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Lakshmana Temple

Content Area: South Asia Artist/Culture: Hindu Medium: Sandstone Creation Date: 930 - 950 CE Location: Khajuraho, India Brief Background: The area of Khajuraho at one point housed over 80 temples, built under the patronage of the Chandella Kings. They were mostly Hindu temples dedicated to the gods Shiva, Vishnu, and Surya. The rest of the temples honored teachers of Jainism, an ancient religion in India. The Chandella leader Yashovarman was the initial patron of the Lakshmana Temple. He built the temple in order to legitimize his rule after his recent acquisition of territory. Although it was not finished in his lifetime, the temple was finished and dedicated by his son. Snapshot: The Lakshmana Temple is constructed in the Nagara style of Hindu Architecture. Nagara temples have shrines called vimanas, topped by sikharas, which means mountain peak, and can be seen from afar. The shrines are accessed by rooms called mandapas. In the Lakshmana temple, the three mandapas have triangular roofs, which get larger as they go towards the sikhara. This emulates the appearance of a mountain range. The temple is designed to be entered a specific way - approached from the west, and then walked around in a clockwise manner. This process is called circumambulation. Someone entering would start walking along the base of the plinth, before climbing its stairs and entering the mandapas. They would then walk through the mandapas and reach a passageway around the inner shrine, which they would circumambulate again before entering. This process of circumambulation is designed to parallel that of the cosmos. Connections between the cosmos and the earth were very important in the construction of the Lakshmana temple, with Garba Griha, which houses the inner statue of Vishnu and means womb/embryo situated under the peak of the highest tower representing the axis between heaven and earth. The shrine itself is small and dark, without windows, as their worship of the divine was meant to be individual. The imagery on the Lakshmana Temple is also very important. The temple is dedicated to the Hindu god Vishnu, who is featured in the shrine in his three headed form, known as Vaikuntha. In this form he has the heads of a boar, lion, and human. There are also images of deities in niches on the outside of the temple. Apart from the divine figures shown, the temple has many images of life. The most notable among these are the images of women and the loving couples, called mithuna (state of being a couple). The women pictured are idealized curvaceous figures, and represent growth, fertility, and prosperity. The mithuna symbolize divine union, and the final release from the life and death cycle. Often, these couples are engaged in sexual intercourse, which had a ritualistic and symbolic function, often representing rejuvenation. Although often considered to be provocative, they were not considered to be so.

School of Athens

Title/Designation: School of Athens Content Area: 3 Artist/Culture: Raphael Medium: fresco Dimensions: 200in x 300in Creation Date: 1509-1511 CE Location: Stanza Della Segnatura, The Vatican, Rome, Italy Brief Background: Raphael (the artist-not the ninja turtle) was born in Italy and trained under his father and Pietri Perugino. Raphael was largely influenced by da Vinci and Michelangelo (with whom he developed a rivalry) and studied in Florence. In 1508 he was summoned by Pope Julius II to decorate the Vatican Stanze (Pope's apartments) which is where this piece is found. He also did the Chigi Chapel, Tapestry Cartoons of the Acts of the Apostles, Madonna and child, and designed the rebuilding of St Peter's and is regarded as one of the three greatest artists of the High Renaissance. Fun Fact: He had many affairs and at one point engaged in such excessive sex that he got ill and died on Good Friday (what an absolute baller). Snapshot: This was created during the High Renaissance when Italy (especially Rome) was experiencing a time of large cultural growth and prosperity which made art and commissions more common. This particular piece was commissioned by the pope. It is a 200 by 300-inch fresco painting on the walls. The piece is set in a massive hall similar to ancient Roman Architecture (possibly a redesign of St. Peter's Basilica) with geometric decorations. You can see the pilasters and coffered barrel vaults. All the philosophers and intellectuals are gathered in the painting with Plato and Aristotle as the central figures. None of these figures were identified by name so it is reliant on the viewer to make their own interpretations based on Raphael's depictions. Plato was Aristotle's teacher and he focused on the theoretical so he was painted looking towards the sky and Aristotle was focused on the physical so he is gesturing to the ground. On Plato's side of the painting there are the philosophers associated with "issues of the ideal" like Pythagoras. On Aristotle's side of the painting we can see those who focused on the "physical and concrete" like Euclid. Many of the philosophers and figures in the painting were molded after friends of Raphael's like Bramante. Also depicted on either side of the paintings are statues of the Greek gods, Apollo on the left and Athena on the right. It is believed that they were placed on these particular sides to correspond with Raphael's other paintings (Parnassus (humanities) and Cardinal and Theological Values(law)).Raphael's four frescos were made to represent the classical topic of the books below the works. The School of Athens was created to represent philosophy, one of the four branches of knowledge. It is also seen as a tribute to the wisdom of the ancient philosophers who preceded them and it is a request for their knowledge to pass onto the pope, citizens, and artists of Italy. Raphael utilized a light color scheme, using softer and more "muted" colors (sfumato and chiaroscuro techniques) with the light falling from the sky opening in the background and arch although there seems to be a source of light in the foreground that is not presented. Perspective: The groups of philosophers are divided to the left and to the right leaving the middle foreground more sparse, likely to balance the linear perspective at the bottom, the sharp orthogonals and "make way" for Plato and Aristotle. In the foreground you see Heraclitus (Michelangelo) who was added later to the painting after it was initially finished. He is seen writing on a marble desk sort of thing that is tilted at an angle. It doesn't abide by the central vanishing point and instead uses two vanishing points.

Angel with Arquebus

Title/Designation: Angel with Arquebus Content Area: 3 Artist/Culture: Master of Calamarca Maybe- Jose Lopez de los Rios Medium: Oil on Canvas Creation Date: Late 17th century Location: Peru Brief Background: Made in a workshop that was known to paint angels holding guns. Snapshot: The angel is adrogeninously presented.Its depicted with elaborate clothing. The angel is holding a harquebus, a type of gun made by the Spanish with a long barrel and the first gun made to rest on the shoulder. The kind of gun was prominent during the mid fifteenth century. It held a militaristic ideology that saw the church as an army and the angels as its soldiers. The angels pictured with guns represented the protection of the faithful christains. The angel's dress is similar to that of Andean aristocrats and Inka royalty rather than military attire. It combines contemporary European dress with that of the typical dress of an indigenous nobleman. The elongated body fit with the mannerist style that was popular at the time.

Annunciation Triptych (Merode Altarpiece)

Title/Designation: Annunciation Triptych (Merode Altarpiece) Content Area: Artist/Culture: Robert Campin South Netherlandish Medium: oil on wood (oak) Creation Date: 1427-32 CE Location: Tournai, South Netherlands Brief Background: At this time in Netherlandish style there was a fascination with the natural world. The smallest details are worked to reflect reality on a two-dimensional plane. The resulting surface achieves depth, light, and a broad distribution of color values. Oil paint was used to create texture. Campin was a very successful painter with apprentices and assistants Newfound prosperity in Northern Europe thus commissions are increasing. Annunciation was painted first, then the left side donors were added. This painting would have been seen over and over again Snapshot: The center Scene is of Mary and Gabriel. They were not meant to secularize the scene, but to make them closer to us and make prayer more intimate. Gabriel just appeared to Mary to tell her she will give birth to Christ. The drapery has sharp folds, falls on the floor and obscures bodies. The shiny pot represents Mary's purity. Many things in the room have to do with the incarnation. Small figure holding a cross coming through the window heading towards Mary represents the holy spirit. Unusual because it is usually a dove, but this is one of the first times that God takes human form. Donors are on the left. The Patrons are the man and his wife, they are kneeling thus they can be recognized as donors. The walled garden (hortus conclusus) refers to Mary's virginity. Joseph is on the right. He is making tools in a workshop. His job is a carpenter. Reminds us of how handmade the painting is on wood. Central scene looks like the living room of someone living in Northern Europe. A lot of detail like shiny nails, shadows, rust, age of doors. Even in the background we can see men on horseback and a town. Interest in light-- using oil paint so they can paint texture (unlike Italian Renaissance). A lot of realism, yet expressed differently. Space of the room doesn't make sense because perspective hasn't really been put into place yet. Not mathematically accurate, the table is a double perspective.

The Navigation Chart

Content Area: 9; The Pacific Artist/Culture: Marshallese People Medium: wood and fiber Creation Date: 19th to early 20th century CE Location: Marshall Islands, Micronesia Brief Background: Micronesians in the northwestern pacific are renowned for their navigational skills, particularly regarding these navigation charts. Because the Marshall Islands are low lying and hard to see from a distance or from sea level, the charts were crucial for Marshallese navigators. The charts served as mnemonic devices for skilled ri-metos, who religiously guarded their charts and treated them as prized social items, which would be passed down from generation to generation. Snapshot: The Navigation Charts are made of wood, therefore they are waterproof and buoyant. The small shells indicate the position of the islands on the chart, the horizontal and vertical sticks support the chart, and diagonal lines indicate wind and water currents. These charts indicate patterns of ocean swells and currents. The charts were not necessarily used on the voyage, but were memorized prior to the voyage. The charts enabled navigators to guide boats through the many islands to get to a destination. Each chart was individualized to its maker, so others couldn't read or understand the other charts. Different charts represented differing degrees of geographical measurement- some represented large geographic areas, while others showed small water features around the islands. The Navigation Charts represent the ability of the Marshallese navigators to read oceanic swells in large sections of the Pacific.

Ryōanji

Content Area: Content 8 Artist/Culture: Muromachi Period, Japan Medium: Rock -kare-sansui ("dry landscape") Creation Date: 1480 CE Location: Kyoto Japan Brief Background: In Buddhism desire is seen as the cause of suffering and Buddhists seek to transcend that suffering and escape the cycle of samsara (rebirth). In order to do this, followers of Zen Buddhism (derived from Chan Buddhism in China) pursued sudden enlightenment and awakening through self-introspection and personal experience in daily life. Snapshot: Ryōanji is made up of temples (23) and shrines with a focus on Zen Buddhism. It was built under the Hosokawa family and was inspired by aspects of both Japanese (Shinto) and Chinese culture and the garden represents the ideas of Zen Buddhism and Japanese aesthetics. The rock garden is an enclosed courtyard (atmospheric space) filled with light gray stones and 15 moss "islands" that have rocks protruding from them. The stones are carefully arranged so that one can only see no more than fourteen of the fifteen at once from any angle. The purpose of Zen gardens is to encourage meditation. The pebbles are purposefully raked into a horizontal pattern that forces your eyes to slow down and around the moss islands, the pebbles are raked in a circular shape bordering them, an analogy for water. The rock garden is designed to aid in meditation practices and help the viewer focus and contemplate. There are many interpretations and theories of what the garden represents as its meaning is personal and often depends on a person's self-awareness and introspection. Some common interpretations are that it represents an island floating on an ocean, a mother tiger carrying her cubs over the sea, the Japanese aesthetic concept of "wabi" (refined austerity) & sabi (subdued taste), or simply an expression of a pure form of abstract composition to incite meditation. However, the specific and "official" interpretation is that the garden represents islands in a floating sea, mountain peaks above clouds, or constellations in the sky.

Buddah

Content Area: West and Central Asia Artist/Culture: Gandharan Medium: Cut rock with polychrome paint Creation Date: 400-800 CE Location: Bamiyan, Afghanistan Brief Background: Buddhism originally spread to this area via the Silk Road, and this resulted in hundreds of Buddhist cave architecture across Asia. These carvings had remained largely intact until recently. In 2001, the leader of the Taliban ordered that all non-Islamic carvings be destroyed, and the destruction was so complete that all that remains is the outline in the cliff face. The Talibans were very angry that money was being spent to maintain these statues while Afghan people in the region were starving. This was also a largely political act, designed to gain media and global attention. Since 2001, there have been many debates about how to restore these sites. Some groups believe that the Buddhas should be reconstructed because of their distinct cultural and religious significance, while others believe that they should be left as they are as a reminder to the world of the destruction and violence that had taken place. Snapshot: These Buddha carvings are high relief carvings that are about 175 feet tall (Buddha Varaichonca) and 120 feet tall (Buddha Shakyamuni). These had been the largest Buddha statues in the world. Originally, they would have been colorfully painted and decorated with jewelry and gems to represent their value to the local people. These carvings had many similarities to Hellanistic Greek statues because they had flowing robes similar to Greek drapery and also the same wavy hair as many Greek statues. Buddhas were treated as divine figures and people would have come to these sites for prayer and worship.

Hunters in the Snow

Title/Designation: Hunters in the Snow Content Area: Realist Period Artist/Culture: Pieter Bruegel Medium: Oil paint on Wood Panel Creation Date: 1565 Location: Vienna, Austria Brief Background: The artist Pieter Brugel "the Elder" is best known for his landscapes and his focus on the life and mannerisms of peasants. This particular piece was commissioned by Nicaels Jonghelinck, and was most likely done by Brugel because of his speciality. This piece is a part of a six part series of images "Months of the Year". Weirdly there are only 6 instead of 12 and only 5 still exist. Snapshot: The figures at the bottom right of the painting are the largest and appear closest. They appear to be coming back from an unsuccessful hunt because they are not carrying a lot of food and their body language conveys despair as they move through the snow. They are hunched over in defeat. Their faces are hidden from view but we can assume that their emotions convey despair and sadness; it also represents how poor they are, just nameless figures. Their position is important, they face a small village and a frozen pond. On the frozen pond we see people that are enjoying the winter, playing on the ice and in the snow. Because of this shift we see a clear contrast between the two groups of people. Almost every figure is positioned with a downward gaze. This thus shows a contrast relating to winter, the joys of family but the hardships of the weather. Continuing, there is a village in the background that is pretty empty and lacking life, most likely to keep the viewers eyes on the pond and up towards the mountains, showcasing Bruegel's talent. The mountains indicate that this takes place in the Alps. The birds stationed around the painting also are pointed around the pond to focus the viewers eyes on the physical subjects. In this piece there is no linear perspective, instead it uses aerial perspective, a new method of painting by diagonally positioning the subjects. All of the figures and houses are painted in warm, earthy tones that further contrast from the cold blue grays that represent the elements.

Las Meninas

Title/Designation: Las Meninas Content Area: 3 Artist/Culture: Diego Velazquez Medium: Oil paint on canvas Creation Date: 1664 Location: Madrid Spain Brief Background: Las Meninas is a portrait painted by Diego Velazquez, the first painter of the king of Spain. Las Meninas literally translates into "Ladies in Waiting". Velazquez saw his career explode under King Phillip Ⅳ, a ruler during the Spanish Hapsburg Dynasty, which helped solicit the growth of Spanish culture and art. Velazquez started painting around the same time as the major Baroque artists in Italy, but his style was vastly different. Velazquez used light brushstrokes to create texture and movement, specifically in clothing. Phillip commissioned the piece, which hung in his private study until 1819. Velazquez's work became influential to the impressionist movement. Snapshot: The painting itself is very large, around 125 by 108 inches. The Painting features many individuals from the court of King Phillip. Starting at the center is the King and Queen's Daughter, Princess Margaret Theresa. Margaret Theresa would have been around 5 at the time of the painting. While the King had 12 kids between his 2 wives, Margaret Theresa is one of only 2 to survive until adulthood (Margaret Theresa later became the Holy Roman Empress after she married Leopold Ⅰ). To her immediate left and right are Maria Agustina Sarmiento and Isabel De Velasco, the titular ladies in waiting. Isabel curtseys to Margaret Theresa, while Maria offers her a drink on a tray. To the right stands Maria Barbola and Nicolasito Pertusato, two little people. Nicolasito has his foot on a Spanish Mastiff, dogs bred to guard and protect herds of sheep. ( All my sources said that little people were important to the king's court, but I couldn't exactly find why. One source says perhaps to entertain the children, but Velazquez painted many portraits of little people). Behind the girls stand Margaret Theresa's Governess, Marcela de Ulloa who talks to an unidentified man, possibly a bodyguard. In the very back stands Jose Nieto, the royal chamberlain. Nieto is given prominence as he was the head of tapestry works and possibly was related to Velazquez. Nieto holds curtains back to let more light into the room. To the left of Nieto is a mirror hanging on the wall, reflecting an image of the King and Queen. It is not clear where the mirror is reflecting from. Some historians believe that the viewer of the painting is viewing from the eyes of the King and Queen, and the mirror is reflecting, while others believe that Velazquez was painting an image of the King and Queen and the mirror is reflecting his painting. To the left of the princess is Velazquez himself. Velazquez is seen in front of an easel as he is painting. There is argument to what he may be painting, some believe he is painting the princess, others say he is painting the king and queen, while others believe he is painting the painting which he is being depicted in (Las Meninas-ception). Las Meninas strays from the typical portraiture, as most royal portraits had the subject depicted as royal, strong and wealthy, while this painting gives us a behind the scenes look at what royal life was like, allowing the "commoner" to see what it was like in the palaces. Some believe that Velazquez made this painting to demonstrate his own prominence in the royal court. Velazquez wears a red cross, the symbol of the order of Santiago, a prestigious religious and military order, some believe he added this once he got accepted into the order, while others think he did this to push his agenda. Las Meninas plays with the human gaze in many ways, the Princess looks directly at the viewer of the painting, leading to the belief that the viewer is the King and Queen, while others look at eachother. Velazquez depicted the royal court as almost chaotic, with lots going on at once. Paintings of Ovid's "The Metamorphosis" which depicts gods wrestling with mortals. Velazquez depicts the princess and her attendants in ornate and fluid clothing, some believe to combat the ugly qualities of the royal family after years of inbreeding. Las Meninas is massive and intricate, which leaves many aspects of the painting a mystery, propelling it to become one of the most prominent pieces of art.

Night attack on the Sanjo palace

Content Area: 8 Artist/Culture: late Heian period of Japan , the Kamakura period Heiji Monogatari Emaki Medium: unpainted wooden buildings linked by corridors, bark roofs, large shutters and bamboo blinds. Strong diagonal lines emphasizing movement Swift, active brushstrokes Handscroll; ink and color on paper Creation Date: January 19 - February 5, 1160 c.e Brief Background/snapshot: part of Fujiwara no Nobuyori's bid to seize power by abducting both the emperor and the retired emperor.. backed by Minamoto no Yoshitomo, head of that clan, Nobuyori saw an opportunity when the head of the Taira clan, who supported Emperor Nijō, left Kyōto on a pilgrimage. Taira victory; Minamoto leaders banished. Feudal culture came to a violent end in 1868 at the hands of other samurai clans. ... The Night Attack at Sanjô Palace, once owned by a powerful samurai family, Violence escalates with shoving and colliding carts and warriors The escalation includes stabbing and slashing brought a force of roughly five hundred men, attacked in the night, kidnapped cloistered ex-Emperor Go-Shirakawa, and set fire to Sanjō palace. came into the possession of an influential American who brought it home to Boston. It has been a highlight of the Museum of Fine Arts, Boston since 1889. otoko‐e, "men's paintings"

The ardabil carpet

Content Area: northern west iran asia Artist/Culture: Maqsud kashani perisan Medium: Wool ( was rather than using silk cause the dye sticks longer Creation Date:1539-40 C.E Location: islamic art gallery in victoria and alberts museum in london Brief Background: One of the oldest dated carpet and one of the largest , it was made in a town called Ardabil in north western , Ardabil was the home to the shrine of the sufi saint, Safi al-din Ardabil who died in 1334 . Snapshot: Ardabil carpets usually have the famous design of diamond medallions and small fish throughout. The weavers will incorporate a lot of silk in woolen piles, to highlight some key parts. nature pomagerate and indigo there is a look alike in the La county museum of art, it is to say that when the sufi leader passed away his followers became extremely powerful, in 1501 one of his descendants shah isma'la seized power ,united iran and established shi'a islam the offial religion. he was known for finding the saravids ( member of shi'a religion). Their rule lasted until 1722 , was the most important period of islam art

Church of Sainte-Foy

Title/Designation: Church of Sainte-Foy Content Area: Romanesque Pilgrimage Church Artist/Culture: Romanesque Medium: stone Creation Date: 1050-1130 Location: Conques, France Cite Sources (at least 3): books, articles, URLs, etc. (Add numbers if needed) Brief Background: Romanesque- a title to describe medieval art that appears Roman-like. Architectural historians have noted that certain architectural elements of the period, principally barrel and groin vaults based on the round arch, resembled those of ancient Roman architecture. The Church of Sainte-Foy was located on a pilgrimage route to Santiago de Compostela in Northern Spain. The Santiago de Compostela was a popular pilgrimage center for worship of the relics of Saint James. Many churches on this route had a similar layout to manage throughput. The church was also an abbey, meaning it was part of a monastery where monks prayed, lived, and worked. Prior to the Sainte-Foy, a church had stood on the spot. Snapshot: The Church (stone) The church was built to hold large numbers of pilgrims at a time. This is shown in the wide transepts and large ambulatory with radiating chapels. The massive interior walls are unadorned and there is no clerestory, meaning the light was provided by windows over the side aisles and galleries. The nave was built with barrel-vaults and reinforced by transverse arches. The church was built based on a cruciform plan, commemorating Christ's sacrifice and making it easier to control large crowds. Sainte-Foy was built to bless its visitors, demonstrate their piety, and help them be saved on Judgment day. The Last Judgement (stone and paint) The work was the largest Romanesque tympanum (decorative wall surface over entrance) depicting over 100 figures. The Last Judgment cautions pilgrims that life is transitory and reminds them of the point of their pilgrimage. Christ is seen as a strict judge who divides the world into those going into heaven and those going to hell. He is depicted with a welcoming right hand and a cast down left hand, while sitting in a mandorla. At his feet are the Archangel Michael and the devil. To the right is hell and people were to enter the church on the right as sinners and exit on the left as saved. The figures of the saved are seen as moving toward Christ, Mary, and Saint Peter, while monks follow Charlemagne, the legendary benefactor of the monastery. Paradise, at the lower level, is portrayed as the heavenly Jerusalem. On the right lower level is the devil, who presides over a chaotic tangle of tortured condemmed sinners. In addition to the subjects, there is an inscription on the lintel translating to: "O Sinners, change your morals before you might face a cruel judgement." Reliquary of Sainte-Foy (gold, silver, gemstones, and enamel over wood) Sainte-Foy most likely died as a martyr to the Christian faith during the persecutions in 303 CE under Emperor Diocletian and refused to sacrifice to Roman gods in a pagan ritual. In this work, she is seen to be looking up and over the viewer's head, perhaps into heaven. A child saint's head is housed in the head. There have been a number of jewels, gems, and a crown added over the years by the faithful, as acts of devotion.

bible moralisèe

Title/Designation: bible moralisèe Content Area: 13 century, paris France and spain Artist/Culture: artist not known , christianity Medium:parisian court style figure delicates features long graceful proportions scenes, architecturally framed like a canopy (ink ,tempera, gold leaf of vellum Creation Date:1225-1245C Location: france Brief Background: bible moralèe or moralized bibles are a small group of illustrated bibles that were made in 13 century France and spain. The books were generally commissioned by members of the royal families. Other people (such as the low class) couldn't afford such luxury. Decicated page with blanche of castile and king louis IX Snapshot: blanche was the ruler before king louis ,he instructed him just as a monk. Image a apolycase johns vision there is a battle between God and the angels and evil, saying God wins common subject in med leval art, Made to teach the king moritity and religion and reinforce beliefs, at the time through cultural connections and visual interpretations. Gothic european ,

The longmen caves

Content Area: Artist/Culture: Tang Dynasty Medium: Limestone Creation Date: 493-1127 C.E. Location: Luoyang, China Brief Background: The Longmen Caves contain nearly 2,300 cave temples carved into the rock of a high riverbank The caves extend for about a mile on the steep limestone cliffs The art was inspired by Buddhism, which originated in India but ultimately spread to China The temples were first built in Wei Dynasty but continued being constructed throughout the ruling of six dynasties, ending in the Tang Dynasty Snapshot: Construction of the caves began at the end of the 5th century (rough estimate) under the authority of the Northern Wei dynasty, which was arguably the most powerful and influential of the Northern Chinese dynasties. One of the first caves built was the Central Binyang Cave; it contains a central buddha sitting on a lion throne being assisted by two bodhisattvas (essentially these were enlightened beings who put off entering paradise because they wanted to help others get there) and two disciples. The Buddha wears a robe which appears as though it is tucked under him, while the bodhisattvas wear scarves and crowns and their faces are elongated. Another important temple is the Fengxian Temple as it shows the development of iconography and style (this was built under the Tang Dynasty). And lastly, the Kanjing Temple, which indicates the use of realism in art created by the Tang Dynasty- images of monks cover the walls of the temple but they are not just ordinary monks.

Basin (Baptistère de Saint Louis)

Content Area: 7 Artist/Culture: Mohammed ibn al-Zain Medium: Brass, gold, silver Creation Date: 1320-1340 Location: Mamluk Syria or Egypt (West Asia) Brief Background: The mediums (gold & silver) were very expensive Bowl was used for religious ceremonies (washing hands) It was later used for french Baptism ceremonies exclusively for wealthy families People believed the bowl would purify them Snapshot: The Baptistère de Saint Louis is an inlaid basin made of bronze, gold, silver, and niello. The bowl was likely commissioned by a wealthy Mamluk patron. In terms of function, the bowl was likely used for hand washing at ritualistic ceremonies. The outside of the bowl shows scenes from the Mamluks courts, showing people hunting and in battle scenes; the bottom of the bowl is decorated with various sea creatures such as fish, frogs, and crocodiles. Inside the basin, four panels depict two hunting scenes and two battle scenes. Overall, there is a greater focus on imagery than on inscriptions, which was somewhat of an innovation at the time.

The Court of Gayumars

Content Area: 7, West and Central Asia Artist/Culture: Sultan Muhammad Medium: opaque watercolor, ink, and gold on paper Creation Date: 1522-1525 CE Location: Tabiz, Iran Brief Background: This illustration of the Court of Gayumars comes from the Shahnameh, also meaning "Book of Kings," a poem describing the history of kingship in Persia. The Shahnameh was written byAbu al-Qāsim and describes and illustrates the reign of 50 kings who ruled before the introduction of Islam into Persia. The "book" contains 258 illustrated pages and was produced for the Safavid rule of Iran, Shah Tahmasp I, who saw himself as part of a proud tradition of Persian kings. The book is said to contain three sections, divided into the categories of mythic, heroic, and historical. This manuscript comes from the mythical section. Snapshot: The Court of Gayumars shows the harmony between man and landscape. The surface is painted with very rich and vibrant colors and the scale of the painting suggests the use of fine brushes, perhaps of squirrel hairs. The landscape painting spills out of the frame of the image onto the paper with specks of gold. This excerpt shows the first King of Iran, Gayumars, enthroned before his community, ruling from a mountaintop. During his reign, men were taught to prepare food and turn leopard skins into clothing, relating to why the animals in the scene can be seen as very meek and submissive. To Gayumars' left is his son, Siyamak, and to his right is his grandson, Hushang. His court appears in a semicircle below him, and all of the figures are gathered in a peaceful and harmonious way. The angel Surush tells Gayumars that his son will be murdered by the Black Div, son of the demon Ahriman, and his armies, and that his death will be avenged by Hishang, who will rescue the Iranian throne.

Shiva as Lord of Dance

Content Area: 8 Artist/Culture: Tamil Nadu/Chola Dynasty Medium: Cast Bronze Creation Date: 11 century CE Location: South India Brief Background: Shiva is one of the three main gods in Hinduism, along with Brahma, the creator, Vishnu the preserver and Shiva is the destroyer. Note that this is not a destroyer in a negative sense but rather the agent that brings about the natural end (that all Hindus believe in) so a new cycle can begin. It comes from the Tamil Nadu state of the Chola dynasty, one of the longest ruling dynasties of all time, which brought a golden age of exploration, trade and art. A prominent artistic style during the Chola dynasty was the use of bronze sculpture. The physical image of Shiva comes from Shilpa Shastras (The Science or Rules of Sculpture), which contained a precise set of measurements and shapes for the limbs and proportions of the divine figure. Arms were to be long like stalks of bamboo, faces round like the moon, and eyes shaped like almonds or the leaves of a lotus. Snapshot: Shiva is depicted in the middle of the dance within the cosmic circle of fire that is simultaneous and continuous creation and destruction of the universe. In his upper right hand he holds the Damaru, a drum whose beat is associated with the act of creation and passage of time. In his upper left hand he holds the agni, or the flame of destruction that annihilates all that the sound of the damaru has drummed into existence. His Lower right hand has his palm raised and facing the viewer which is the abhaya mudra gesture which means "Be not afraid, for those who follow the path of righteousness will have my blessing." His lower left hand is stretched out diagonally across his chest with his palm facing downwards to his left foot which is raised which represents spiritual grace. His right foot is atop the demon dwarf apasmara, the embodiment of ignorance. His hair long flows out and he maintains a tranquil expression. Shiva as Lord of Dance was used in ritualistic ceremonies, much like medieval Europe, art in India at the time served religious purposes. It would have been carried by someone of the Hindu faith during a processional parade, and priests would follow chanting prayers and bestowing blessings. Sometimes the statue would be adorned with red and green cloths, and gold jewelry to show the divine human form of the gods. They may have also wrapped the legs with red and white cloth, along with flowers and candles. The figure represents the embodiment of Shiva, and it is believed that when one comes to pray to the statue the divine energy within the statue is activated and Shiva is present.

TerraCotta Warriors and the Tomb of the First Emperor

Content Area: 8 Artist/Culture: The subjects of Qin Shi Huang Medium: Terra Cotta Creation Date: 246 BCE Location: Xi'an, China Brief Background: The terracotta warriors were found in the tomb of Qin Shi Huang. He was the founder of the Qin dynasty. He became the first emperor after unifying China in 221 BCE. Snapshot: Emperor Qin Shi Huang's tomb was filled with thousands of the lifesize terracotta warriors. The warriors were molded in pieces then fired then put together and painted.They were hollow and had the name of the artisan stamped on the bottom in order to track mistakes. They were made to represent the first emperor's troops and were buried with him to protect and serve him in the afterlife. There are figures of soldiers, horses, and chariots. Every figure differs in hairstyles, expression, clothing, and gestures. The figures were also made to substitute for actual sacrifices, earlier rulers often had their attendants and soldiers buried with them.The figures all face east and show the emperor's determination to unify China since his rule began in the west and the other states were in the east. The emperor obtained the throne young and spent his life planning for his death. The emperor's goal was to conquer death similarly to how he conquered much in life. In order to achieve immortality he built the tomb and the warriors which was built over his lifetime. The tomb was very complex with multiple pits filled with his armies, gardens, and stables.

Forbidden City

Content Area: 8 Artist/Culture: Ming Dynasty Medium: stone masonry, marble, brick, wood, and ceramic tile Creation Date: 15th century CE Location: Beijing, China Snapshot: The Forbidden City is the largest and most complete Chinese architectural ensemble, holding 9,000 rooms and built 30 feet high to keep outside people out, and those inside in. Each corner of the rectangular plan has a tower representing one of the four corners of the world, or in other words, the four points of the compass. The focus of the complex is on the Hall of Supreme Harmony which was the throne room and seat of power. It is a wooden structure made with elaborately painted beams and meant for grand ceremonies. The yellow tile roofs (yellow is the emperor's color) and red painted wooden beams placed on marble foundations unify the structures in the Forbidden City into an artistic whole. The Forbidden City was built as the main palace for Chinese emperors over several centuries and was the capital of the empire during the Ming and Qing dynasties. It was originally built to consolidate the emperor's power and was the political and ritual center of China for over 500 years. In the Hall of Supreme Harmony, also the largest building in the complex, there would be ceremonies taking place for the new year, the winter solstice, and the emperor's birthday. The Hall was placed symbolically in the center of the complex. The city is called "forbidden" in that no one could enter or leave without official permission. The emperor is associated with the dragon: they sit on a dragon throne and wear dragon-themed robes. The various animals and figures on the roof were placed there to ward off fire and evil spirits. The surrounding wall of the Forbidden city is characteristic of a Chinese city: privacy within provides protection and reflects the containment aspect of Chinese culture.

Great Stupa at Sanchi

Content Area: 8 Artist/Culture: late Sunga Dynasty Medium: stone masonry, sandstone on dome Creation Date: 300 BCE - 100 CE Location: Madhya Pradesh, India Brief Background: A stupa is Sanskrit for heap and is a religious place of burial. Historically before buddhism important teachers were buried in mounds and these stupas were built above them to represent the person buried and his path to Enlightenment. There were hundreds of stupas created, and the ashes of the buddha have been spread to them all by King Ashoka, the first buddhist king. These stupas provided tools for people who were converting to buddhism, and a place of early worship. This specific stupa was built in the birthplace of the King's wife. Snapshot: The stupas were sacred sites and shrines that were usually encased in fences throughout Asia. They were sites of worship and meditation. Followers walked around the structure in a clockwise fashion. The stupas are a symbol of the Buddha's final moments. The exterior is comprised of several parts: the chatra is a triple umbrella structure that symbolizes the 3 jewels of Buddhism (the Buddha, the Dharma [doctrine], and the Sangha [community]), the yasti is the central pillar that symbolizes the cosmic axis and physically supports the chatra, the dome itself symbolizes the heaven enclosing the earth, the upper level walkway (medhi) is an elevated terrace about 16 ft above the ground, the gateways (toranas) face in cardinal direction and are free standing as well as highly ornamented, they are topped by capitals of sculpted animals and figures and the workers names are inscribed. This specific stupa is one of the largest.

Easter Island Moai on Platform (Ahu)

Content Area: 9 Artist/Culture: Easter Island Medium: Volcanic and Basalt Rock Creation Date: 1100-1600 CE Location: Easter Island Brief Background: Easter Island, known by its inhabitants as Rapa Nui, is a volcanic island in the Pacific ocean about 2200 miles off the coast of Chile. It was given the name Easter Island by the first European to visit it, who arrived on Easter Sunday in the 1700s. The inhabitants of Easter Island were Polynesian in origin, although this was not known until DNA tests of skeletons were analyzed. They likely arrived as early as the 4th century CE. The island, roughly 63 square miles in size, has around 290 statues that once stood on platforms, called Ahu. There are additionally around 600 other Moai in other stages of completion. Currently, some of the Moai have been removed from the island, and are housed in international museums. Snapshot: The Moai are all carved in the same stylistic fashion, and are incredibly similar in design. They have strong eyebrow ridges, long, straight noses, and thin lips. They have strong jaws and long ears. The arms are thin and carved in low relief along the sides of the statues. The Moai face both inland and to sea. They represent and embody the original inhabitants of the Island - the ancestors of the people who made them. These ancestors took large risks going to the Islands, which they did not know existed before setting out on their journeys. Despite this, the common language shared between islands in the region suggests the original settlers would have journeyed back to where they came from and shared news of their discovery. Despite the centuries passed since their initial voyaging, these groups have many cultural similarities, and it is possible the motivation for building the Moai stems from similar practices in other polynesian cultures. The Moai originally had Coral eyes, which were removed due to colonization. The ritual of placing them using a human ladder was restricted by the colonial settlers of the Island, but is now allowed. This ritual brings the Moai to life. After the ritual is completed, the eyes are removed. Some of the Moai are topped by red stone crowns, with unknown purposes. The majority of Moai are made of soft volcanic rock, and those that stand are erected on basalt platforms, called Ahu. There are 14 Moai made of Basalt as well, one of the most notable of which is the Hoa Hakananai'a, which means lost or stolen friends, and is currently in the British Museum. It was brought to Britain in 1868.

Malaggan Display and Mask

Content Area: 9 Artist/Culture: New Ireland Austronesian-speaking peoples?? Medium: wood, pigment, fiber, shell Creation Date: 1882-1883 CE Location: North Coast of New Ireland (Papua New Guinea) Brief Background: Malagan: cycle of rituals sending of souls to the realm of death restore balance in the community social "solidarity", to initiate young men, increased the prestige of the deceased/their family it also refers to the carvings and objects produced for the festivals oftentimes only men could participate in the rituals Ges: the spirit double of an individual Snapshot: Malangan express complex religious and philosophical ideas and while they are meant to honor and "dismiss" the dead, they also act as an affirmation of the identity of clan groups and negotiate the transmission of rights to land. Wooden( uli)figures The sculptures were made to be used on a single occasion and then destroyed as each sculpture represents a specific individual as well as their relationship to the clan and the family. They are ferocious looking figures with both male and female sex characteristics They also symbolize concepts such as identity, kinship, gender, death, and the spirit world and often include representations of fish and birds that reference cultural myths and the animal's natural characteristics. The masks are used at funeral rights to bid goodbye to the dead and celebrate the "vibrancy of living."

Female Deity

Content Area: 9 Artist/Culture: Nukuoro Medium: wood Creation Date: 18-19th century Location: Micronesia Brief Background: Nukuoro is an atoll in Micronesia that was believed to have been settled in the 8th century by polynesians traveling in canoes from Samoa. The culture in Nuruoro is more similar to polynesian even though it is part of micronesia. Europeans came in the 1830s and began trading with the native population. Nukuoro was led by a secular chief that was passed down hereditarily. Snapshot: The female deity is approximately 16 inches tall and made from the breadfruit tree. It is unknown if it was carved from shells or western metal tools. There were many figures made called tino aitu. The figures were used for ritualistic purposes, this one in particular was used for an annual harvest ritual in which they were given food sacrifices, and old and rotten statues would be replaced. The statues were believed to be inhabited by the deities. The Female deity features an oval head, discrete (or missing) facial features and flexed legs. The blank face might be so the deity could inhabit the statue and emphasize their own features. Nails on the figures would be used to attach cloth during the festivals. The triangular mark on the pelvis represents the mandatory tattoo that all elite women had. These sculpture may have also represented ancestral connections.

Travelers among mountains and streams

Content Area: Content 8 Artist/Culture: Fan Kuan/Song dynasty/Confucianism Medium: Ink and colors on silk Creation Date: 1000 CE Location: China Brief Background: The piece is an example of Chinese landscape paintings. The Chinese viewed mountains as sacred and imagined them as the home of immortals. The term for landscape painting (shanshui hua) in Chinese is translated as "mountain water painting." After a long period of political disunity (the Five Dynasties period), Kuan was one of many poets and artists who were disenchanted with human affairs. He turned away from the "human" world to find spiritual enlightenment. Through the painting, Kuan expresses a vision of man's harmonious existence in a large, orderly universe. Snapshot: Fan Kuan's landscape epitomizes the early Northern Song monumental style of landscape painting. The scroll is nearly seven feet high. Large boulders occupy the foreground and are presented to the viewer at eye level. Faun used very detailed brushwork for the rocky outcroppings, covered with trees. If you look closely, two men can be seen driving a group of donkeys loaded with firewood and a temple partially hidden in the forest. In the background a central peak rises from the mist. Surrounding it are two smaller peaks. This solid rock takes up the majority of the painting. The central peak is accentuated by a waterfall plummeting from a crevice near the summit and disappearing into the narrow valley. To depict the mountains, Kuan used incisive thickening-and-thinning contour strokes, texture dots and ink wash. Strong, sharp brushstrokes depict the knotted trunks of the large trees. To convey the sheer size of the landscape, Kuan shows the boulders in the foreground, the tree-covered rock outcropping in the middle, and the peaks in the background. Kuan's signature is hidden among the leaves of one of the trees in the lower right.

Portrait of Sin Sujku

Content Area: Content 8 Artist/Culture: Joseon Dynasty (Royal Bureau of Painting!) Medium: Ink and color on hanging scroll, silk Creation Date: 1417-1475 (lifespan of guy, was made during this time) Location: Cheongwon, Korea Brief Background: Portrait paintings in the Joseon Dynasty were common and were used to honor individuals during life or after death. They would often be made in honor of government officials, and Sin Sujku was one. To be specific, he was a scholar and politician who eventually rose to the rank of Prime Minister. His service to the prince at the time is what won him this esteemed portrait. Snapshot: This is a full portrait-height work made from ink and color on a hanging piece of silk which shows Sin Sukju from head to toe seated in a chair. He is dressed in official robes and a black silk hat. The portrait shows him facing at a slight angle to the right and is drawn with angular, simplistic lines, which is a formulaic method that artists of this time utilized. His facial features, however, are much less formulaic and show great detail and care. The face portrays the individuality of the subject through things like creases around the eyes, hard lines near the lips, bright almond shaped eyes, and a stoic and solemn expression which exudes wisdom and dignity. It is theorized because of the difference in detail between the face and robes that multiple artists may have worked on this piece, with one artist working on each part. Sukju's rank is shown on his robes by the depiction of peacocks in a garden with clouds on the front. This "rank badge" distinguished different government officials from one another. This work was meant to commemorate Sin Sujku's outstanding work as a member of the court and as Prime Minister, as well as his devotion and loyalty to Prince Anpyeong. This loyalty to the prince and Sujku's review of the Prince's art collection is thought to be the primary reason for the creation of the portrait. Another important detail is that these portraits of this type were used post-mortem to worship and commemorate ancestors, as part of the respect within the Confuscian religion. This portrait was likely hung up in a family shrine and prayed to for many years.

The David Vases

Content Area: Content 8 Artist/Culture: Zhang Wenjin, Yuan Dynasty China Medium: Porcelain, cobalt Creation Date: 1351 Location: Jingdezhen, Jiangxi province Brief Background: The vases were created during the Yuan Dynasty, which was when China was a part of the Mongol Empire. It was the Mongol Empire that made these vases possible, as the cobalt that is painted on the vases comes from modern-day Iran, also then under Mongol rule. Chinese porcelain became world-famous, and many wealthy Europeans sought to collect them for decoration and use. Snapshot: The vases are made out of porcelain, with cobalt blue paint on top. They were originally put on the altar of a Daoist temple, and the exact date of their dedication, that being May 13, 1351, is recorded on the vase. The vases feature depictions of dragons, birds, and other animals and plants on them. The artist made them in Yushan, which is about 120 km away from the temple that they were put in. These vases are some of the best examples of Chinese porcelain, of which there are many more. The details on the date of dedication have been very useful for art historians in dating similar Chinese ceramics.

Todai-ji

Content Area: Content 8 - South, East, and Southeast Asia Artist/Culture: Various artists including sculptors Unkei and Keikei Medium: Wood with ceramic tile roofing Buddha - bronze and wood Creation Date: original - 743 CE Rebuilt - 1700 CE Location: Nara, Japan Brief Background: Buddhism traveled from India along the Silk Road and arrived in Japan around the 6th century CE. Buddhism soon became associated with the Japanese imperial court and this close relationship between religion and politics would define the ruling elite in Japan for a long time. "Todai-ji" translates to Great Eastern Temple and this refers to the temple's location in the city of Nara. Snapshot: This temple was originally commissioned by Emperor Shomu and did not actually open until 752 CE. Its intended function was to be the headquarters of a large network of Buddhist temples across Japan called the "Kokubun-ji". It also served as a way for the emperor to promote spirituality among Japanese citizens and display the power/prestige of the Japanese imperial court. This temple united several Japanese clans under a centralized rule. In its original form, the temple complex spread across 16 city blocks. The temple has a giant hall in the middle called a "hondo" or a "Daibutsuden" which means Great Buddha Hall. This is where the Buddha statue "Daibutsu" is located. The statue sits atop a bronze lotus petal pedestal which signifies the naturalistic style of the Nara Era. It has images of the Shaka, the original Buddha, engraved on it. The temple was destroyed during the Genpei Civil War around 1180, but because of how significant it was to the Japanese people it was one of the first temples that was rebuilt after the war. There are two guardian figures placed on either side of the gate. They are both made of wood and have fierce expressions, dynamic poses (contrapposto), and are there to protect the Buddha.

'Ahu 'ula (feather cape)

Content Area: Content 9 Artist/Culture: Hawaiian Medium: Feathers and fibers Creation Date: Late eighteenth century Location: Hawaiian Islands Brief Background: The Hawaiian male nobility wore feather cloaks and capes for ceremonies and battle, called 'ahu 'ula, or "red garments." Across Polynesia, the color red was associated with gods and chiefs. In the Hawaiian Islands, however, yellow feathers became equally valuable, due to their scarcity. Snapshot: The Ahu ula is a small cape of a crescent shape. The Hawaiian term for the shape, hoaka, applies to a number of concepts: the arc of a rainbow, the raised crest of a helmet, and brightness and radiance. Its reference to glittering daylight or a flash of lightning evokes sources of divine power. The semi-circular style cape is a later development from the initial trapezoidal shape. The cape consisted of fiber netting made in straight rows, with pieces joined, and cut to form the desired shape. Tiny bundles of feathers were attached to the netting in overlapping rows. The exterior is covered with red feathers from the 'i'iwi bird, yellow and black feathers from the 'o'o (a type of bird). Wearing a boldly designed, crescent-shaped feather cape in the ritually significant colors of red and yellow was a way for a chief to reinforce his embodiment of a divine being. Each design was unique. Many feathered cloaks and capes were given as gifts to the sea captains and their crews (the earliest European visitors to Hawaii). They would have been given to the wealthy patrons who financed their voyages.

Hiapo

Content Area: Content 9 Artist/Culture: Polynesian Culture Medium: Tapa cloth Creation Date: 1850 - 1900 Location: Niue Brief Background: Each Polynesian culture is unique, but all shared in their upholding of gender roles. One of the roles for women was the production of various textile products. Tapa were produced by women and used as clothing, bedding, and for interior decoration. In Polynesian culture, there is also an idea of mana, which is a kind of spiritual energy or power that can be concentrated in certain parts of the body or in objects and regulates the well being of the society. Snapshot: The Hiapo is a piece of bark cloth that is then drawn on. It has complex geometric designs and depictions of native plants on the edge. It would have been, like other tapas, worn as clothing, used as bedding, or hung for decoration. They also were used in important ceremonies and rituals. The design featured on a tapa was dependent on one's social status. This, however, would change based on what tribe or culture it was made in, and thus every island was slightly different. The Hiapo is from the island of Niue, which is close to other islands like Samoa, permitting easy trade. Tapas continue to be used to this day in certain Polynesian rituals. Some art historians believe that the design on the Hiapo may represent mana in some form, however, there is no direct indication that the images on tapas do.

Chairman Mao En Route to Anyuan

Content Area: South, East, & Southeast Asia Artist/Culture: Liu Chunhua Medium: Color lithograph Creation Date: 1967 CE Location: China Brief Background: During the Cultural Revolution from 1966-1976, there were various paintings and artists that showed Chairman Mao and his leadership. These works were made to correct the view of political fallout in the 1950s. The Great Leap Forward was an attempt from 1958-1961 to modernize China, converting China from an agrarian economy into an industrialized, socialist society. The Great Leap Forward resulted in widespread famine and deaths. Mao Zedong was a Chinese communist revolutionary. Snapshot: Chairman Mao en Route to Anyuan is an oil painting on canvas. The work shows Chairman Mao on his way to the coal mines of Anuyuan, Jiangxi province in south-central China. He organized a strike of 13,000 miners and railway workers who were fighting for better wages, working conditions, and education. The Anyuan Miners' Strike was a turning point in the Chinese Communist Party. Painted by Liu Chunhua, the work shows Chunhua's adaptations of Chinese landscape conventions. Chunhua gets inspiration from traditional Chinese style, showing that Chairman Mao is able to lead the country into great success and power. Chunhua includes traditional Chinese aspects like landscapes with extraordinary views. However, he adds modern features to the painting. There is a telephone pole in the bottom left contributing a modern and present feel to the painting. Chairman Mao is in the foreground holding an umbrella. With a breeze blowing against him, Liu Chunhua depicts Mao as a marvelous leader,with realistic elements. Liu Chunhua used the style of socialist realism. Socialist realism is seen as a form of propaganda--displaying intelligent and political subjects with a powerful theme behind it. The artist decided to use deeper blue and purple hues in the painting to show Mao's determination to help the suffering workers.

Gold and jade crown

Content Area: South, East, and Southeast Asia Artist/Culture: Silla Kingdom, Korea Medium: Metalwork, gold, jade Creation Date: 5th-6th century CE Location: Gyeongju, Korea. Excavated from the north mound of Hwangnamdaechong Tomb Brief Background: Korea was split into three kingdoms in the fifth and sixth centuries: Goguryeo, Baekje, and Silla.The Silla kingdom was the most powerful kingdom. Before the adoption of Buddhism, Koreans practiced shamanism, which is a kind of nature worship led by a shaman. The shaman serves as the expertise to help the community with the problems they face. The Silla kingdom was described as the country of gold. Snapshot: The gold and jade crown is a tree-shaped headband type crown that was found in royal tombs at the Silla capital, Gyeongju. The tree-shaped vertical elements of the crown represent the sacred tree that was involved in the ritual precinct of Gyeongju. This tree was seen to connect heaven and earth. Antler-shaped ridges on the crown can represent reindeer native to Eurasian land outside of Korea. There are also tiny gold discs and jade ornaments called gogok. The gogok symbolizes ripe fruits hanging from tree branches, representing fertility and abundance. The Silla kingdom used Chinese burial methods when burying their royalty. Luxurious materials were brought to the grave to show social status and wealth. The objects that someone had in the grave showed their rank and identity. The Eurasian land belonged to the Scytho-Siberian peoples. They created golden crowns which showed natural imagery similar to the Gold and Jade Crown. Both crowns and cultures share shamanic beliefs and values.

Angkor Wat

Content Area: Southeast Asia Artist/Culture: Khmer Empire Medium: Stone Creation Date: 1116 CE - 1150 CE Location: Cambodia Brief Background: Angkor was a Hindu and Buddist kingdom from the 800s - 1300s CE. The building of temples was how Khmer kings legitimized their rule, building temples proved they had the support of gods more than any predecessor or other potential ruler. Angkor Wat was built by the King Suryacarman II and was dedicated to the god Vishnu. Angkor Wat translates to "City Temple." Angkor Wat was also meant to double as a maselom upon the death of the King. Snapshot: Angkor Wat is built completely of stone. The structure is a temple surrounded by three passageways running along the outside of the temple, then surrounded by a moat. There are five stone towers on the top, representing the five mountain ranges of Mt. Meru. Mt. Meru is the mythical home of the gods and considered a connection between heaven and earth. Angkor Wat was a replication, Mt. Meru on earth. The purpose of this was to make the kingdom the center of the universe and the holder of a connection between heaven and earth. The walls are covered with Bas relief carvings, low relief sand stone carvings depicting Hindu and Buddhist narratives. Some are carved on tiles and then put together on the walls. Others are carved out of the walls. There are human figures, gods, and animals featured. They cover the outside wall of the temple. One major Bas carving is the Churning of Ocean Milk, a creation story. Gods (devas) are battling demons (asuras) for the elixir of life (amrita.) The vedic god, the king of the gods, is depicted. In a separate carving, A royal procession is shown, along with a portrait of a king. Traces of gold have been found on the carvings. The architecture is the classical style of Khmer architecture. Ogival carvings, which are rounded edges to corners; redented towers shaped like lotus buds, cruciform terraces, which are terraces with low railings, devatas, or small statues of gods, and pediments. The temple is aligned with the cardinal points. All of the stone was transported from 25 miles away. It was meant to be a home for the gods.

Staff God

Content Area: The Pacific Artist/Culture: Rarotonga People Medium: wood, barkcloth, feathers Creation Date:Late 18th- Early 19th Century Location: The Cook Islands Brief Background: The islands were settled 800-1000 BC. The first European sighting of the island was made by Captain Cook in 1773 and the island became a British Protectorate in 1888 and was annexed in 1901. Now it is associated with New Zealand but is self-governing. The staff was found on Rarotonga which is the largest of the 15 islands. Before their conversion to christianity the islanders represented their deities with wooden carvings in human form, slab carvings and staffs known as "God sticks". Snapshot: The center is made of ironwood and is wrapped in barkcloth that contained red feathers and pieces of pearl shell. The staffs ranged in size from around 73cm to around 4 meters. The staff is around 13 feet. The top had a carved head with a feathered earring and below had smaller carved figures. Typically Male genitalia was carved on the bottom but these were often removed and destroyed by missionaries for being obscene. The Rarotonga people did not hold a sense of shame over sex so it was shown in a naturalistic way and showed te importance in fertility and reproduction because it was seen as their way of survival. This is the only remaining example of a large wrapped staff god remaining. Little is known about the smaller carved figures. It is believed to possibly represent Tangaroa the creator god, and the god of fertility. It also shows male and female reproductive qualities such as the male genitalia at the bottom and some of the figures showed women in childbirth. The making of the staffs are a combined effort from men and women. The men carved the centerpiece and the women made the barkcloth which protected and conatied the ancestral power (Mana) of the deity in the layers of the wrap. It was believed if the cloth came off the deity would leave and the staff would become useless

Nan Madol

Content Area: The Pacific Artist/Culture: The people of Pohnpei under the rule of the Sau Duelers dynasty Medium: Rock (basalt(?)) Creation Date: 13th-17th century Location: a lagoon adjacent to the eastern shoreline of the island of Pohnpei in the Federated States of Micronesia Brief Background: People living in Pohnpei built this structure by moving 750,000 metric tons of rock over a period of four centuries. 1,850 tons a year. 1 ton = 2,000 pounds. Three point seven million (3,700,000) pounds a year. They transported the rock 25 miles and used ropes and levers to build raised platforms, homes, tombs, and ceremonial sites. Snapshot: Nan Madol was the center of the Sau Deleur dynasty. Nan Madol is a collection of 100 mini islands (islets) built on top of a coral reef. Each island contained a building and was separated by a waterway. All of the buildings were made of the rock that was transported from 25 miles away. The buildings were made by rocks being stacked on each other without mortar. There were many altars and temples and due to this there was a large concentration of religious leaders which lead to multiple cults being established. The largest structure is a temple called Nandauwas. There are oral legends that credit the creation of Nan Madol to a pair of brothers wishing to build an altar to the god of agriculture. They levitated stones to the reef using the help of a flying dragon. There are threats of collapse due to sea levels rising and overgrowth of vegetation.

Dome of the rock

Content Area: West Asia Artist/Culture: Abd al-Malik Islamic Culture Medium: Rock, stone masonry, and Mosaic tiles Creation Date: 691/692 CE Location: Jerusalem Brief Background: The Dome is located on the Haram al-Sharif, an enormous open-air platform that now houses Al-Aqsa mosque, and several other religious buildings. It is the Temple Mount, the site of the Jewish second temple, which the Roman Emperor Titus destroyed in 70 C.E. while subduing the Jewish revolt; a Roman temple was later built on the site. The Temple Mount was abandoned in Late Antiquity. The area is still considered holy by Jews and Christians, as well. Snapshot: At the center of the Dome of the Rock sits a large rock, which is believed to be the location where Abraham was prepared to sacrifice his son Ismail (Isaac in the Judeo/Christian tradition). Today, Muslims believe that the Rock commemorates the night journey of Muhammad. The Rock is enclosed by two ambulatories (aisles that circle the rock) and an octagonal exterior wall. The central row of columns ( colonnades) was composed of four piers and twelve columns supporting a rounded drum that transitions into the two-layered dome more than 20 meters in diameter. The colonnades are made of marble and decorated with mosaics. The mosaics in the Dome of the Rock contain no human figures or animals. While Islam does not prohibit the use of figurative art in religious buildings instead there are vegetative scrolls and motifs, as well as vessels and winged crowns, which were worn by Sasanian kings. Thus, the iconography of the Dome of the Rock also includes the other major pre-Islamic civilization of the region, the Sasanian Empire, which the Arab armies had defeated.

Folio from a Qur'an

Content Area: West Asia Artist/Culture: Islamic Culture Medium: Vellum, ink Creation Date: Approx. 911 CE Location: Damascus, Syria, possibly Iraq Brief Background: The Qur'an is the holy book of Islam. It is comprised of the divine revelation of God to the prophet Mohammed, believed by Muslims to be the literal word of God. While the Qur'an is written down, written versions of the Qur'an are considered to be secondary to the oral tradition, with many Muslims memorizing the entirety of the Qur'an. Snapshot: The folio is a piece of vellum paper with Arabic calligraphy written on it. The passages from Surat Al-'Ankabut are written in dark brown/black ink, likely with a reed pen. The folio functioned as a written version of the Islamic holy scripture. The sura written on the folio is known as "The Spider." The writing also features Arabic vowel points which are red and gold. Islamic scribes had to train for years to produce even a single page of the Qur'an, with the proper proportions of each letter and line needing to be perfectly memorized. This Qur'an was given to the great mosque in Damascus in 911 CE but was produced prior to that date. Overall, the folio's design seeks to present the scriptural text in a comprehensible manner while keeping aesthetically complex for the ultimate glorification of God.

The Kabba

Content Area: West and Central Asia Artist/Culture: Islamic Culture Medium: Granite masonry, covered with silk curtain and calligraphy in gold and silver-wrapped thread. Creation Date: 631-632 CE Location: Mecca, Saudi Arabia Brief Background: Although its earliest origins are unknown, before the rise of Islam, the Kaaba was a polytheist sanctuary and a site of pilgrimage for people throughout the Arabian Peninsula. The Quran says that Abraham and Ishmael "raised the foundations" of the Kaaba. The Kaaba has been destroyed, damaged, and subsequently rebuilt several times since its creation. Snapshot: The Kaaba is a shrine located near the center of the Great Mosque in Mecca. It is considered by Muslims to be the most sacred spot on Earth. The cube-shaped structure is roughly 50 feet high, and it is about 35 by 40 feet at its base. It was made of gray stone and marble. It is oriented so that its corners correspond to the points of the compass. The interior contains nothing but the three pillars supporting the roof and a number of suspended silver and gold lamps. During most of the year the Kaaba is covered with an enormous cloth of black brocade, called the kiswah. Located in the eastern corner of the Kaaba is the Black Stone of Mecca. Its pieces are now broken and surrounded by a ring of stone and held together by a heavy silver band. According to tradition, this stone was given to Adam on his expulsion from paradise to gain forgiveness of his sins. Every Muslim who makes the pilgrimage is required to walk around the Kaaba seven times and kiss and touch the Black Stone. Legend has it that the stone was originally white but has become black by absorbing the sins of every pilgrim who kissed and touched it.

Jowo Rinpoche, Jokhang Temple

Content Area: West and Central Asia Artist/Culture: Yarlung Dynasty, believed to be carved by Viswakarma Medium: gilt metals, semi-precious stones, pearls, paint, offerings Creation Date: 641 CE Location: Lhasa, Tibet Brief Background: Buddhism is one of the world's largest religions, with the belief that the goal in life is to reach enlightenment or nirvana. Buddhism was started by Siddharta Gautama in the 6th or 5th century BCE. Siddharta Guatama is also known as Shakyamuni. Snapshot: Shakyamuni or Rinpoche means precious one in the Tibetan language. The statue of Jowo Rinpoche is located inside the Jokhang Temple. Jowo Rinpoche is seated with his legs in the lotus position. His left hand is in the mudra of meditation, and his right hand is in the gesture of 'calling the earth to witness.' Rinpoche wears an extravagant jeweled crown and robes. The postures as a whole show the moment of Buddha's enlightenment. The Jowo Rinpoche is considered to be the most sacred Buddha image in Tibet. It was carved during the lifetime of Buddha Shakyamuni. The statue acts as the Buddha's proxy after parinirvana (departure from the world.) The similarity to Jowo and Buddha Shakyamuni is shown through the connection to the sacred power.

Under the Wave off Kanagawa (The Great Wave)

Content Area: content 8 Artist/Culture: Katsushika Hokusai Medium: polychrome woodblock print, ink and color on paper Creation Date: 1830-1833 CE Location: Japan Brief Background: This piece is a Japanese woodblock print made during the Edo period and the style is called Ukiyo-e. Ukiyo-e style prints are known for their emphasis on defined lines and bright colors. These types of prints were not high class art. They were typically sold for very little to Japan's growing middle class. The Great Wave is part of a series by Hokusai called Thirty Six Views of Mount Fuji. Mount Fuji was the highest mountain in Japan and was an active volcano that had last erupted in 1707. It is considered sacred to the Japanese people (Buddhism and Shintoism). All of the pieces in the series contain Mount Fuji in some way, but in this specific piece, the mountain does not dominate the frame as it was intended. Hokusai also had a specific interest in capturing water because he was fascinated by the way it moved. Hokusai's works also have a lot of western influence, mainly Dutch, as is shown in this piece and the others in the series. Some western features include the linear perspective, low horizon line, and the use of Prussian blue. Snapshot: The main subject of this piece is the huge wave, just about to crash. The composition specifically frames Mount Fuji and the eye of the viewer is directed to it. Hokusai has created a large contrast between near and far, as the wave almost dwarfs the mountain behind it. This shows the movement of the piece and the personification of the wave because it was designed to appear threatening. The wave is about to crest on the fisherman in their boats, and many believe this was to depict fear and respect for the ocean. At the time when this piece was made, Japan was isolated from the rest of the world and any form of trade was illegal. Because of this there was a large fear of industrial foreign powers invading Japan, and many historians believe that this piece has political implications related to that. Mount Fuji, a symbol of Japan, is being encroached upon by boats and large waves, which symbolize powerful foreign countries. This implies the widespread fear of foreign invasion that was prevalent in Japan. This piece has also been commonly used as a symbol for tsunamis, but this belief is very controversial.

Presentation of Fijian mats and tapas clothing

Content Area:9 Artist/Culture: Tonga people Medium: barkcloth, bark of mulberry tree Creation Date: 1953 Location: Fiji, Polynesia Brief Background: On December 17 1953 Queen Elizabeth II visits Fiji on her commonwealth tour. In the photo the fijian women make their way through a group of seated Fijian men and women. Barkcloth is made by stripping the inner bark of the mulberry trees, soaking the bark, then beating it into strips of cloth that are glued together by arrowroot paste. This is called masi. The masi is only worn by women likely due to the queens visit. Snapshot: the tapas mats serve as a ritual exchange and tribute. They are made by women and are made similar to the barkcloth by boiling, drying, blackening, and softening the leaves of the Pandanus plant. Then dried into and woven into tight diagonal patterns in frayed edges. The mats in the picture are simple in design due to the importance of the Queen. The more simple the more meaningful. With processed plants they are more widely available than masi and used in funerals and rituals. The men would tend to the trees but only the women make the actual fabric. In the photograph the women have similar hairstyles and have similar face tattoos/ paint on their foreheads and cheeks.

Buk Mask

Content Area:Mid- to late 19th century C.E. Artist/Culture: Australia, Mabuiag Island, Queensland, Torres Strait. Richard hunt / Beth Harris and Steven Zucker. Medium: Turtle shell, wood, fiber, cassowary feathers, resin and paint. Monochromatic , dark representative Creation Date: Location: The Metropolitan Museum of Art Brief Background: Part of elaborate costume for significant performance, and meant to have movement with dance Possibly honoring and depicting a hero or ancestor The bird could be a mythological totem connected to a family→ connected culture to the supernatural and symbolic animals A ceremonial mask called buk. Combines an abstracted human face below a frigate bird. The face may represent an honored ancestor or a hero. Demonstrates a connection of animals to humans The mask depicts a black seabird with a forked tail, elongated beak, and a large wingspan. The bird may represent strength and nobility. Snapshot: This mask refers to the Kwakiutl belief in the ability of animals and humans to transform into one another. Richard Hunt, the artist who made this mask, preserves traditional Kwakiutl practices in wood sculpture. Mask (Buk, Krar, or Kara) mid to late 19th century. ... The ceremonies often involved performances in which senior men, wearing the masks and rustling costumes of grass, reenacted events from the lives of culture-heroes, which were drawn from oral tradition The face is said to represent a deceased ancestor and the frigate bird is believed to represent almost like the spirit animal of that ancestor. The hair and the facial features further supports the idea that the helmet strives to emulate a deceased ancestor or legendary figure.

A Philosopher Giving a Lecture on the Orrery

Title/Designation: A Philosopher Giving a Lecture on the Orrery Content Area: 4 - Later Europe and the Americas Artist/Culture: Joseph Wright of Derby Medium: Oil on Canvas 4 feet by 8 feet Creation Date: 1763-1765 CE Location: Derby, England Derby Brief Background: Joseph Wright lived in Derby his whole life, which is how he got the name "Wright of Derby." He was friends with the grandfather of Charles Darwin, Erasmus. The Enlightenment lasted from 1715-1789. This was painted in the middle of that, in 1763. This painting challenged classic historical subjects because the moral of the painting is scientific knowledge! This is in contrast to hundreds of years of paintings that focused on biblical scenes or the heroism of greek myths. Snapshot: There are two young children gazing down into the contraption in the back, a young woman with her back to us, a man staring at the lecturer, a man covering his eyes from the light, another man, and a notetaker. The lecturer is wearing a red coat, representing his influential status. He is shown similarly to a Saint. Their identities are not representing anyone specific. None of the figures are idealized either, they are painted naturally as they are. They are all learning. The focus is not on the individuals, but who they are representing, society as a whole. They are interested in the new knowledge they can gain from this, they are representing a shift towards society being interested in scientific exploration. The style of light and shadow is called chiaroscuro: a high contrast between light and dark shadows in painting created by light coming from a particular direction. In this case, there is a lamp-hidden from our view-directly in front of the girl, that creates this dramatic effect of lighting. This lamp serves a double purpose, lighting the scene and representing the enlightenment the figures are experiencing. This scene shows an epiphany, a conversion to science. It is showing the energetic feeling about the search for reason.

Allegory of Law and Grace aka The Law and the Gospel

Title/Designation: Allegory of Law and Grace aka The Law and the Gospel Content Area: 3 Artist/Culture: Lucas Cranach the Elder Medium: oil on wood Creation Date: 1529 CE Location: Germany Brief Background: Lucas Cranach the Elder was an influential German printmaker and painter known for his involvement in the Northern Renaissance. He was the court painter of the Elector of Saxony, and the patron of Luther. He had met Martin Luther when he traveled to Wittenberg in 1505 during his more static period. The Lutheran Reformation (aka the Protestant Reformation) initiated by Martin Luter in 1517 was an attempt to reform the catholic church that lead to significant rebellion. Snapshot: It explains Luther's ideas in visual form including the idea that heaven is reached through faith and god's grace rather than good deeds (aka paying your way to haven). There is a tree in the middle of the painting and to its left you see law and to the right of the tree, you see grace. Right (gospel/grace): John the Baptist is seen directing a naked man towards Christ on the cross and Christ risen who is at the top of the empty tomb (resurrection). The man is not "vainly" trying to follow the law or present an account of his good deeds but is instead standing passively at god's mercy. Left (law): In the foreground on the left a skeleton and demon force a frightened naked man into hell as a group of prophets point to the tablets of the law. This, along with the motifs on the left, is meant to show that law alone will not get you to heaven. Christ sits in Judgment as Adam and Eve eat the fruit that leads them to fall from grace and be cast out of the Garden of Eden. Moses is watching this from his near-center vantage point, his white tablets stand out against the scene and highlight the association of law, death, and damnation. The motifs together demonstrate that law leads to hell when mistaken as a path for salvation. They show the two roles God plays, judgment and mercy; God judges and condones human sin but he also shows forgiveness and mercy, granting salvation to those who are seen as undeserving. Luther's interpretation of the law is complex but the central ideas are that law alone does not make salvation possible and instead paves the way for salvation by preparing the way for grace.The Law and Gospel describes events throughout the Bible which reveal the dual aspect of God's relationship to people.

And There's Nothing To Be Done

Title/Designation: And There's Nothing To Be Done (Y no hay remedio) Content Area: Spanish Romanticism Artist/Culture: Francisco de Goya Medium: etching Creation Date: 1810 Location: Spain Brief Background: Francisco de Goya created a series of 82 plates, titled The Disasters of War, in which And there's nothing to be done is one of them. The images depict the Peninsula War and protest against the French occupation of Spain by Napoleon Bonaparte. Napoleon tried tricking the king of Spain into letting his troops cross the border and after succeeding, he put his brother, Joseph Bonparte, on the throne. After the French seized control of the country in 1807, a bloody uprising occurred, in which many Spaniards were killed. Throughout this time, Goya was working for the new Spanish King, Joseph, although he later denied any involvement with him. Goya's work was intended to instill Spanish nationalism and was controversial for many. First plates - the effects of the conflict Middle plates - effect of famine Last plates - disappointment of the Spaniards Snapshot: "And there's nothing to be done" belongs to the first set of plates. The image is black and white and depicts several figures. One man is blindfolded and tied to a pole behind him. On the figure's right side lies a person, most likely dead, on the ground. The lying body is seen to be in a twisted position, with their eyes shot out and blood spilling all over. Behind the standing figure is a group of people, who are holding up weapons at another person tied to a pole. It is not certain whether or not these people are actually firing their rifles, which was made intentionally ambiguous by Goya. To the right edge of the work are rifle barrels, pointing to the central figure. The rifles are in the same position as the ones seen further away. The process of making the work included etching the plate, scratching lines on the surface with a needle, then pouring ink and wiping it off so that it only stays on the parts that were incised.

Arena Chapel

Title/Designation: Arena Chapel Content Area: Artist/Culture: Giotto (artist), commissioned by Enrico Scrovegni Medium: Fresco painting Creation Date: 1300 Location: Padua, Italy Cite Sources (at least 3): books, articles, URLs, etc. (Add numbers if needed) Brief Background: There are numerous images across the chapel, mainly telling the story of Christ and Mary The most significant paintings are The Betrayal of Christ and Lamentation The main theme of the paintings is salvation Snapshot: The fresco focuses on Mary's role in human salvation; the scenes are chronologic across the chapel. First, Mary's life is depicted, followed by the life of Jesus and ultimately the Universal Judgment (which concludes the story of salvation). The story of Mary is narrated on the upper register of the walls, beginning with scenes of her parents, Saints Joachim and Anna, and ending with the youth of Jesus, who is depicted on the two lower registers. By the altar, the Annunciation is shown, and on the entrance wall, Giotto painted the Last Judgment. In one of the Frescos, Scrovegni himself is shown presenting a model of the Arena Chapel to Mary, as to suggest his power and significance in society. It is believed that Scrovegni's primary motivation for commissioning the chapel was to atone for the sin of usury, which is charging interest for a loan; he likely thought this would increase his chances of going to Heaven and being saved. Giotto's style also differs from the typical Byzantine mural paintings in that his art is very naturalistic; he wanted to depict real humans and capture their emotions.

Bayeux Tapestry

Title/Designation: Bayeux Tapestry Content Area: content 3 Artist/Culture: Thought to be Anglo Saxons Medium: Embroidered linen cloth with wool inlaid Creation Date: 1066-1080 Location: Romanesque Europe Brief Background: This tapestry tells a story of the struggle for the throne between William, who is the Duke of Normandy, and Harold, the Earl of Essex. William successfully invaded and conquered England in 1066, earning him the title William the Conqueror and becoming the first Norman King of England. This tapestry shows the events leading up to this conquest. It is missing the end but likely shows William as King of England. Snapshot: This tapestry shows the Battle of Hastings in 1066 and all of the events leading up to it. It is made from embroidered wool yarn sewn into cloth. The tapestry has 8 different colors in it, including blue-green, terracotta, light-green, ochre, and gray-blue. The color of the plain tapestry is used as skin color for this. The figures are very one dimensional and lack an understanding of space. It is split into three horizontal sections to give the illusion of depth. These sections consist of a thinner upper and lower section, and a large middle section. There are 75 scenes each with Latin inscriptions, called tituli. We see battle preparations, the army eating and preparing for battle, and eventually the actual attack on England. The ending of the tapestry is not present but it is assumed that it shows William being crowned king. It is thought that this tapestry is relatively historically accurate. The tapestry portrays the Normans, being the winners, in a positive light, however, and this piece is mainly meant to commemorate that victory. We don't know the exact artists who created this work but assume it is Anglo-Saxons due to the strategies used.

Burghers of Calais

Title/Designation: Burghers of Calais Content Area: 4 Artist/Culture: Auguste Rodin Medium: Bronze Creation Date: 1884-95 Location: Calais, France Brief Background: Auguste Rodin was a French sculptor known as the father of modern sculpture. Many of his pieces featured movement and emotion instead of perfect (neo) classical anatomy, linking him to the Impressionist, Realist, and Symbolist movements. Rodin was rejected multiple times from the French academies and salons, but was eventually accepted. From there, he developed his style, and by the end of his life he was seen as the next Michelangelo. However, he also had many turbulent (and exploitative) affairs with young women, including artist Camille Claudel. Burgher ⇒ a city councilman Calais ⇒ A city in France, the closest place to England Snapshot: The Burghers of Calais was made from 1884-95, at the end of Rodin's career. The city of Calais commissioned him to tell the story of Eustache de Saint-Pierre, a councilman who volunteered himself to the English during the Hundred Years' War (1340s). Instead of a victorious scene with Eustache, Rodin created an anguished sculpture of all six burghers. The circular composition, dramatic textured folds, and weighty poses allow the audience to directly connect with the burghers' fate. All six members look alone - no one looks at each other and their shoulders are all hunched. Even though Rodin definitely understood anatomy, he made the burghers look less heroic and focused on their emotions. This shift was important to the creation of modern sculpture. The sculpture was initially supposed to be displayed at ground level so people could walk right up to the burghers, but the city council already didn't like the design. Instead, they put it on a pedestal to make the six burghers seem more heroic.

Calling of St. Matthew

Title/Designation: Calling of St. Matthew Content Area: Baroque Artist/Culture: Michelangelo Merisi da Caravaggio Medium: Oil on canvas Creation Date: 1599 - 1600 Location: Contarelli chapel, San Luigi dei Francesci, Rome Brief Background: Many Catholic Churches feature elaborate paintings, and the Church of San Luigi dei Francesci is no exception. The Church's Contarelli chapel features three paintings by Caravaggio, all showing key events in the life of St. Matthew the apostle. Snapshot: The Calling of St. Matthew was painted with oil paint on canvas by Caravaggio. It was designed to educate parishioners about the life and story of St. Matthew, part of the broader story of the Gospels. Caravaggio makes the scene from St. Matthew's life accessible by dressing them in contemporary clothing and by using a naturalist style. The painting depicts the moment of St. Matthew's conversion. The Gospel of Matthew describes what happened "And when Jesus passed on from hence, he saw a man sitting in the custom house, named Matthew; and he saith to him: Follow me. And he rose up and followed him." (Matthew 9:9) This simple scene is shown by Caravaggio as a dramatic moment of conversion, where Christ enlists a simple tax collector, who is shown pointing at himself in incredulity. This art is characteristic of the art of the Tridentine Era, as Catholic artists sought to glorify God, the Church, and the Catholic faith through elaborate and extravagant art. The work is characteristic of the Baroque style as it has an immense sense of drama, emotion, grandeur, contrast, detail, and movement. Some have observed that Christ's hand is in the same position as Adam's in the Sistine Chapel, showing the connection between Adam and the old covenant, and Christ, who is the new Adam that brought the new covenant.

Carson, Pirie, Scott and Company Building

Title/Designation: Carson, Pirie, Scott and Company Building Content Area: Later Europe and Americas, 1750-1980 Artist/Culture: Louis Sullivan (architect). Medium: Iron, steel, glass, and terra cotta. Creation Date: 1899-1903 ce. Location: Chicago, Illinois, U.S. Brief Background: Sullivan's building is an important example of early Chicago skyscraper architecture, and can also be seen as an indicator of the relationship between architecture and commerce. The firm of Adler & Sullivan first became known in Chicago in the early 1880s for the design of the Auditorium Building and other landmarks utilizing new methods of steel frame construction and a unique blend of American "Nouveau riche" art with simple grandeur. Sullivan set out on his own and famously analyzed the problem of high-rise commercial architecture, arguing with his famous phrase "form must ever follow function" that a building's design must reflect the social purpose of a particular space. Sullivan focused his ideas to create a department store for the Schlesinger & Mayer company that was soon purchased by Carson, Pirie, Scott. Snapshot: Amidst the endless crowd of tall buildings in Chicago's downtown neighborhoods, at the intersection of State and Madison Streets, the Carson, Pirie, Scott and Company Building stands. It is a building with large glass windows and a rounded corner entryway covered with lavish decoration. It is a department store and was constructed in two stages in 1899 and 1903-04. Instead of emphasizing the beehive of identical windows meant to reflect the identical work taking place in each individual office, Sullivan highlighted the lower street-level section and entryway to draw shoppers into the store: The windows on the ground floor, displaying the store's products, are much larger than those above. The three doors of the main entrance were placed within a rounded bay on the corner of the site, so that they are visible from all directions approaching the building. Moreover, the wide rectangular window frames meet the specific requirements of a department store, expansive open spaces to display products to customers, not endless individual offices. The floral decoration served to distinguish the building from those surrounding it, and to make the store attractive to potential customers. The upper parts reflect Sullivan's adaptation of his skyscraper theory to a department store: Each successive story of the white terra-cotta façade contains identical windows (in this case, the three-sectioned "Chicago" window common to late nineteenth-century skyscrapers in the city). The building's focus is horizontal, rather than vertical. Sullivan's design emphasizes the long, uninterrupted lines running under each window from each side of the building towards the entry, flanked by the decorative base at the bottom and the cornice line at the top.

David

Title/Designation: David Content Area: 3 Artist/Culture: Donatello Medium: Bronze Creation Date: 1440-1460 CE Location: Florence, Italy Brief Background: In the early 15th century the Republic of Florence had risen up against the Duke of Milan. Because the Florantinians had a significantly weaker military than that of Milan, the biblical character David became a symbol for the people of Florence. David is a study in ancient Roman and Greek art by Donatello. The Statue was made with the lost wax casting method. This was the first free standing nude figure since classical antiquity. Donatello is one of the most celebrated Italian renaissance artists, who had mastered the mediums of marble and bronze. Snapshot: The story of David versus the Goliath, outlines a young shepherd named David who volunteered to fight the Goliath, an opposing giant threatening the Israelites. He ends up killing Goliath with a rock and sling and decapitates him, with the help of god. David marks the return to a return to ancient Greece and Rome's love to the physical body, rather than the current fixation of depicting humans as modest and opting to focus on the human "soul" in art. David stands in the contrapposto position, which shows him as very relaxed. David has downturned eyes and a relaxed face and slight smile, showing that he is proud of his accomplishments, however not boastful, but he rather seems to be reflecting on his victory. David's nudity not only shows the human body but also makes David rather sensual. His contrapposto position, hand on hip, and the fact that one of the wings from Goliath's helmet rises all the way up David's leg makes the sculpture almost erotic. David is depicted as very innocent, he wears a soft hat as opposed to Goliath's war helmet. Goliath's helmet is adorned by a scene of Eros (Love) riding a chariot which also connects it to a theme of erotosism. Scholars link the sensuality of the piece to Florence's obsession with young male beauty at the time. David was originally supposed to stand on a pole in a public space, but was taken by the Medici to associate themselves with the hero and the things he had become known to stand for, liberty, freedom and peace. David has Goliath's war-torn sword in one hand and a rock in the other. Scholars believe this to be in relation to Milans autocracy, and military dominance, and the rock to relate to Florence's culture and perserverance. Because David was a freestanding sculpture and in the contrapposto position it gave him a vast sense of movement.

Fruit and Insects

Title/Designation: Fruit and Insects Content Area: 3 Artist/Culture: Rachel Ruysch, Dutch Medium: Oil on wood Creation Date: 1711 Location: Uffizi Gallery, Florence Brief Background: Rachel Ruysch was a famous Dutch still life painter. Despite the stigma against female artists at the time (more later), she was very successful and actually earned more than Rembrandt from her patronage. She learned how to paint when her father, a noted botanist, apprenticed her to painter Willem van Aelst. Her sister, Anna Ruysch, was also a talented still life painter, but her works weren't signed or sold. Rachel Rusych and her husband, portrait painter Juriaen Pool, became court painters for the elector palatine. This allowed them to earn significant commissions for their works, while still selling lower priced items to the middle class. Snapshot: Rachel Ruysch painted Fruits and Insects (along with a second painting) in 1711 as a commission for Cosimo III de Medici, which was a gesture of friendship between Amsterdam and Florence and also showed their shared wealth. The painting is mostly made of different shades of the complementary colors red and green, which adds balance even when the composition seems chaotic at first. The painting's diagonal composition feels slightly chaotic because of the way the fruits are balanced against each other, however it is actually very carefully constructed. Instead of laying out this entire still life at once, Ruysch would have painted each fruit separately from a pattern book or past studies, and then arranged them all together. This is consistent with the Late Northern Renaissance, which was known for intricate and formulaic composition, however Ruysch was a bit more lively than other artists at the time. The painting shows an overflowing bounty of different fruits, vegetables, and insects, which goes with the harvest and autumn themes. Specifically, the grapes and wheat (top right) indicate the bread and wine of the Communion. Ruysch also draws on botanical knowledge to accurately paint the insects (butterfly, lizard, beetle, etc). Today, historians see Ruysch's work as an example of scientific discovery influencing art - this painting is all about observing the little details. Although Ruysch was working on commision, she still wanted to draw attention to insects, which weren't as common in still life during this time.

George Washington

Title/Designation: George Washington Content Area: American Neoclassical Artist/Culture: Jean-Antoine Houdon Medium: Marble Creation Date: 1788-1792 CE Location: State Capitol, Richmond, Virginia Brief Background: After the success of the American Revolution, his role in Virginia, and as the president, the Virginia General Assembly decided to honor Washington in a public space. Thomas Jefferson selected Jean-Antoine Houdon, who was a trained Neoclassical sculptor in France. He sailed to Philadelphia to take real-life measurements of Washington. Snapshot: Washington's glance is described as fatherly. He stands with his weight to the right, a version of contrapposto. In his right hand, he holds a civilian walking cane which is used to portray him as down-to-earth and humble. His left arm rests on a fasces, which is a bundle of thirteen rods (colonies) that symbolize the power of a ruler and strength through unity. It is meant to represent the motto, "Out of Many, One" which was congressionally approved in the United States. Houdon shows Washington's immense military power through the military wear and the officer's sword. The sword hangs on the outside of the fasces reinforced by the plow located behind him, which suggests agriculture and peace. The message behind the sculpture refers to the story of Cincinnatus, who was a Roman dictator who resigned when his leadership was no longer needed. Washington resigned from military and presidential power and lived a peaceful life on his farm.

Golden Haggadah

Title/Designation: Golden Haggadah Content Area: 3 Artist/Culture: From Late Medieval Spain, Sephardic Jewish Culture Medium: Pigment and Gold Leaf on Vellum Creation Date: 1320 CE Location: Barcelona, Spain Brief Background: During this time in Spanish History there was a rich cultural exchange, as there were many Christians, Jewish peoples and Muslims living there. This exchange led to a new form of Judaism, Jewish peoples from the Iberian peninsula and parts of Africa became known as Sepharic, and developed distinct new traditions and culture (and eventually a new language known as Ladino which is a combination of Spanish and Hebrew). Snapshot: The Golden Haggadah is an illuminated manuscript with 56 miniatures. The Haggadah (literally translating into narrative) is a book read from on the Jewish holiday of Pesach (Passover) that tells the story of the Jewish freedom and escape from Egypt. It highlights the stories of the 10 plagues and Moshe's leadership of the Jewish people from Egypt, crossing the Red Sea and escaping Pharoah. The Haggadah is read on the first two nights of Pesach during ritual meals called the Seders (literally translating into order). The Haggadah is almost exclusively used on these first nights of Pesach and for in-home use. The Golden Haggadah gets its name from the gold-leaf background on each of the miniatures. The Haggadah has narration above and below the Miniatures telling the story of the Jewish Exodus in Hebrew, read right to left, the miniatures themselves are also read from right to left, top to bottom. The Miniatures are in the Christian Gothic Style, featuring long flowing bodys, small european architectural details and patterned backgrounds. Pharaoh doesn't look Egyptian but rather like a French King (see below). It is unknown if the artists themselves were Jewish but the Christian artistic influences are prevalent in the Haggadah. Because Haggadot are only used within the home and did not serve an inherently ritualistic purpose the lavish and detailed Haggadah was created to showcase the wealth of the owners.

Horse in Motion

Title/Designation: Horse in Motion Content Area: Content 4 Artist/Culture: Eadward Muybridge Medium: Photography Creation Date: 1878 Style: Realism Location: Sacramento California Horse aficionados, including former California Governor/railroad company president/racehorse breeder Leland Stanford, speculated that there were indeed moments in a horse's stride in which all hooves were off the ground and the animal enjoyed "unsupported transit." [1] But he had no means to prove his theory, because the speed of a horse's movement surpassed the sensitivity of his unaided eyesight, and photography's shutter speeds just over three decades after the medium's invention were not yet quick enough to capture such short slices of time. In 1872, Stanford thought of photographer Eadweard Muybridge, who previously photographed Stanford's opulent Sacramento home. Muybridge had been roaming the western United States in his one-horse carriage (equipped with a darkroom) to make photographs of majestic scenes such as the Yosemite Valley for his commercial studio Helios.He agreed in 1872 to work for Stanford at his Palo Alto Stock Farm to improve photographic shutter speeds and ultimately help determine whether all four feet of a horse are off the ground at any point in mid-gallop. The irascible Muybridge (born Edward James Muggeridge) had to temporarily disband his motion-study work after shooting and killing Harry Larkyns, his wife's lover, in 1874. Muybridge was jailed and tried for murder the following year, but was acquitted on the grounds of "justifiable homicide." [2] Muybridge blamed a severe head injury suffered in a stagecoach accident in 1860 for his erratic actions.

La Grande Odalisque

Title/Designation: La Grande Odalisque Content Area:4 Artist/Culture: Jean-Auguste-Dominique Ingres Medium:Oil on Canvas Creation Date:1814 Location: Italy Brief Background: Jean-Auguste-Dominique learned art from a young age starting from his father who was a decorative artist who let him copy his family's print collection. He then went to school for art and later moved to Paris to study under Jacques-Louis David who was prominent in the neoclassical style. He taught him the importance of studying from nude models. Snapshot: The work was commissioned by Napoleon's sister, Caroline Murat. Ingres started to reject the neoclassical subject matter he was taught with. He started to paint with the subject matter in romanticism but also retained some techniques he learned from the neoclassical style. It was common at the time for artists to either cover females in their paintings or disguise them in mythology but Ingres refused to hide who and what his female figure was. The woman in the painting is seen wearing nothing but jewelry and a turban. Her back is shown to the viewer and her head is looking back over her shoulder. Around her are luxurious fabrics. In her hand she is holding a peacock fan. By her foot there is also a pipe. The oriental elements in the work were used in the same way mythology was used to disguise female nudity by creating a distance and making it seem exotic to sexualize her for the male gaze. The piece maintains a linearity that was common in the neoclassical style and has a smooth paint surface. Ingres' teacher's style presented women in an idealized perfect state while he instead presented them in an exaggerated unbelievable way. Her back is elongated similar to the mannerist style and her legs don't lay properly.

Les Demoiselles d'Avignon

Title/Designation: Les Demoiselles d'Avignon Content Area: Cubism Artist/Culture: Pablo Picasso Medium: Oil painting Creation Date: 1907 Location: Paris, France Brief Background: Cubism was a new way of representing reality started by Pablo Picasso and Georges Braque. Cubism brings together different views of a subject in one image, this would create abstract and fragmented images. Les Demoiselles d'Avignon was the first cubism painting which Picasso shared with Braque in 1905 but wasn't shared with the public until 1916. Over two years Picasso and Braque worked together to develop the cubist form. Snapshot: The painting features five women prostitutes looking back at the viewer. Avignon was a street in Barcelona well known for prostitution. Three of the women are painted more naturally to represent iberian sculpture, while the other two are very fragmented. These two women were made to look like they were wearing african masks. Picasso was collecting this art at the time and it fascinated him because of their aggressive qualities. He later denied his influence from them. The piece is supposed to reflect Picasso's desire but also his fear of the women. The women are 7 feet tall and aggressively staring at the viewer unashamed of their nakedness. In front of the women is a bowl of fruit that is made to show the viewer's attraction to the woman above it, Picasso made for the viewer to be male. Picasso had done multiple practice images before doing the larger painting. The original ones featured two male figures with the women, one a sailor and one a medical student. Originally the women were going to be taking care of these men. Picasso often stole or was inspired by methods and syles of other artists.

Mont Sainte-Victoire

Title/Designation: Mont Sainte-Victoire Content Area: Post-Impressionism Artist/Culture: Paul Cézanne Medium: Oil on canvas Creation Date: 1902-1904 Location: France Brief Background: Paul Cézanne was a French Post-Impressionist painter who is said to have formed the bridge between late 19th century Impressionism and the early 20th century's Cubism. He strove to develop an ideal synthesis of naturalistic representation, personal expression, and abstract pictorial order. Cézanne was committed to representing contemporary life and painting the world he observed without concern for thematic idealization of stylistic affectation. Snapshot: The Mont Sainte-Victoire mountain range was a common theme for Cézanne's works. They show the mountain from different points of view and often in relationship to a constantly changing cast of other elements like trees, bushes, buildings, bridges, and fields. This composition is divided into three horizontal sections, which extend across the canvas. Our viewpoint is elevated and we are able to see the houses and trees from above. Rough patches of yellow ochre, emerald, and viridian green suggest the patchwork of an extensive plain and extend the foreground's scheme into the middle ground. Above, in contrasting blues, violets, and grays, is the mountain surrounded by the sky. The blue sky accents the piece while the different shades of green enliven the sky and mountain. The perspective is achieved by juxtaposing these warm and cool colors. There is not a momentary glimpse of atmosphere, as in Impressionism, but a solid and firmly constructed mountain and foreground. Unlike Impressionism, the work focuses more on geometric forms rather than the effects of light. Very broad brushstrokes dominate the painted surface, which was seen in the Cubism style of painting.

Monticello

Title/Designation: Monticello Content Area: Neoclassical Artist/Culture: Thomas Jefferson Medium: Brick, glass, wood Creation Date: 1768 - 1809 Location: Charlottesville VA Brief Background: Thomas Jefferson was a founding father and the 3rd President of the United States. Besides being an accomplished statesman, he also studied a variety of other subjects including architecture. Snapshot: Monticello is built in a Palladian Neoclassical style. It has many features of neoclassical architecture, including columns, portico, geometrical proportionality, and a central dome. It was intended to act as the private residence of Thomas Jefferson, as well as the estate on which he would oversee the plantation. Much of Jefferson's inspiration comes from his visits to France when he was the ambassador there. The site also features extensive gardens in imitation of French gardens found in places like Ver. Jefferson had been interested in architecture since his student days at the College of William and Mary, where he showed a strong distaste for the imitation of the style of Sir Christopher Wren. Jefferson's architectural work can also be seen in the nearby University of Virginia, where he also implemented his neoclassical style. Overall, Jefferson sought to introduce neoclassicism as the architectural style of the new United States, which he believed would be brought to life in classical virtue as expressed in the architecture.

Mosque of Selim II

Title/Designation: Mosque of Selim II Content Area: 3 Artist/Culture: Sinan (architect) Ottoman mosque Medium: brick and stone Creation Date: 1568-1575 Location: Edirne, Turkey Brief Background: Sinan was one of the Ottoman Empire's greatest architects, and constructed hundreds of mosques and buildings, one of which is the Mosque of Selim II. Sinan was also a chief court architect for the Ottoman emperor Suleyman the Magnificent. Sultan Selim II had chosen Edirne as the complex's location because it was one of his favorite cities and where he was stationed as a prince. Edirne was also of historical and geographical significance because it had been the capital of the Ottoman Empire in the 15th century before Istanbul. In addition, Edirne was the first major city that Europeans traveling to the Ottoman Empire reached, so building a complex here offered an opportunity to use architecture to display the Ottoman Empire's prestige and impress visitors. Snapshot: The Complex The complex measures 190 x 130 meters and is composed of a mosque, two symmetrical square madrasas (one of which served for studying the hadiths, or traditions of Muhammed), what used to be a row of shops, and a school for studying the Quran. The Mosque Sinan adapted the designs of his mosques to meet the needs of Islamic worship, which requires large open spaces for common prayer. As a result, the huge central dome became the focal point around which the design of the rest of the structure was developed. The mosque is surrounded with extremely thin soaring minarets, perhaps reaching into the heavens. Inside is the prayer hall, which is approached through a porticoed courtyard, making the central block of the complex rectangular. As you enter the north facade of the mosque, your eyes shift up toward the dome. All of the architectural features are subordinated to this grand dome. The dome rests on eight muqarnas-corbelled squinches that are in turn supported by eight large piers. The muqarnas create a corbelled effect, allowing for more open space below. The squinches are placed for architectural support and are decorated by the muqarnas, which transition from the dome down to the eight piers. Smaller half-domes in the corners support the main dome and transition the space to a square ground plan. A complex system of exterior buttresses support the east and west piers and hold up the weight of the dome. The inside features an abundant amount of window space, allowing for a well lit interior. The mosque is a centrally planned building, but was in part inspired by the Hagia Sophia.

Nadar Raising Photography to the Height of Art

Title/Designation: Nadar Raising Photography to the Height of Art Content Area: 4 Artist/Culture: Honore Daumier Medium: Lithograph Creation Date: 1862 CE Style: Realism Location: Paris, France Brief Background: Daumier was known for his satirical lithographs. He was a working class artist who rose to prominence around 1830. This is a lithograph made around 1862, this was 23 years after the invention of the daguerreotype and photography. Snapshot: The lithograph depicts Nadar, the inventor of the daguerreotype in a hot air balloon taking a photo of the streets of Paris. Nadar Raising Photography to the Height of Art is a satirical piece, intended to convey how photography will never match "high art" Daguerre barely fits in his balloon, and is almost falling out. There is a gust of wind that blows his hat off. Daumier is mocking Nadar's excitement at capturing a photo, that he doesn't notice how absurd he is being. Most of the buildings are labeled with the word "photography" in effort to emphasize the craze of photography.

Palazzo Rucellai

Title/Designation: Palazzo Rucellai Content Area: 3 Artist/Culture: Leon Battista Alberti Medium: Stone Veneer Creation Date: 1450 C.E. Location: Florence, Italy Brief Background: The Palazzo Rucellai was a townhouse/palace built for a wealthy family, the Rucellai It was never fully constructed - only ¾ of the original plan was built Snapshot: The Palazzo Rucellai had four floors and became more intricate with every floor; the first floor was dedicated to the Rucellai's business affairs (they were powerful bankers), the second floor held the guest rooms, the third floor held the family's apartments and sleeping quarters, and the fourth floor was where the servants lived- though it had few windows and was hidden from the outside. Throughout the palace, there are rounded arches and various column designs- Tuscan, Ionic, and Corinthian. Much of the architecture was inspired by ancient Greek and Roman traditions, which Alberti intended. The palace also contained an off-center court and a plaza which was used for ceremonies, celebrations, and public meetings.

Pazzi Chapel

Title/Designation: Pazzi Chapel Content Area: Content 3, Early European Art (Christian) Artist/Culture: Fillipo Brunelleschi / Italian Renaissance Medium: Stone masonry Creation Date: 1429-1461 CE Location: Basilica di Santa Croce. Florence, Italy. Brief Background: The Renaissance wasn't just a rebirth for paintings, but for architecture and sculpture as well. The first Renaissance buildings were designed by Fillipo Brunelleschi, a goldsmith from Florence. After studying ancient Roman architecture for some time, he returned to Florence with a new understanding of linear perspective, geometry, engineering problems, domes, and Roman style. During the Renaissance, there was a cultural shift in artists' status. While patrons were seen as more important than artists, and painting and visual arts were lesser than liberal arts, some artists were celebrities in their own right. Today, however, we almost entirely focus on the artist's work, and not the patron who commissioned it. Vocabulary: petra serena = a type of grayish-green stone used for detail and accent work chapterhouse = a public meeting space for the members of a cathedral or church Snapshot: When Filllipo Brunelleschi went to Rome to study their ancient ruins, he brought back new proportions based on Roman architecture. As seen in the floor plan and front view above, he especially mimicked the use of domes and columns. Instead of a squat Romanesque style, Brunelleschi created the Neoclassical style. It even mimics the Greek and Roman cella setup, bringing a sense of geometric balance that both Gothic and Romanesque lacked.When designing the Chapel, Brunelleschi likely wanted to tie the Church to the resurgence and admiration of Greek and Roman history. The Pazzi Chapel was commissioned by the Pazzi family as part of the Basilica di Santa Croce, and it initially served as a chapterhouse for the monks of Santa Croce. The Pazzi Chapel sits off to the side of the Basilica, with six traditional Corinthian columns and a pediment above the door. Inside, the dome above features an oculus with small barrel vaults on either side. The religious and communal function of the building can be seen through the central plan and decorations. Each of the triangular pendentives also features a ceramic scene from the life of Jesus. The dome also features an oculus, calling back to earlier works of Roman architecture.

Portrait of Sor Juana de la Cruz

Title/Designation: Portrait of Sor Juana de la Cruz Content Area: Late Europe and Americas Artist/Culture: Miguel Cabrera Medium: Oil on canvas Creation Date: 1750 CE Location: Museo Nacional de Historia, Castillo de Chapultepec, Mexico Brief Background: In 1648, Sor Juana was born into a creole family, and at the age of fifteen, she excelled in physics, philosophy, theology, and math. She grew up in the viceroy, and chose to be a nun instead of marry so she could pursue her intellectual studies. Sor Juana joined the Jeronymite order, which allowed her to gain intellectual freedom. She voiced her role as a woman in the intellectual society, and the Church forced Sor Juana to give up her library and literary works. Snapshot: Sor Juana wears the habit of the Jeronymites and an escudo de monja, a nun's badge, on her chest. Escudos de monjas could be painted, woven, and displayed Virgin Mary. Sor Juana's badge shows the Annunciation, at the exact moment where Gabriel tells Mary she will bear the son of God. In Sor Juana's left hand, she holds a rosary and in her right hand, she is turning the page of a book by St. Jerome. In the corner of the painting, there is a red curtain, which shows Sor Juana's wealth and social status. Sor Juana's look is straight at the viewer showing assertion. The books behind her include subjects like philosophy, natural science, theology, mythology, and history. The different subjects reflect the books Sor Juana has in her own library. There are also writing materials on the desk, which allude to Sor Juana's personal written writing. The rosary is juxtaposed with the books, desk, and quills in the room. It shows the contrast between Sor Juana's religious life and her intellectual life. Miguel Cabrera never met Sor Juana, so it is likely that he based the image of her off of older or self-portraits. It is likely that the artist took inspiration from images of other male scholars who were seated at desks. He also took inspiration from images of Saint Jerome, the religious order that Sor Juana was involved in. These images show Saint Jerome in a scholarly position at a desk with books surrounding him. It portrays Sor Juana in a positive light, showing the importance of both her intellectual studies and her religious studies in her lifetime.

Screen with Siege of Belgrade and hunting scene

Title/Designation: Screen with Siege of Belgrade and hunting scene Content Area: 4 Artist/Culture: Mexican and Japanese Medium: Paint, resin, wood Creation Date: 1697-1701 Location: Mexico City, Mexico Brief Background: This is a biombo enconchado(unusual), a biombo is a folding screen and an enconchado is a shell inlay. Shell is used on helmets which make them shine. This was inspired by Japanese folding screens, it's supposed to look shiny like a Japanese lacquer box with delicate and thin paintings, beautiful brushwork, and intricate figures. Snapshot: the screen features a bird's-eye map of Mexico City on one side and scenes from the Conquest of Mexico on the other. While both sides of the biombo show Tenochtitlan/Mexico City, the city is rendered very differently on each side. This birds-eye view of the city (above) gives a 3-D rendering of the city. Likely based on a seventeenth-century map of the city, this side of the biombo focuses on the physical aspects of Mexico City. The image is idealized—privileging the elite Spanish view of the city. The small Indigenous dwellings that could be found on the outskirts of the city are not shown though. The sweeping city on a lake appears picturesque, with mountains rising in the distance and causeways that radiate out from its carefully organized grid of plaza, streets, and canals. The grid was established by the Mexica (Aztecs) who founded the city. Painted in one point perspective, the biombo showcases seventeenth-century Mexico City as a sprawling metropolis of stucco buildings with red slate roofs. Particular attention is paid to its most prominent structures: churches, schools, hospitals, monasteries, and convents. The perspectival focus is on the traza, the center of the city that was reserved for the Spanish elites, but the Indigenous city of Tlatelolco, the "sister" city of Tenochtitlan, is rendered on the left hand side of the island (above).

Self-Portrait

Title/Designation: Self-Portrait Content Area: 3 Artist/Culture: Elisabeth Vigee Le Brun Medium: Oil on canvas Creation Date: 1790 Location: France (currently in the Uffizi Gallery) Brief Background: Elisabeth Vigee le Brun was a French painter of the elite. She mostly worked on portraits, and her most famous ones are about Marie Antoinette. She started working as a portrait painter at about 15, and didn't have much formal training, since she was a woman and couldn't attend most art schools. She still joined the Royal Academy in 1783, where she and Labille-Guiard became archrivals. Since Le Brun was so connected to the elite, she fled France right before the revolution. She published her memoirs before dying in her 80s. Snapshot: Elisabeth Vigee Le Brun's Self-Portrait shows the artist sitting at an easel painting a portrait, likely Marie Antoinette's. In her left hand, she holds a palette and several brushes, while her right hand is working on the canvas. Even though the painting is mostly made of dark colors, it still feels lightweight for two reasons: Le Brun used soft brushstrokes and lighting, and the lighter colors of her ruff and cap are at the top of the painting. The artist also painted herself wearing an eye-catching red sash. Le Brun painted this self-portrait during her exile from France, when she was working for the other nobles in Europe. Since most of her paintings are about the elite, they show a style of life that is fading fast. Throughout the 19th century, the Industrial Revolution is going to completely change Europe - and the growing middle class live a very different life from the nobility. Some historians suggest Le Brun's self-portrait was a reference to Peter Paul Rubens' self portrait, but either way, it clearly asserts her skill as an artist.

Spaniard and Indian Produce a Mestizo

Title/Designation: Spaniard and Indian Produce a Mestizo Content Area: Content 3 Artist/Culture: Attributed to Juan Rodríguez Juárez Medium: Oil on Canvas Creation Date: 1715 CE Location: New Spain (Spanish occupation of Mexico) Brief Background: A mestizo was the term for someone who was of both European and indigenous descent. This piece is just one of many that depict indigenous mothers with Spanish fathers. These pieces are called casta paintings and they show the ethnic mixing of cultures when the Spanish settled in the Americas. They show the racial diversity in the "New World. They are usually an attempt to capture reality, but they are largely fictitious. Juan Rodríguez Juárez was an artist in New Spain whose family was well known for their artistic accomplishments. Snapshot: This image depicts a simple composition of a Spanish father and an Indigenous mother with their son, the baby. There is also another young child in the painting who is thought to be the family's servant. The mother is dressed in a "huipil," which is a traditional garment that was worn by women in Central America and Mexico at this time. She is looking at her husband and gesturing to the child. The father is wearing French-style clothing and a powdered wig. He is gazing down at the children. The young servant looks up to the father which shows his role and influence in the family. The family appears to be calm, loving, and harmonious. This painting reflects the idea that the more European blood you have, the more respected you are in society. Social status was directly tied to racial makeup. There are also theories that this image is modeled after depictions of Mary, Joseph, and Jesus. Because these paintings were typically made as a way to discourage inter-ethnic mixing, it can be inferred that they were commissioned by Spanish elites who claimed to be of pure blood.

The Alhambra

Title/Designation: The Alhambra Content Area: Content 3, Early European Art (Islamic) Artist/Culture: Nasrid Dynasty Medium: Whitewashed adobe stucco, wood, tile, paint, and gilding. Creation Date: 1354-1391 CE Location: Granada, Spain Brief Background: After the fall of the Umayyads, a political vacuum formed. Several dynasties followed, until the last: the Nasrids. The Nasrid Dynasty was marked by the approaching Reconquista, and their territory was much smaller than other eras in the Islamic rule of the West. The Iberian Peninsula was still a center for religion, art, and the sciences, even as education in Europe improved with the Renaissance. In fact, Jewish, Christian, and Islamic styles meshed, creating unique new art, and the Nasrid Dynasty is known for their lusterware, a type of colorful pottery. However, social stratification was still prevalent during this time, especially as the Reconquista forced many Jews and Muslims to flee the area. Snapshot: When the Nasrid Dynasty conquered Granada in 1237, they began the Alhambra (literally, the "Red Fort"), to show their power and live in.The Alhambra is a large "city-within-a-city" and contains many grand buildings, however three stand out: the Comares Palace, the Palace of the Lions, and the Partal Palace. To begin, the Comares Palace has an elaborate stucco and tile facade that shows geometric patterns, vegetation, and Islamic calligraphy. Beyond the facade is a covered patio with a reflecting pool (now called the Court of the Myrtles. Finally, inside there is the Hall of the Ambassadors. Detailed arched grille windows allow light to enter, while more stucco motifs add texture. The Palace of the Lions is most known for its elaborate fountain, which pumps water up from two exposed crossing channels and through a lion-headed spout. There are also a series of arched patios supported by thin columns with stucco detailing. The third building, the Partal Palace, is the oldest structure in the complex, and has a five arched arcade (row of arches supported by columns) at the end of a large pool. Outside of the Alhambra is a Nasrid estate called Generalife, which is centered around a flourishing courtyard garden and fountain complex. Throughout the Alhambra, we can see several important elements: water, stucco, tile, and light. Stucco is a malleable form of cement containing sand, often used for facades, which emerges after the fall of the Umayyads. Even after the Reconquista was completed, the Christians did not destroy the Alhambra, which shows how beautiful and monumental this city is, and actually contributed to its preservation.

The Birth of Venus

Title/Designation: The Birth of Venus Content Area: Renaissance Artist/Culture: Sandro Botticelli Medium: Tempera on canvas Creation Date: 1484-1486 C.E. Location: Florence, Italy Brief Background: Beginning in the 15th century C.E. full figure nudity begins to be revived. The Birth of Venus is unique because nudes of the Medieval and Early Renaissance Eras most commonly depicted biblical scenes, while in contrast this piece features a polythesistic god from Ancient Greek and Roman culture. Nudity was often depicted in a sinful way, such as Adam and Eve being cast from the Garden of Eden. Or, nudity was used to emphasize the suffering of figures, like Christ being shown mostly nude on the Cross during the crucifiction. Therefore, this shows a change in tradition by depicting a mythical figure proudly nude. She is modest, but not shameful. Venus is also life sized. The dimensions of the painting are 5 feet by 9 feet. Snapshot: Venus is shown floating to the shore of Cyprus on a giant seashell. There is the nymph of Spring to her left, bringing a piece of fabric to cover the newborn goddess with. To her right, there are the gods Zephyr and Aura blowing her to shore. This image originates from the Greek myth of the Birth of Venus, where the titan Cronus castrated his father Uranus and his genitals fell into the sea, creating Venus. The scene lacks dimension, this is due to the use of pattern across the painting. This is also due to the lighting, which comes from all angles and can be seen clearly on the seashell. All the figures are on the same plane. The nymph is weightless. Venus radiates perfection. She is painted as if she is a statue. Her foot rests unrealistically on the edge of the shell. Botticelli's focus was primarily idealized women and he renders Venus similarly, blemish free with an elongated body. She is contrapposto.

The Great Mosque of Cordoba

Title/Designation: The Great Mosque of Cordoba Content Area: Content 3, Early European Art (Christian) Artist/Culture: Umayyad Caliphate Medium: Stone masonry Creation Date: 786 CE - 10th Cent. CE Location: Cordoba, Spain Brief Background: The Great Mosque of Cordoba was built on a historic religious site. First, there was a temple to the Roman god Janus, and then the Visigoths made it into a church in the 500s CE. When the Umayyad Caliphate fell to the Abbasids in the mid 8th century CE, members of the ruling family escaped to the Iberian Peninsula (modern day Spain and Portugal), where they established a vast new empire called al-Andalus (literally meaning "The West") that lasted until the end of the Reconquista (Reconquest) in 1492. During this time, the Iberian Peninsula was a center for religion, art, and the sciences, even as education in Europe overall was at a low point. In fact, Jewish, Christian, and Islamic styles meshed, creating unique new art. Snapshot: The Great Mosque of Cordoba was created as a religious site, but also shows the Umayyad Caliphate's lasting influence as they took over an existing church and continued to add to it for hundreds of years. The mosque is built in the hypostyle form, with a series of repeating tiered columns connected by arches made of red and white stone, called voussoirs, that create a wide open space and sense of grandeur. Next, the mihrab has a border of black and gold calligraphy from the Qur'an made from tesserae (mosaics). The entrance to the mihrab is a horseshoe shape, which is a common style in Visigothic architecture. Inside the mihrab is a ribbed dome with green illustrations of plants (iconoclasm) and gold leaf. The mihrab roof is geometric and symmetrical, which is consistent with traditional Islamic architecture. Additionally, the ribbed style of the mihrab roof precedes Gothic architecture by several centuries. There are several other features in the mosque, including an orange grove, a covered walkway, and a minaret (now covered by a bell tower).The Mosque of Cordoba uses column spolia, or old stone, from the Christian church built on the site before the mosque. The mosque was built during a very prosperous period for the Umayyad caliphate, and their wealth is clearly showcased in the extravagant design. Also, Islam was founded in 610 CE.One interpretation is that the repeating column reference the repetition of the Shahada that happens five times a day. The architect who created the mosque wanted to bring familiar Islamic elements to reassure the Umayyads in exile, while effectively asserting their authority by combining the mosque with past temples.

The Isenheim altarpiece

Title/Designation: The Isenheim altarpiece Content Area: Early Christendom, Northern Renaissance Artist/Culture: Niclaus of Haguenau (sculptures) and Matthias Grünewald (paintings) Medium: oil on oak Creation Date: 1512-1516 CE Location: Colmar, France Brief Background: Established around 1300, the Isenheim monastery belonged to Saint Anthony's order, which had been founded in the Dauphiné region of France in the 11th century. The monks of the Antonite order helped victims of Saint Anthony's fire, a horrible illness that was common in the Middle Ages. This cause is now known to be poisoning from a fungus that drives its victims mad and results in gangrene of the hands and feet due to constriction in blood flow. To care for the sick, the Antonites served them good quality bread and had them drink a concoction called saint vinage, a holy fortified wine, a special blend of herbs and then soaked the relics of Saint Anthony. They also produced a salve from herbs possessing anti-inflammatory properties. The monks at Isenheim had a rich collection of works of art commissioned and financed by the monastery. Snapshot: There is an overall message to patients that earthly diseases will vanish in the next world The bodies show intense agony that symbolizes the agony of ergotism which caused death. There are scenes of the annunciation, crucifixion, resurrection, and a lamentation. Christ is embodied by the colors red, orange, and yellow. There is intense detail on every panel. The colors of the painting depict the mood. Everything was done methodically and mathematically. St. Anthony's Fire explains the presence of St. Anthony on the first and third panels. Mary is dressed like the nuns who worked in the hospital.

The Last Supper

Title/Designation: The Last Supper Content Area: High Renaissance Artist/Culture: Leonardo Da Vinci Medium: Paint (more info later) Creation Date: 1495-1498 C.E. Location: Milan, Italy Brief Background: The scene shown is The Last Supper, the final meal Jesus has with his apostles before his crucifixion. It is located in the Convent of Santa Maria and monks and nuns ate meals in the room it located in for some period of time although now it is a tourist location. Snapshot: Jesus Christ is shown in the center of the scene, surrounded by his 12 apostles. Christ forms an equilateral triangle between the surrounding figures, his head at the center. He lacks strong emotions while the mortals around him show panic. The reaction moment after Christ says "One of you will betray me." is shown in this painting. Christ is reaching towards wine and bread, while Judas can be seen to his right also reaching for the plate. Judas is holding money, the money promised to him in return for turning Christ in. "The one who has dipped his hand into the bowl with me will betray me." Referring to Judas. The other apostles are seen reacting, the twelve split into four groups of three. The different groups of emotions are in contrast with one another. This depicts the bread and wine imagery later used in Christian sacrament practice. Da Vinci simplifies everything besides the people in the scene. All of the perspective lines are aimed towards Christ. The fresco is high up on the wall, so the perspective seems off from the viewers' vantage point. Everyone is on one side of the table, the table serving as a stark barrier between the world in the image and our world. Da Vinci painted on two layers of dry plaster using an undercoat of white lead paint. This allowed for good precision in contrast to the commonly used at the time wet plaster base. A combo of oil and tempera paints were used on top. Due to the location on an exterior wall, humidity between the paint and plaster caused mold and deterioration of the painting. Many restoration procedures have occurred and then been undone, only 40% of Da Vinci's original painting remains. The High Renaissance Era. Shows the contrast between calmly eternal and human chaotic tendencies.

he Saint Lazare Station

Title/Designation: The Saint Lazare Station Content Area: 4 Artist/Culture: Claude Monet Medium: Oil on Canvas Creation Date: 1877 Style: Impressionism Location: Paris Dimensions: 29 ½ by 41 inches cb Brief Background: This was painted during a time of rapid industrialization and in the 1870s Monet along with a lot of other artists showed an interest in railroads as a subject of their paintings. This train station in particular was represented in multiple pieces of art and literature with Monet completing 12 paintings of the station Monet was raised in Normandy and became interested in the outdoors at an early age, his father disapproved of a creer in the arts and his mother died when he was 16 so he went to live with his rich aunt and eventually studied at the Academie Suisse and became known for his paintings depicting the french countryside as well as his depictions of the changing light overtime Snapshot: It depicts one of the passenger platforms of the Gare Saint-Lazare which is one of the biggest and business Parisian train terminals at the time. This painting is part of a larger project portraying the facets of this specific train station, playing with light, smoke from the train and scenery. Impressionists were known to pinpoint specific atmospheric conditions and then capture it using small brushed of color next to one another so the further away you are the more cohesive and detailed the painting appears to be. Because of this the color palette for many works especially this one are more vibrant than many that we have seen previously.The characteristic steam, is rendered with a range of blues, pinks, violets, tans, grays, whites, blacks, and yellows is coming from the trains and dissolves the image of the train, showing the impressionistic style of blending colors and light and creating a sense of lightplay. The steam and light from the bright day showcases the effects of bright sunlight unlike the other paintings depicting the dark, hazy station. Rather than depicting the french countryside or outdoor scenes this particular painting is depicting a modern world with the new apartment buildings and architecture that was created when Paris was rebuilt.

The Scream

Title/Designation: The Scream Content Area: Later Europe and Americas Artist/Culture: Edvard Munch Medium: Tempera and pastel on cardboard Creation Date: 1893 CE Location: Oslo, Norway Brief Background: The Scream is an important piece for the Symbolist and Expressionist movements. Symbolism emphasized ideas conveyed through forms, lines, shapes, and colors. It developed new and abstract means to express the idea that there is a spiritual reality behind the physical world. Expressionist art distorts reality to express ideas. Snapshot: The work is divided into three main areas: the bridge, the landscape of the shoreline, and the sky. The bridge extends to the left to fill the foreground. The shoreline, the body of water, and the hills blend in with the sky, as Munch uses lines to create ripples. The two human figures in The Scream are harsh outlines, contrasting with the loose shapes in the background. They are separated from the landscape by the bridge with geometric precision. The main figure, at the front of the scene, is created by the same curving shapes seen in the background of the painting. The figure is said to be Edvard Munch himself. The androgynous figure with unhuman like features have raised many questions. A leading theory is inspired by a passage in Munch's diary. In 1892, Munch writes, "I was walking along the road with two friends—the sun went down—I felt a gust of melancholy—suddenly the sky turned a bloody red. I stopped, leaned against the railing, tired to death—as the flaming skies hung like blood and sword over the blue-black fjord and the city—My friends went on—I stood there trembling with anxiety—and I felt a vast infinite scream [tear] through nature." This theory adds a dark and emotional feeling to the piece. There are many more theories to what The Scream depicts, but it is certain that Munch wanted to express an emotion or sensation through a tangible form.

The Starry Night

Title/Designation: The Starry Night Content Area: 4 Artist/Culture: Vincent van Goh Medium: Oil on Canvas Creation Date: 1889 Style: Post-Impressionism; Expressionism Location: MOMA Dimensions: 73.7 x 92.1 cm cb Brief Background: Van Gogh created Starry Night in 1889 a little over a year before his death. He was staying in an asylum at Saint-Remy in France and his behavior was particularly erratic due to his severe attacks. Starry Night is believed to either show the view from his bedroom window at the asylum or as a collective of previous works and landscapes he has done. The Starry Night painting was not van Gogh's first nocturnal canvas, as he had already completed Starry Night over the Rhone and Café Terrace at Night the previous year. Snapshot: In the foreground there's the cypress tree that is cut off at the bottom of the frame establishing a sense of distance and perspective with the tree being closest to the viewer. The sky's the main focus of the painting taking up ¾ of the canvas. There was a previous version of a night sky done in 1888 as he had developed an interest in painting using contrasting colors and painting en plein air as well as utilizing impasto techniques and simplified forms. He often worked from prints or illustrations or plein air rather than focusing on imagined scenes. This painting is said to have been done at Saint Paul de Mausole after his breakdown in which he is said to have cut off his own ear. The painting is said to be an expression of Van Gogh's turbulent state of mind at the time. The location also plays a part as it is a more rural area where he was able to see the stars and other lights without the early light pollution. "It often seems to me that the night is even more richly colored than the day, colored with the most intense violets, blues and greens. If you look carefully, you'll see that some stars are lemony, others have a pink, green, forget-me-not blue glow. And without labouring the point, it's clear to paint a starry sky it's not nearly enough to put white spots on blue-black.(678, 14 September 1888)" It is believed that the cypress tree (usually found in cemeteries and associated with mourning) represents death and the cathedral church spiral represents life. The church spire along with the village he depicts is believed to be somewhat imaginary based on previous paintings he had done of his hometown the Netherlands. It is also believed that the church windows were purposely made dark showing his lack of faith in religion.

The Stonebreakers

Title/Designation: The Stonebreakers Content Area: 4 - Later Europe and Americas Artist/Culture: Gustave Courbet Medium: Oil on Canvas Creation Date: 1849 Location: Brief Background: Gustave Courbet, french painter, was a major member of the realism movement in the 1800s. He painted scenes from daily life, which had usually been reserved for historical paintings. He rejected romanticism and neoclassicism, preferring to paint things he could see. Snapshot: The Stonebreakers shows two men, one young, and one old, trying to remove stone from an uncompleted road, which is still being built. It is set in the French town of Ornans, Corbet's hometown. The figures are wearing tattered clothing, and the two men seem too old and too young to be doing this sort of manual labor. Corbet only shows a little bit of sky in the top right corner, implying they are trapped and stuck being poor. He seems worried about the struggles of the lower class (it is notable this was made one year after the publication of the communist manifesto, and he briefly participated in France's attempted socialist government). This type of scene was very uncommon, it does not depict the life of the lower class in a positive way, and it was very large for a painting depicting a scene of daily life. Corbet's style is also unusual, as he uses rougher brushstrokes. The piece was unfortunately destroyed in February 1945, through a bombing of the allies on dresden.

The Valley of Mexico from the Hillside Santa Isabel Mountain Range

Title/Designation: The Valley of Mexico from the Hillside Santa Isabel Mountain Range Content Area: Later Europe and Americas Artist/Culture: José María Velasco Medium: Oil on canvas Creation Date: 1875 CE Location: Mexico City Brief Background: Mexico's dictator, Lopez de Santa Anna, tried to establish Mexican identity through art after the 1821 war. The Royal Academy of San Carlos was established at the end of the eighteenth century, which paved the way for the future of Mexican art. Many students painted vistas of the Valley of Mexico to practice. They used landscapes to demonstrate Neoclassical and Romanticism ideals. Snapshot: The figures are making their way from the city to the country, showing the hardships of the socioeconomic relationship between the land and its inhabitants. The people's garments reflect the native culture. The view of the vista of the Valley of Mexico is from a mountaintop village, Guadalupe. The figures shown in the painting serve as key components to the message. The artist explored the romantic relationship between human figures and the scenery they inhabit. He was inspired by his German predecessors who used "pastoral idylls" to show the mix of poetic harmony and daily life. The vastness of the vista is contrasted with the small figures, providing the viewer with a sense of monumentality and awe. The landscape shows the natural beauty of the Valley of Mexico and enforces national pride and honor.

The Virgin of Guadalupe

Title/Designation: The Virgin of Guadalupe Content Area: 3 Artist/Culture: Miguel Gonzalez Medium: Oil on canvas on wood Creation Date: 1698 Location: Mexico City Brief Background: Spanish colonization of the Americas in the early 1500s facilitated devotion to Christianity and the Virgin Mary The Virgin Mary became a popular theme for artists Many religious people believed that the original image of Guadalupe was created by a divine entity - not made by human hands; it is still enshrined in the basilica of Guadalupe in Mexico City today The Virgin of Guadalupe is essentially a replica of the original image Snapshot: It is crucial to know the context behind the Virgin of Guadalupe in order to understand the meaning of the work itself. Essentially, 10 years after Spain defeated the Aztecs, an indigenous man named Juan Diego claimed to have encountered the Virgin Mary. She asked him, in his language, to build her a shrine, so Diego ran to his Bishop to tell him. The Bishop did not believe him and demanded proof; the Virgin re-appeared and told Diego to gather roses in his cloak and bring it to the Bishop. When Diego opened his cloak, the roses fell out and were replaced with the now-famous image of the Virgin of Guadalupe. The Bishop now believed Diego and built a shrine on the Tepeyac Hill- both the church and the original cloak are still there today. The original image is said to be a miracle and is very holy for religious people across the world. In many ways, Gonzalez's remaking of the Virgin of Guadalupe is different from the original piece. For instance, it has different colors and has enconchado, which means mother-of-pearl inlay. A lot of the imagery in the piece is influenced by the Book of Revelation. For example, the stars around her head and the existence of angels above her suggest she is in some heavenly realm. Above the Virgin of Guadalupe, there is a dove which represents the Holy Spirit in a gold cloud. In the four corners of the painting, angels carry scenes depicting the different moments in the story of the miracle.

The oath of the Horatii

Title/Designation: The oath of the Horatii Content Area: depiction of a roman myth women to the left greiving, Artist/Culture: jacques louis david , roman Medium:three brothers swear on their swords to their father, Creation Date:1784 Location: france Brief Background: conflict between rome n city of alba , instead of declaring war they sent 3 representatives to settle the dispute, 3 brothers of horatii went, typical for battle to be won as men remain standing, held moral value in roman culture. Sacrifice for the defense of your city is a noble case Snapshot: The painting immediately became a huge success with critics and the public, and remains one of the best known paintings in the Neoclassical style. France was on the verge of its revolution and the end of the monarchy , The Oath of the Horatii provides an idealized story which illustrates the nobility of putting civic duty before personal preference. It exemplifies patriotism which is a virtue encouraged by rulers and social thinkers. The colors are no longer pastels with creamy brush strokes. The scene is in rich colors with the subjects showing patriotism.

Venus of Urbino

Title/Designation: Venus of Urbino Content Area: Late Renaissance Artist/Culture: Titian Medium: oil on canvas Creation Date: 1538 Location: Uffizi, Florence Brief Background: Venus of Urbino was considered "the perfect Venetian art" at the time it was created. The painting took place during the 15th century to the end of the 16th century, during which Venice was a stable republican government that allowed for lots of trade and had the ability to invest in artists. Because of the amount of trade, many colors and glazes became available. Glazing techniques were used to create subtle changes in gradient and level, and the new deep and rich colors were used to create shadow and light. Snapshot: Titian was commissioned by Duke Urbino Guidobaldo II to paint this as a gift for his new wife. The work is based on Giorgione's Sleeping Venus which was an unfinished canvas. It is not completely certain who the reclining woman is, but most likely it is Venus, although many believe it could be a young bride or an idealized female beauty. The woman has a direct gaze to meet the eyes of the viewer, drawing most of the attention to her rather than the background. Venus was a symbol of beauty in the 16th century which is why she was often depicted nude. The dog symbolizes fidelity or faithfulness and the child and maid in the back of the painting symbolize motherhood. Venus holds roses in her right hand which contribute to the floral motif carried throughout the work. Roses with their thorns symbolized the beauty and problems of love. Titian used a variety of colors to emphasize the importance of colors and lighting, which is seen in the dark backdrop where Venus lays and lighter one where the maid and child are. The painting is also different in style as you move to different parts. Venus is painted with many curves, while the rest of the painting is seen to be very linear.

View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm - also known as The Oxbow

Title/Designation: View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm - also known as The Oxbow Content Area: Artist/Culture: Thomas Cole Medium: Oil on Canvas Creation Date: 1836 Location: Northampton, MA Brief Background: This American landscape painting is intended to showcase the magnificence of nature Cole believed that the American wilderness was unique and special The work has a deeper meaning as it may represent American expansionism - it is likely political commentary/ pro Manifest Destiny Snapshot: Thomas Cole was born in England but moved to the United States as a teenager; eventually, he would found the Hudson River School. Though from afar the painting looks like a simple picturesque landscape painting, it represents ideas about westward expansionism. The painting is split into two halves to show two different worlds that merge into one. The left side has a gray cloud looming over it to elicit a sense of danger and fear; the ground itself looks primitive (the tree is tilting and the colors are very dark). The right side, on the other hand, depicts rich fertile land as to suggest it has been inhabited by Americans. If you look closely, you can see there are animals roaming, boats sailing, and crops growing. Contrary to the left side which looks wild and disorderly, the right side is civil and modern (for the time). We can also view these distinctions through the weather; the right side is sunny and bright, while the left is dark and gloomy. Thus, this implies that the right side is intended to represent the West and the left is intended to represent the East. Cole likely believed in the Manifest Destiny (the belief that Americans had a divine right to continue expanding), and wanted to depict its benefits in the painting (ie, cultivating land). Looking very closely, you can spot Cole himself in the painting, working on this very piece. The painting currently resides at the Metropolitan Museum of Art .

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

Title/Designation: Where do we come from? What are we? Where are we going? Content Area: Post-impressionism/Symbolism Artist/Culture: Paul Gauguin Medium: Oil on canvas Creation Date: 1897 - 1898 Location: MFA Boston Brief Background: From the ages of 11 to 16, Gauguin attended the junior seminary outside of Orleans. It was there that he was given lessons on the liturgy by the bishop of Orleans. Bishop Dupanloup had authored a small catechism to help guide his students. The three core questions asked in the catechism were "where does humanity come from?", "where is it going to?", and "how does humanity proceed?". These three questions would remain present throughout Gauguin's artistic career, and clearly inspired Where do we come from? What are we? Where are we going? Snapshot: The painting is painted on canvas with oil paints. The painting was, like most of Gauguin's works, a private work. Gauguin intended for the work to have a rich philosophical meaning, which would have been known only to Gauguin himself. Gauguin painted the work while in Tahiti, and the work sets its scene on the island. Where do we come from? What are we? Where are we going? depicts a number of native Polynesians in various stages of life. For Gauguin, this was his greatest work, and after finishing the work, he was rumored to have attempted suicide by arsenic poisoning. Where do we come from? What are we? Where are we going? is classified as a post-impressionist work, with vivid colors but not naturalist lighting. Unfortunately, the true meaning of the painting is obscured since that was deeply private to Gauguin.

Borobudur Temple

Content Area: Content 8 Artist/Culture: Gunadharma Medium: Stone Creation Date: 800 CE Location: Java, Indonesia Brief Background: The Borobudur Temple was built around 800 CE by the Syailendra Dynasty in Indonesia. It fell into disuse around 100 years after completion, and was 'rediscovered' in 1880s by the British Lieutenant Governor. It was restored during the 1970s and is now a UNESCO World Heritage Site. In addition to the main temple, there are also two smaller temples nearby Candi = temple in Javanese (pronounced chandi) Snapshot: Borobudur is an Indonesian temple made from carved stone. It's much wider than it is tall, and from above, it takes the form of a mandala. The temple was a Buddhist religious site, but it also highlighted the power of the Syailendra dynasty. The temple's connected open air passageways spiral upward to the top. Along the inside are reliefs carvings of different scenes from Buddhist tradition. There are Buddha's teachings (dharma), events from his past lives (jatakas) and moralistic/didactic stories (sutras). One sutra seen on the temple is the Flower Garland Sutra. At the top of the temple are 72 stupas with three-dimensional figures of the Buddha inside. According to Smarthistory.org, "The entire site contains 504 statues of the Buddha. 1460 stone reliefs on the walls and opposite balustrades decorate the first four galleries, with an additional 1212 decorative reliefs augmenting the path."When the temple was in use, visitors would circumambulate through the open passageways as part of their rituals, and perhaps stop at the final stupa, which was dedicated to the Great Sun Buddha. At some points during the year, the sunrise directly strikes the temple and completely illuminates the stone. Gunadharma, a poet, thinker, and architect, likely designed the building. Walking through the temple would have been a spiritual journey where the pilgrim passes from darkness into light. Although the temple's creation date is known, researchers are unsure exactly when it was abandoned, which could have been any time from 900-1400 CE. Gunadharma wanted visitors to understand their connection to the universe more deeply, and that humans are a microcosm of the larger world's macrocosm.

Liberty Leading the People

Title/Designation: Liberty Leading the People Content Area: Romanticism, French Neoclassicism Artist/Culture: Eugène Delacroix Medium: oil on canvas Creation Date: September- December 1830 (exhb. '31) Location: Louvre, Paris Brief Background: The painting is based on the July revolution of 1830 that only lasted 3 days. Left is Jean-Auguste-Dominique (mentor) at 24. Right is Eugene Delacroix. Both are self portraits. Delacroix attended the Lycée Imperial in Paris, an institution noted for instruction in the Classics. In 1815 at 17, he began his formal art education in the studio of Pierre Guérin, a former winner of the prestigious Rome Prize whose Parisian studio was considered popular for romantic aesthetics. The young artist's innate skill and his teacher's able instruction were an excellent match and prepared Delacroix for his formal admission to the Ecole des Beaux-Arts (the School of Fine Arts) in 1816. Snapshot: Delacroix depicts an event from the July Revolution of 1830, an event that replaced King Charles X and the younger brother of the guillotined King Louis XVI with Louis Philippe I, the so-called Citizen King. This uprising of 1830 was the historical prelude to the June Rebellion of 1832, an event featured in Victor Hugo's famous novel, Les Misérables (1862). The first thing a viewer may notice is the monumental—and nude to the waist—female figure. Her yellow dress has fallen from her shoulders, as she holds a bayoneted musket in her left hand and raises the tricolor—the French national flag—with her right. This red, white, and blue arrangement of the flag is mimicked by the attire worn by the man looking up at her. Her head is shown in profile—like a ruler on a classical coin—and she wears atop her head a Phrygian cap, a classical signifier of freedom. This is an important bit of costuming—in ancient Rome, freed slaves were given one to wear to indicate their newly liberated status, and this headwear became a symbol of freedom and liberty on both sides of the Atlantic Ocean during the eighteenth and nineteenth centuries. She serves as an allegory—in this instance, a pictorial device intended to reveal a moral or political idea—of Liberty. In this, she is similar to an example familiar to those in the United States, Frédéric Auguste Bartholdi's Statue of Liberty. Those who surround her represent different types of people. The man on the far left holds a briquet (an infantry saber commonly used during the Napoleonic Wars). His clothing—apron, working shirt, and sailor's trousers—identify him as a factory worker, a person in the lower end of the economic ladder. His other attire identifies his revolutionary leanings. The handkerchief around his waist, that secures a pistol, has a pattern similar to that of the Cholet handkerchief, a symbol used by François Athannase de Charette de la Contrie, a Royalist soldier who led an ill-fated uprising against the First Republic, the government established as a result of the French Revolution. The white cockade and red ribbon secured to his beret also identify his revolutionary sensibilities. This factory worker provides a counterpoint to the younger man beside him who is clearly of a different economic status. He wears a black top hat, an open-collared white shirt and cravat, and an elegantly tailored black coat. Rather than hold a military weapon like his older brother-in-arms, he instead grasps a hunting shotgun. These two figures make clear that this revolution is not just for the economically downtrodden, but for those of wealth, too.two young boys can be identified among the insurgents. On the left, a fallen adolescent who wears a light infantry bicorne and holds a short saber, struggles to regain his footing amongst the piled cobblestones that make up a barricade. The more famous of the pair, however, is on the right side of the painting (image, right). Often thought to be the visual inspiration for Hugo's character of Gavroche in Les Misérables, this boy wildly wields two pistols, symbolizing sacrifice. He wears a faluche—a black velvet beret common to students—and carries what appears to be a school or cartridge satchel (with a crest that may be embroidered) across his body. The painting accurately renders the fervor and chaos of urban conflict. Notre Dame can be clearly seen on the right side of the painting. Importantly, Delacroix signed and dated his painting immediately underneath it. Delacroix would have us believe that everyone can be a revolutionary.

The Swing

Title/Designation: The Swing Content Area: Content Area 3 Artist/Culture: Jean-Honoré Fragonard / Rococo/ France Medium: Oil on Canvas Creation Date: 1767 Location: France (currently in the Wallace Collection in London) Brief Background: Jean-Honoré Fragonard was a Rococo artist who worked in France in the 18th century, right before the French Revolution. He initially trained as an apprentice before attending the French Academy in Rome, but eventually he returned to France where he started painting landscapes and portraits, both using pastoral style. In particular, most of his paintings showed elite men and women playing games outside. Fragonard gained popularity once he joined the Royal Academy for a history painting, even though history painting wasn't his strong suit. Throughout his career, philosophers like Diderot criticized him for being "frivolous" and lacking "self-respect". In any case, Rococo fell out of favor by the mid 19th century, but historians today still respect Fragonard's work. Pastoralism / Pastoral style == visual style of art that romanticizes/idealizes the rural peasant way of life. Very common, especially in the French court right before the Revolution. Snapshot: Fragonard's The Swing was commissioned in 1767 by an aristocrat in the (French?) court, who wanted to see a portrait of his lover. Paintings like these were commissioned privately by aristocrats for private "appreciation", so they would rarely be seen in a museum. Fragonard highlights the playful, romantic, and carefree nature of elite life right before the Revolution, which actually led to severe criticism. One French philosopher (Diderot), criticized this painting because he thought it was scandalous and unnecessary. Prior to The Swing, Diderot thought Fragonard was cool because he painted historical scenes, but once Fragonard started doing erotic paintings Diderot changed his mind. The painting uses the Rococo style, which followed the Baroque style but used more movement and less morals, overall creating an extravagant, lush, and dramatic atmosphere. (Rococo = Baroque - morals + movement). The composition is very dynamic, with bright colors, blurred brushstrokes, textured backgrounds, and diagonal layout. Today, art historians see The Swing as a symbol of French elite power that came at the cost of colonsing and exploiting other countries. Content: The center of the painting shows a young lady wearing a flowy pink dress playing on a swing. Her shoe has just been kicked off and flies through the air. She looks at a statue of Cupid, based on an existing statue from 1755 called the Menacing Cupid. Together, this symbolized the secretive nature of the man and woman's relationship. In the bottom left of the painting, her lover is looking up at her (and presumably up at her skirt). Next to the lover's head there is a fountain detail with carved dancing women called maenads (followers of Dionysus, the Greek god of festivity). Finally, in the back right, an older man pulls at the swing's strings. He is either the woman's husband or a bishop, representing the controlling influences in this woman's life. There's also two Cupids on a dolphin (fertility, sexuality). The painting is very lush and hidden, representing untamed desire, but a scene like this wouldn't have occurred in the woods. Rather, it would have been a very purposefully untidy garden.

Jahangir Preferring a Sufi Shaikh to Kings

Content Area: 9 Artist/Culture: Bichitr Mughal Dynasty and the Ottoman Empire Medium: watercolor, gold and ink on paper Creation Date: 1615-1618 Location: India Brief Background: The fourth emperor of the Ottoman empire named himself Jahangir (Seizer of the World), and to prove his divinity he commissioned this painting. This miniature folio was once apart of a muraqqa that had alternating folios of calligraphy and paintings (album) but has since been dispersed. There were 6 total albums made for Jahangir and his heir. During Mughal rule artists were sought out for their special artistic talents, Bichtir was well known for his hands. Snapshot: In the painting golden flames radiate from the Emperor's head against a golden disc background, a small crescent moon hugs the majority of the discs border showing the union between the sun and the moon (day and night) and his divinity. Jahangir is shown in a hierarchical scale, seated on an elevated stone platform which mimics the disc above him. The emperor faces four bearded men, King James I, Sufi Shaik, an Ottoman Sultan, and Bichitr. The first in line (closests to the emperor) is the Sufi Shaikh (an islamic mystic) who accepts a gifted book. There is also a big contrast between the two, the endless jewelry on the emperor's hands compared to the bared ones of the Shaikh, as well as the Shaikh accepting the gift wrapped in a shawl thereby avoiding direct contact which was taboo. Inscriptions line the top and bottom margins of the folio pushing the idea that the emperor favors spirituality over royalty. After the Shaikh is an unidentified Ottoman Sultan, he is dressed in gold embroidered clothing and wears a turban that marks him as a foreigner. The Sultan's respectful gesture of pressing his palms together is also to show humility and respect to the emperor. Next is King James I of England, identified by his clothing and ethnicity his posture depicted him as uneasy and conflicted. This rendition is based off of a portrait done by John de Critz, the King's hands can be seen but only one, near the hilt of his sword, this was done intentionally to not interpret a threat to the emperor. Finally Bichtir himself is shown, he is wearing an understated yellow robe (jama) tied to the left, displaying that he is Hindu in a Mughal court, he is also holding a miniature red-boarded painting representing a prized treasure. He is also placed alongside two horses and an elephant which were seen as imperial gifts at the time. He is also bowing in the direction of the emperor, a symbol of humble gratitude and humility. There are also small cherubs in the painting, one is holding a broken bow and arrow but why they are there are questions to this day. The several headed kneeling figures on the base of the emperors stool are also cryptic.

White and Red Plum Blossoms

Content Area: 8 Artist/Culture: Ogata Korin Medium: Painting Creation Date: 1714 or 1715 Location: Japan Brief Background: The painting is a very simple landscape, made of black ink and washed mineral color; it is composed of two fold screens It depicts a flowing stream with a white plum tree on the left and a red plum tree on the right This painting is one of the most famous works in Japan Snapshot: This painting is both abstract and realistic in numerous ways. Firstly, the gold leaf background denies the viewer any sense of time or geographic location and the stream has a non-naturalistic metallic color, but has swirls that show that the water is moving. In addition, sharp tapered contour lines give the work a non-naturalistic upward tilt. Lastly, the trees' colors are muddy and unnatural and do not have a distinct outline. It is clear that Korin had a deep knowledge about plum trees and how they grow because of the very intricate tangles of branches and shoots on the trees. It seems as though Korin depicted only the lower parts of the trees to make it seem like the person looking at the painting is actually there, creating a kind of intimate sense with nature. Since the 19th century this combination of abstraction and naturalism, monumental presence, dynamism and gorgeous sensuality has commonly been referred to as Rinpa, or "School of Kôrin."

Tamati Waka Nene

Content Area: 9 Pacific Artist/Culture: Gottfried Lindauer Medium: Oil on canvas Creation Date: 1890 CE Location: Auckland Art Gallery, Auckland, New Zealand (Maori people) Brief Background: Portraits are thought to represent the person's ancestral presence and actually embody who the person was in life and after. These portraits are remembered and revered in common spaces of families and communities long after death. Snapshot: We can see a man dressed in a coat made from kiwi feathers, holding a wooden axe of sorts with feathers hanging from it. His face is adorned moko. His hair and face show age and wisdom. His earring and cloak are both "taonga", or valuable treasures. All of these features signify that he is a man of mana/status. Tamati Waka Nene is the name of the subject of this painting, and he was a chief of the Ngati Hao people. He was known as an important war leader. The times he lived through were those of great change and turmoil, as the British settlers began colonizing his home. He chose his name of Tamati Waka after Thomas Walker, an English merchant with the church. This art piece, as previously mentioned, had great spiritual importance to the Maori people and would be used for worship and whatnot many years after.

Bahram Gur Fights the Karg

Content Area: Content 7 - West and Central Asia Artist/Culture: Persian, Islamic Medium: Ink and opaque watercolor, gold and silver on paper Creation Date: 1330-1340 CE Location: Il'Khanid Territory Modern Day Tabriz, Iran Brief Background: This piece comes from the Shahnama, the Persian "Book of Kings," which is a collection of stories, told through words and pictures, of Persian kings. This particular piece was made in the Il'Khanid period which was a dynasty in the Mongol Empire. Bahram V was a Persian King during the Sasanian Dynasty and he ruled from 420-438 CE, just before the arrival of Islam. He is better known for his nickname, Bahram Gur. Gur or onager refers to a donkey-like animal which is one of the world's fastest mammals. Bahram V earned this nickname for his legendary hunting skills and warfare. Snapshot: This particular piece is a depiction of the Persian king, Bahram Gur, defeating the Karg, a mythical creature which is basically a horned wolf. The story in this piece says that when Bahram Gur was traveling in India he found this beast with a group of men, but they all claimed it was impossible to kill, so Gur went by himself and cut off its head. In the picture, Bahram Gur has a sword and a bow and arrows as well as elegant clothing. This piece purposefully portrays Persian kings as strong, noble, and virtuous warriors as well as rulers. He is seen wearing a crown and golden halo, which shows the European influence because this is similar to how Western Christians would depict Jesus. The landscape in the background is also painted with Chinese conventions. This piece is very dynamic and features a lot of movement, as shown by the position of the horse and the way that Bahram Gur is slightly cut off at the top. This makes it look like he might be bursting out of the frame. This piece was likely commissioned by a wealthy member or high-ranking official of the Il'Khanid court due to its lavish production and details. This image is meant to signify fair and civilized society triumphing over chaos and disorder. This image was also frequently used as a teaching tool for Persians, as it is said to show proper and desirable traits for Persian kings.

Ecstasy of Saint Teresa

Title/Designation: Ecstasy of Saint Teresa Content Area: Early Europe and Colonial Americas, 200-1750 ce Artist/Culture: Gian Lorenzo Bernini Medium: Marble (sculpture); stucco and gilt bronze (chapel) Creation Date: 1647-1652 Location: Rome, Italy Brief Background: Teresa of Ávila was a nun who lived in 16th century Spain, at the height of the Reformation. She wrote about her visions in several books, including this description of the scene Bernini depicted: Beside me, on the left, appeared an angel in bodily form.... He was not tall but short, and very beautiful; and his face was so aflame that he appeared to be one of the highest rank of angels, who seem to be all on fire.... In his hands I saw a great golden spear, and at the iron tip there appeared to be a point of fire. This he plunged into my heart several times so that it penetrated to my entrails. When he pulled it out I felt that he took them with it, and left me utterly consumed by the great love of God. The pain was so severe that it made me utter several moans. The sweetness caused by this intense pain is so extreme that one cannot possibly wish it to cease, nor is one's soul content with anything but God. This is not a physical but a spiritual pain, though the body has some share in it—even a considerable share. Snapshot: The Ecstasy of Saint Teresa depicts a mystical experience of Teresa of Ávila, a nun who lived in 16th century Spain, at the height of the Reformation. She wrote about her visions in several books. This vision was of an angel piercing her heart with a fiery arrow of divine love. The figures of St. Teresa and the angel are sculptured in white marble. The natural daylight that falls on the figures from a hidden source above and behind them is part of the group, as are the gilt rays behind. The Ecstasy of St. Teresa is not sculpture in the conventional sense: rather, it is a framed pictorial scene made up of sculpture, painting, and light that also includes the worshiper in a religious drama. Space surrounding the Ecstasy of Saint Teresa: The grouping in the centerpiece of the Cornaro Chapel, named for the Cornaro family who commissioned the chapel and hired Bernini to decorate it. Theater-like boxes on the walls on either side. In these boxes, seated figures appear to be talking and gesturing to each other. Perhaps they are kneeling in prayer as they watch and discuss the scene of the Ecstasy of Saint Teresa displayed before them. One of the figures is Federico Cornaro, Cardinal of Venice and the patron who paid for the Cornaro Chapel. The others are members of the Cornaro family (many of them were also Cardinals). According to the "theater" metaphor, we- the viewer-have immediately become a part of the work of art. It surrounds us, and we are literally inside of it. This is a typical feature of Baroque art: breaking down the barrier between the work and the viewer to involve the viewer.

Il Gesù

Title/Designation: Il Gesù Content Area: Baroque Artist/Culture: Giacomo Barozzi da Vignola, Giacomo della Porta, Giovanni Battista Gaulli (il Baciccio) Medium: Brick, marble, fresco Creation Date: 1568 - 1584 (Church), 1676 - 1679 (Frescos) Location: Brief Background: A Gesu is a mother church for a religious order. Il Gesu is specifically built for the Jesuit Order. The Society of Jesus (Jesuits) is an order of priests founded by St. Ignatius Loyola in 1540. They are focused on missionary work, as well as charity work in hospitals and education. They were a major force in the Catholic Counter-Reformation (Perhaps better called the Tridentine Era, see link below), which was the Catholic Church's response to the Protestant Reformation, specifically through the teachings of the Council of Trent. Snapshot: The Church Il Jesu is a large church in the city of Rome. It was constructed following the Council of Trent and was a kind of return to Catholic tradition with its cross shape. The church was intended to function as the mother church of the Society of Jesus. The church is richly adorned in paintings, frescos, architectural ornaments, and statues. It symbolizes a church triumphant over heresy, which is what Protestantism was condemned as at the Council of Trent, even having a statue depicting the Virgin Mary casting out the heretics. One symbol can be found throughout the church, that of the letters IHS, which is a contraction of the Greek name for Jesus, ΙΗΣΟΥΣ. The church also features extensive frescos on the ceiling, known as The Triumph of the Name of Jesus, which depicts God triumphant in heaven, surrounded by the angels and the elect, and casting the wicked to hell. The fresco effectively makes the viewer have a sense of 3D perspective by "spilling" onto the roof of the church by having the fresco painted on wooden panels outside of the primary frame. Il Jesu is one of the prime examples of counter-reformation architecture, and of the dramatic style of baroque painting that can be found in the frescos. The whole point of the church is to glorify God and the church triumphant by bringing heaven down to earth, both visually in the artwork, and through the celebration of mass, where the sacrifice of the eucharist is given on the centrally placed altar, where Christ himself is present in body, blood, soul, and divinity.

Palace of Westminster

Title/Designation: Palace of Westminster Content Area: Later Europe and the Americas Artist/Culture: Charles Barry and A.W. Pugin Medium: Sand colored limestone Creation Date: 1840 CE Location: London, England (2.5 hours south of Derby) Palace of Westminster Brief Background: The Great Fire of 1834 burnt down the Old Palace of Westminster in 1834 and in 1840 there was then a contest held to design the next Palace of Westminster to replace the rubble. The requirements were that it was in either the Gothic or Elizabethan style. There were 97 entries and A.W. Pugin and Charles Barry won, with a mostly Gothic design. It was the era of Industrialization. A time of economic growth; Britain was becoming an industrial powerhouse. There was much critique about the aesthetic of Industrialization, being that the large steam engines and textile factories seemed ugly in comparison to what used to be rolling farmland and elegant churches. Mass produced objects had replaced handicraft goods by artisans and their apprentices. It was an unsettling time period, so many turned towards romanticized ideas about the 15th and 16th centuries. Snapshot: The Palace of Westminster is a representation of the feeling of loss for beauty and simplicity that Victorians were feeling. A.W. Pugin released a book called "Contrasts" in 1836 that compared the 15th and 19th century. He described the 15th C. as a world "guided by faith" vs. the 19th C. which was a wealth obsessed, capitalist society. "Unmoral." -Victorians: People who lived during the reign of Queen Victoria, from 1837 to 1901. It is Neo-Gothic, meaning part of the Gothic Revival. Pointed arches, linear architecture, tracery, and lacework. There is a maximization of window space. But, the basis of it was symmetrical and geometric, like Classical architecture. Gothic architecture had organic layouts as a key feature. People were avoiding the modern, using old architecture as an escape from the modern world.

Pyxis of al-Mughira

Title/Designation: Pyxis of al-Mughira Content Area: Artist/Culture: Islamic Medium: Ivory Creation Date: 968 C.E. Location: Al-Andalus (Islamic Spain) Brief Background: A pyxis is a cylindrical container used for cosmetics. This pyxis was a gift to the 18 year old al-Mughira who was a son of a Caliph Snapshot: This pyxis is 16 cm tall and 11 cm wide. It is made of carved ivory from elephant tusk and inlaid with jade and other precious stones. It was made of ivory because it was durable, elegant, smooth, and easily carved. Ivory objects were often bestowed upon members of the royal family. They were often given to sons and daughters on important days such as marriage, birth, or coming of age. They were made to hold perfumes and other cosmetics. The pyxis is decorated with 4 medallions and around these medallions are many figures and animals such as falcons, griffons, birds, and goats. This and works similar to it were made in royal workshops. Islamic art was typically but not specifically aniconic. This piece was adorned with specific royal iconography. The human and animal figures were used to express the political authority and legitimacy of the Umayyad Caliphs. This pyxis was made for the son of 'Abd al-Raḥmān III who was the first Umayyad Caliph of Cordoba as a coming of age gift. There is also an Arabic script from the Kufic script around the base of the lid that says "God's blessing, favours, joy, beatitude to al-Mughira son of the Commander of the faithful, may God have mercy upon him, in the year 357." After the death of his brother Al-Mughira was executed with his supporters because he was a threat to Hisham II who was the last ruler of the Umayyad Dynasty. The beauty of al-Mughira's pyxis allowed for its survival.

Röttgen Pietà

Title/Designation: Röttgen Pietà Content Area: Late Gothic Art Artist/Culture: German, medieval Christian Medium: Wooden Sculpture Creation Date: 1300-25 Location: Germany Brief Background: The Late Gothic Period (approx. 1200 - 1400) used art to depict highly emotional scenes. This was connected to the Christian mystical tradition that existed at the time. The depictions of intense emotional scenes were intended to invoke similar feelings in the viewer, with hopes that they would form a connection with God through this emotional experience. Besides scenes of Christ, many saints, such as St. Francis of Assisi and St. Hildegard of Bingen were depicted. Snapshot: The Röttgen Pietà is a medieval wooden sculpture about 35 in tall. It has been painted to add color. It was intended to be the focus and object of prayer and likely was placed on or near an altar. The Pietà depicts the lamentation, which is when Christ is taken down from the cross, and his death is mourned with great sadness by his disciples, and most importantly, Mary. It is one of 14 (13th) Stations of the Cross. Jesus' wounds are depicted extremely graphically, with 3D blood coming out of his wounds, and his whole body looking completely lifeless. Mary too has an incredibly pained look on her face. There were many other Pietà that were made both in the middle ages and beyond. Some believe that the pained look on Mary's face indicates that she did not believe that Christ was to be resurrected.

Tete a Tete

Title/Designation: Tete a Tete Content Area: 3 Artist/Culture: William Hogarth Medium: Oil paint on canvas Creation Date: 1743 ce Location: England Cite Sources (at least 3): books, articles, URLs, etc. (Add numbers if needed) Brief Background: Hogarth was an artist at the beginning of the industrial revolution. Hogarth was best known for making prints for the rising middle class. Tete a Tete is one of 6 paintings, intended to be a model to make prints off of to sell (for around a shilling a piece). Hogarths art was directly linked to commerce, he produced etchings primarily for the merchant class, so that he could make money. The six images are very lighthearted, and make fun of the aristocracy. Marriages in the 18th century were often arranged for monetary gain, rather than for personal connections. Tete a Tete, literally translates to face to face, and the entire 6 piece title is "Marriage A-La-Mode" Snapshot: Marriage a La Mode tells the story of an aristocratic marriage. The fictional Lord Squanderfield is marrying off his son to a wealthy merchant's daughter, this is an example of the marital exchanges that would take place, the Squanderfield's would get money, while the merchant's daughter would get the title. #1 The Marriage Contract The first image in the set depicts Lord Squanderfield pointing to his family tree, indicating his family's lineage, and the benefits of marrying his son. On the far left sits the young couple, the son of Squanderfield sits with his back to his fiancee, and stares in a mirror. The son has a clear sign of syphilis, in the black mark on his neck, indicating he is seeing prostitutes. The daughter of the merchant sits talking to Silvertoungue, a counselor to the marriage. Across from the table sits the wealthy merchant, with his lawyer trying to determine a fair amount for the dowry. In the background you can see a new mansion that Squanderfield is constructing, and needs finance for. #2 Tete a Tete The second image in the set depicts the couple after their marriage. The man sits exhausted in a chair, clearly coming back from a night of gambling, drinking, and womanizing. Their dog (which represented fidelity) sniffs his pocket, which has another woman's bonnet. The woman has clearly also been cheating on her husband, her bodice is undone, and she has a flirtatious and smug look, possibly as her lover had left just as her husband got home. Her legs are spread, which was not considered to be a very "lady like", and her dress is stained. There is a chair knocked to the ground, under a musical instrument and music book. Music often represented pleasure and sensuality, which is another indication of the woman having an affair. The messy state of the instruments symbolizes the couple's marriage. To the left stands an accountant, who holds bills and receipts, clearly upset with the financial irresponsibility of the couple. In the background there are portraits of saints, which emphasizes the immorality of marriage. On the mantel stands tacky knick-knacks which are in direct contrast to the formal dressings of the rest of the house, this could be to represent how this lavish lifestyle that these people have been forced into do not match their personal lifestyle. Behind sits a bust with a broken nose, which indicates the wild parties probably held in the house, which is also evident from the various items strewn around on the floor. Behind the bust is an image of a cupid in ruins, which represents how these money based marriages are ruining love itself. Next to the portraits sits a covered image, only showing a bare foot, the rest being covered by a curtain, this indicates that the young couple has placed a lewd portrait on the wall. Another indication of the shrewd taste and immorality of the marriage. #3 The Inspection The third image depicts the husband in an apothecary. To the left sits the doctor, and immediately next to him sits his assistant, both have clear signs of syphilis. To the right sits the young Lord Squanderfield, who has come to the doctor to treat his syphilis, and the syphilis of a young woman he has given it to. It is also indicated that he has given his wife syphilis. All 4 subjects have a life threatening disease, caused by having excess, but none seem to acknowledge the seriousness of the situation. In the background there are dead bodies, and on the doctors desk there is a skull, both indicating the seriousness of their disease #4 The Toilette This image depicts the wife at her dressing table, getting her hair done. She wears a string of coral around her neck that would have been used for teething babies, which indicates that they have a child, but she is not a good mother, as rather than be with her child she is surrounded by friends. She sits in her bedroom which would have been a public place, as was common in the aristocracy. We see Silvertongue to the left, looking very comfortable in her bedroom, implying him to be her lover. There is music playing and drinking, and many of the guests have symptoms of syphilis. We see a man holding tickets and pointing at an image of a masked ball. The pictures on the wall depict Zues as disguising himself to have a love affair. #5 The Bagnio (Brothel) This image is depicted in a brothel, at the time you would buy one out so that no one knew what you were doing for the night. We see Silvertounge fleeing out the window, as he had stabbed the husband with his sword. The woman kneels down under her husband, clearly begging for forgiveness, as she had been caught in her affair. They had been at the previously mentioned masked ball, as we see discarded clothing and the masks on the ground. #6 The Lady's Death The final image depicts the wife being dead, after killing herself from ingesting poison. She killed herself after reading (on the newspaper by her feet) that her love, Silvertounge has been hung for the murder of her husband. The family's nurse brings their daughter to say goodbye to her mother. We see a syphilis spot on the child's cheek, telling us she has been inflicted by a disease because of her parents' ignorance. This image is not in the Squanderfields home, but rather the wealthy merchants, as the window shows the Thames river and the overcrowded London, which represents how London is changing and how the culture is new. Her father takes a ring off her finger, and the dog attempts to steal food off the table, a final indication of the greed of the time. Tete a Tete provides a satirical comedy on the wealth obsessed marriages in the aristocracy of the time. The image is clearly designed to appeal to the middle class, by making fun of the aristocracy, which has become threatened by the rising middle class. The pieces are an evident criticism of the unhinged consumption of the time.

Frontispiece of the Codex Mendoza

Title/Designation: Frontispiece of the Codex Mendoza Content Area: 3 Artist/Culture: Aztecs (Indigenous)/New Spain Medium: pigment on paper Creation Date: 1541-1542 Location: Bodleian Library, Oxford University Brief Background: Around 1541, Antonio de Mendoza (1st viceroy of New Spain) commissioned a codex to record information about the Aztec empire. It contained information about the lords of Tenochtitlan, tribute paid to Aztecs, and a yearly account of life. Mendoza intended to send the codex to the Spanish King, Emperor Charles V of Spain, but French pirates acquired it and took it to France. Snapshot: A schematic diagram of Tenochtitlan divides the city into four parts by intersecting blueish green diagonals and many canals. This was intended to show the four cardinal directions which aligned the universe. At the center, there is an eagle on a cactus in the middle of a lake. This symbolizes an Aztec myth in which Huitzilopochtli (patron deity) told their ancestors to leave their home of Aztlan and look for a place with an eagle on a cactus growing from a rock. Therefore, the Aztecs established their capital in the middle of an island of Lake Texocco. Below the cactus, there is a war shield, meaning that the Mexica did not settle peacefully in the Valley of Mexico. The temple above the eagle symbolizes the Templo Mayor. A skull rack (found near the Templo Mayor) and multiple types of plants, such as maize, that show the city's agricultural fertility are depicted. Ten men in white garments (who led Aztecs to this island) are shown with their name glyphs attached. The man to the eagle's left was a probably a priest (named Tenoch) due to the different hairstyle, red mark around his ear, ash covering his skin, speech scroll, and woven mat. There are fifty one glyphs, some symbolizing the Fire Ceremony that occured every 52 years (the solar cycle). Below the city diagram, there are two scenes of military conquest in which the hierarchic scale shows the Aztecs towering over the other men (Colhuacan & Tenayuca).

The Sistine Chapel

Title/Designation: The Sistine Chapel Content Area: High Renaissance Artist/Culture: Michelangelo Buonarroti Medium: Fresco Mural Creation Date: 1508 Location: The Vatican Brief Background: Michelangelo came from a relatively affluent family with ties to the Medici, enabling him to start his artistic training later than most people. In the early 1490s, he studied sculpture under Bertoldo di Giovanni, a student of Donatello, and when he was 13 he was paid to apprentice in painting under Domencio Ghirlandaio. His earliest commissions include the statue of St. Peter's Pieta, created for the tomb of a cardinal, and David, in which he reused a 20ft piece of marble nicknamed the white giant, which had unsuccessfully been used by an earlier sculptor. After this, he received a commission from the Florentine government to paint a scene depicting the Battle of Cascina, which was never finished. Pope Julius II commissioned Michaelangelo to paint the ceiling of the Sistine Chapel, which had previously been blue and speckled with white stars. 20 years after the completion of the ceiling he was again commissioned to paint a scene behind the altar of the Chapel. Although dwarfed by the nearby St. Peter's Basilica, the Sistine Chapel as a building is also significant, as it is where the Cardinals select the next Pope. The floors of the chapel are tiled, and the sides were decorated by earlier renaissance artists before Michaelangelo completed the ceiling. Snapshot: Ceiling: The ceiling of the Sistine Chapel consists of 9 central panels, each of which depicts a scene from the book of Genesis. The central panels are flanked by images of prophets and sybils, which call back to the coming of Christ. The images are separated by painted architectural features, which have a level of detail and precision that make them look painted. After beginning painting in 1508, Michelangelo took a break in 1510. His paintings after this year have a noticeable stylistic change. He shifts to using larger figures, which are easier to see from the ground and therefore convey more emotion. For example, the scene depicting the creation of Adam was created before this break, and that of the Great Flood was made pre 1510. Although Michaelangelo initially sketched and planned the images, the works created at the end of the time he worked on the chapel were done freehand. Although his painting had faded over the centuries since its creation, restoration work has also demonstrated the vibrancy of the colors Michaelangelo used, showing he also had immense skill in color-work. Altar Wall: The painting behind the altar wall of the Sistine Chapel is known as the Last Judgment. Christ is in the center of the image, flanked by Saints, and next to him is the Virgin Mary. The Damned are shown being dragged to hell on the bottom left, and the bottom right depicts the blessed ascending to heaven. Mary is shown as powerless, and looks towards those ascending, while Christ seems to be smiting the damned. The work features over 300 individual figures, all depicted in immense detail. All of the blessed souls are ascending in a unique way, with some easily floating up and others being pulled by angels. Similarly, the damned souls are being pulled down by demons. Notable among these is the Damned man, who has one hand over his face and an expression of realization as to the fate of an eternity in hell. Other figures are drawn to exemplify specific sins, with one holding a bag of money and a key, showing the sin of greed.

Treasury of Al-Khazneh and Great Temple at Petra

Content Area: Content 7 Artist/Culture: Nabateans Medium: Stone Creation Date: 400 BCE-100CE Location: Petra, Jordan Brief Background: The city of Petra was built by the Nabateans, an ancient civilization of traders. Trade brought them wealth as well as contact with the Roman Empire, which can be seen in their architecture. However, they were annexed by the Romans around 106 CE. Archaeologists initially believed the city was a necropolis, but further investigation showed that it was a complete Hellenistic city carved out of the rock. To reach the city, you enter through a gorge called the Siq. Snapshot: The Treasury tomb at Petra has a two-story facade that uses elements of Greek and Roman architecture that were common in Alexandrian style. For example, the first story is supported by Corinthian columns, but they are distinct from the Greek version (see: Capital lower order, Al-Khazneh, Petra. Art Destination Jordan). The tomb facade is similar to a super-high relief, especially considering how light interacts with the stone.Since the Treasury is at the entrance to the Siq, it was likely a ruler's tomb, possibly Aretas IV. However, this is hard to verify since there were no bodies or ceramics found inside. The interior of the tomb is a plain square room connected to three larger rooms with small hallways. The exterior carvings depict Greek and Egyptian mythical figures: on the second level Amazons surround the syncretic goddess Isis-Tyche, while the lower level features the Greek demigods Castor and Pollux. Other carvings feature eagles and vegetation (traditionally Hellenistic) but include rosettes, which were typical in ancient Western Asia. There was possibly a lower level with a pond and forecourt (6m below) that was later covered up. The Nabateans were master engineers and architects: not only did they construct this tomb, but they planned for flash floods by building drainage channels nearby.

Cathedral of Notre Dame de Chartres

Title/Designation: Cathedral of Notre Dame de Chartres Content Area: Content 3, Gothic Architecture Artist/Culture: Catholic Medium: Limestone, Stained Glass Creation Date: 11th and 12th centuries CE Location: Chartres, France Brief Background: The Chartres Cathedral, part of a larger complex in Chartres, was initially constructed from around 1145 to 1150, but in 1194 a fire destroyed all but the West facade. The process of rebuilding took roughly 27 years. Because of this, the cathedral demonstrates a unique combination of early and high gothic architectural, sculptural, and artistic elements. The Cathedral, located 58 miles from Paris, was a major destination in the 11th and 12th centuries. This was largely due to the Tunic of the Virgin Mary, a relic the church housed. Snapshot: West: The West facade of the Chartres Cathedral is undoubtedly gothic in style, but lacks some of the grandeur of high gothic architecture. It also incorporates aspects of romanesque architecture, namely in the small, arched, windows on the sides of the doors. The facade has three doors, each of which is encompassed by a portal. The meanings of the tympanum of the portals have 2 different interpretations. The traditional interpretation views the left as the ascension of Christ, the middle as the second coming of Christ, and the right as the life of the virgin Mary. The newer interpretation describes the left as a depiction of Christ before having a physical form, the middle as the second coming of Christ, and the right as dedicated to the virgin Mary it possible for God to have a physical form. This tympanum shows Christ sitting on Mary's lap, as she embodies the throne of wisdom. The Jambs on the west entrance show kings and queens of the first testament. These figures are long, and take on the shape of the column. They lack movement and depth, and are not very realistic. South: The rest of the Cathedral is considered to be the earliest example of high gothic architecture. Whereas the west facade lacks depth, the portals of the southern facade extrude much further from the face of the church. The jambs on the southern side are much more realistic than those of the west. They have depth, and do not have the long, extorted shape of the western jambs. Notable among the southern Jambs is that of Saint Theodore. He has a little bit of movement, and the drapery has much more volume. Inside: The Cathedral has a pointed vault ceiling. This was a technique prominent in Gothic architecture, and it made the ceilings seem higher. This element of verticality was added to by the column-like piers, which draw the eye upwards towards the ceiling. The Chartres Cathedral also has what was, at the time, an unprecedented amount of windows, made possible by the use of flying buttresses. Most of these windows are stained glass. The stained glass utilizes many bright colors, the most prominent being a dark and vibrant blue. Among the works of stained glass, Our Lady of the Beautiful Window stands out. It shows a heavenly image of Mary. The north rose, grander than that of the west, is also notable. It also shows the virgin Mary (what a surprise!), but as it was paid for by Blanche of Castile, mother of Louis IX, it also has references to the french monarchy, such as the 3 petaled iris flowers on a blue background. Restoration Work: Most of the stained glass within the cathedral is original, which is pretty impressive. The ceilings of the cathedral were originally plastered over, and then painted. This gave a very light colored brick like appearance, which mimicked the shapes of stones lower down. Over the centuries, as this faded, the cathedral became dark, but it has now been restored.

Olympia

Title/Designation: Olympia 1863 Olympia - Manet Content Area: Later Europe and Americas Artist/Culture: Edouard Manet Manet Medium: Oil on Canvas Creation Date: 1863 Realism Location: Paris, France Paris Map Dimensions: 4 feet by 6 feet cb Brief Background: The Paris Salon: The official art exhibition of the Royal Academy of Painting and Sculpture. Held in a special room in The Louve. Sponsored by the French Monarchy as a way to foster French culture. Started in 1667. "When selecting artwork, for example, they favored conservative, conventional subject matter—including historical, mythological, and allegorical scenes as well as portraiture—rendered in a realistic style." 1824 rendering of The Salon. There were alternative salons created. But, the point is, all art that passed through the salon got the government stamp of approval, it was considered fine art. Women had been painted and drawn erotically for many centuries. A classic tradition. Manet took inspiration from Venus of Urbino for the creation of Olympia. Venus of Urbino Snapshot: Manet's Olympia was different from previous renderings of nude women because she was not claimed to be mythological; a Venus. Her features were not idealized or perfected. She has an asymmetrical face and thin lips. She is looking and thinking. Venus of Urbino seems coy, submissive. She seems real. All of this meant that there was no way to pretend that she was painted to be "a rendering of perfect beauty." The true intentions of the viewer were exposed, and this was radical and new. There was a real model, her name was Victorine Meurent and the servant was an art student. The woman is supposed to be a high-class prostitute. She is wearing a bracelet and a pearl earring. There is an ornate shawl. She is being brought a bouquet of flowers by her maid, a gift from one of her customers. Some have interpreted the POV as a customer just walking in unexpectedly and startling Olympia and the cat. The cat is a symbol of women. The brushstrokes are quick, there is lots of shadow on her hands and feet, while the rest of her body remains a large colored surface. She is girlish rather than womanly. The colors are cold and unnatural. The smooth surface was not added. A lack of depth. There was much backlash from the attendees of the Salon. The body's putrefying color recalls the horror of the morgue." "Undefined terror of a painted corpse." "Her face is stupid, her skin, cadaverous. She does not have a human form." "Mocking the pose of Venus, with a hand shamelessly flexed." 1865 French newspaper She is exhibiting economic independence from a man. The maid is there to create contrast. Olympia is good, the maid is bad. She is an impurity to make Olympia seem more perfect. She fades into the background, only noted because of the task she is accomplishing. Her critical role in the scene is brushed aside. Olympia's Maid: Reclaiming Black Female Subjectivity* Radical subject and viewer honesty.

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

Title/Designation: Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On) Content Area: Romanticism Artist/Culture: Joseph Mallord William Turner Medium: Oil paint Creation Date: 1840 Location: Museum of Fine arts, Boston Brief Background: Joseph William Turner was a British artist who lived from 1775 to 1851. The techniques he used in this painting would become popular around twenty years later during the impressionist movement. With the rise of industrialism in the late 1700s and early 1800s, themes of man versus nature were common in everyday life. At this time, slavery had been banned in Britain but not America yet. Snapshot: This is an oil painting of a slave ship traveling the ocean. The ship is sailing directly into the storm, Behind leaving the slaves it was carrying to drown in the waves. The backdrop is a burning sunset with writhing, stormy waves. We can see the struggling limbs of the slaves sent overboard being devoured by carnivorous fish in a terrifying scene of cruelness and devastation. The massive wave and the wall of clouds overtaking the ship is vengeance and punishment by nature for the evil of these senseless deaths. The slaves were thrown overboard of the ship as a decision by the captain, because if slaves were lost during a storm the captain could claim insurance money for the loss of their lives.The dreamlike, intense light that is used in this piece heighten it's emotion and makes a scene of tragedy and horror beautiful at first glance by making the details hard to spot. The primary message of this piece was that of abolition, with the intent of stopping the practice of slavery at the time by portraying it as it really was, as well as permanently remembering its horrors for generations to come. The shocking story told by Turner astonished critics and the public alike, meeting his goals in just about every way.

Still Life in Studio

Title/Designation: Still Life in Studio Content Area: 4 Artist/Culture: Louis-Jacques-Mandé Daguerre Medium: Daguerreotype Creation Date: 1837 CE Location: France Brief Background: The first successful photographing process was completed in 1837 with the Daguerreotype technique, which involves sharply defined and highly reflected photographs on silver-coated copper plates. The copper plates would be exposed to iodine vapors and then mercury fumes were used to develop them. Sodium thiosulfate (a salt water mixture) was then used as a fixer. It is estimated that the capturing of this photograph would have taken about 15-20 minutes and the objects would have all remained perfectly still for this time. These early photographs needed to be protected behind glass in order to keep them preserved. This technique is named after the artist, Louis-Jacques-Mandé Daguerre. He was a Parisian romantic painter and printmaker who spent the majority of his life searching for ways to capture fleeting images. Many of his other works have been destroyed in a fire. Snapshot: This is the oldest surviving photograph. This piece contributes to the merit of photography as an art medium by showing how it can be a link between photography and traditional still-life paintings. It is a testament to Dagurre's photographic scientific achievement as a result of his many experiments with photochemistry. This piece contains several seemingly random objects such as a hanging wicker bottle, a ram head, a low-relief panel with a nude female (theorized to be Venus), and two heads of "putti'' (Renaissance representations of cupid). The putti are a reference to Greek and Roman art where they first emerged, and they are also seen in Pompeii wall paintings, Renaissance, Baroque, and Rococo style art. This image is not just a scientific discovery, but also has a number of artistic elements. These include vertical and diagonal composition and also the use of light and shadow.

The Palace at Versailles

Title/Designation: The Palace at Versailles Content Area: Content 3 Artist/Culture: Louis Le Vau & Jules Hardouin-Mansart (architects) Medium: Masonry, stone, wood, iron, and gold leaf (architecture) Marble and bronze (sculptures) Creation Date: 1669-1682 Location: Versailles, France Brief Background: This location was originally used as a personal hunting lodge for Louis XIII during his reign. During the reign of Louis XIV, the residence was rebuilt into the palace that still exists today. Throughout the beginning of its construction it transformed from a place for parties and entertainment until 1682 when it became the main residence of the French court and government. A succession of French Kings continued to live in the palace up until the French Revolution began in 1789. Due to factors related to the revolution, Louis XVI was forced to leave Versailles and go to Paris. The palace has 700 rooms, 2,153 windows, and takes up 67,000 meters of floor space. The main function of the palace was to emphasize and demonstrate Louis XIV's importance and influence. He was intent on making the palace both ostentatious and elegant so he assembled whole teams of architects, sculptors, decorators, and landscape designers under the management of Charles Le Brun. The palace was a symbol of the power in France shifting from the Nobles to the king. The palace is in the French Baroque style which is characterized by its large curved forms, high domes, and complicated shapes. Snapshot: Hall of Mirrors The most famous room in the palace is the Hall of Mirrors. The Hall of Mirrors runs along the entire length of the central building and overlooks the gardens. The room features over 300 mirrors lining the walls, creating illusions using light, which was also an element of the Baroque style. This is a reference to Louis XIV's nickname, the Sun King. This room is a tribute to France's economic, political, and artistic success. It also has a variety of gold statues along the walls. This room would have been used for meetings or ceremonies. The Gardens Like the rest of the palace, the gardens were also very extensive. They can be seen from the windows of the Hall of Mirrors and have a central axis lines with trees, terraces, pools, and lakes. They were designed by André Le Nôtre, a famous French landscape artist. It is a highly designed space with expertly placed plants and specifically trimmed shrubbery. These gardens were traditionally to host parties for entertainment as well as an area for private walks for the king. Louis XIV Portraiture This image is just one example of many portraits that were created to pay homage to Louis XIV. This portrait is the most famous and it was created by Hyacinthe Rigaud. It is intended to depict Louis XIV as extremely powerful and larger than life. He is wearing fine robes and heels as a symbol of his extreme wealth. His turned position and his posture reflects the confidence and directness of a king. this image so successfully captured the current perception of Louis XIV that the portrait would be placed over his throne in his absence. It served as Louis' proxy and anyone who visited it were forbidden to turn their backs. All of the portraits originally displayed at Versailles would have been chosen by Louis XIV.