rhodian marble for the boat and base. Technique: Each section was separately carved then assembled, a characteristic of the Hellenistic period. Function: statue for worship to the goddess of Victory Context: The woman sculpted is the Greek goddess of Victory, and she is presented here with wings and on a battleship. The Hellenistic period was abundant with naval battles so these ships played an important role in society as well in the art society, because these new naval innovations prompted architects to create better warships. The Greek gods and goddesses also played a huge role in society. The Greeks represented concepts such as Peace, Fortune, Vengeance, and Justice as goddesses at a very early date. Victory (the goddess in the statue) was one of the earliest of these. She is a female figure with large wings that enable her to fly over the earth spreading news of victory, whether in athletic competition or in battle. Descriptive Terms: symmetrical balance, organic lines, gold and silver color spectrum, geometric naval ship design Meaning: statue worshiped by citizens of Samothrace in hope of bringing victory in battles to them, a good luck statue.

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

Name:Head of a Roman Patrician Date:c. 75- 50 BCE Period / Style: Hellenistic Period, verism Artist: Unknown Patron: Emperor AUgustus Original Location:Otricoli, Italy Material: Marbles Technique: Veristic portrait Function: To illustrate the idealistic physical appearance at the time which is old face that indicated how wise they are Context: Roman Emperor Augustus admired Greek verism and he encouraged sculptors to promote and adopt to verism Descriptive Terms: Exhausted, serious, experienced, determined, loyal Meaning: That the old ones are the wisest and expresses the tradition of Roman art