AP Art History 250 Notecards Period One

Anavysos Kouros Archaic Greek. c. 530 B.C.E. Marble with remnants of paint

- "Kouros" statues were idealized statues of young men common throughout Ancient Greece. They were used as grave markers or set up near graves as votive statues or set up outside temples. - This statue is representative of the development of naturalism and the movement away from abstraction. Greeks elevated the human body and the human mind to the highest status. There was more emphasis on capturing realism than in Egyptian culture. The artist depicts toned muscles, especially in the strong legs and abdomen. It also would have been painted to make it seem more lifelike. - It is very idealized and follows the Greek Cannon. For the artist, it was seen as a mark of expertise if they would sculpt a human body that actually looked realistic. - The artist uses heroic nudity to show the figure's self control and physical excellence - The headdress and left leg in front are similar to those of Egyptian statues, suggesting that the greeks were both influenced and inspired by the Egyptians

White Temple and its Zuggurat Uruk (modern Warka, Iraq). Sumerian. c. 35000-3000 B.C.E. Mud Brick.

- A Ziggurat served as a mountain for the gods. It was raised so that the gods wouldn't have to come all the way down to earth - worshipers and priests would meet them halfway. - Worshipers and processions would approach the temple through bent-axis approach. This suggests approaching a god should be difficult/meditative. This also created opportunity for a parade and created a social hierarchy. For example, the questions were raised: Who gets to go on the platform? Who gets to go in the temple? - Ziggurats served as the center of city life. They were the visual focal points of the city were visible over the defensive walls of the city. This references both the power of the city and the theocratic political system (a god(s) are recognized as ruler(s)) - Ziggurats were made from mud brick because stone was rare. It took 1500 laborers working long hours for 5 years to build it. Religious belief probably inspired the participation in its construction, but there was forced/slave labor used.

Earth's Creation Emily Kame Kngwarreye. Utopia Australia. 1994 C.E. Synthetic polymer paint on canvas.

- An example of Kngwarreye's "high colorist" phase, where the artist explored the use of a greater color palette, but still connected her works with the natural environment by focusing on the changing seasons. - This painting uses various shades of green, blue, and yellow to capture periods of heavy rain, which are then followed by a lush green environment, known as "green time." - Kngwarreye was an elder of her Aboriginal community, who was trained to create paintings that were connected to her culture. Her later paintings like Earth's Creation were also influenced by her culture. - Creates layers of color, movement, and texture through a series of repeated dots, the dump dot technique.

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

- Botticelli was a student of Lippi (Madonna and Child), thus the styles of their figures are similar. Botticelli's style is different, however, in the sense that his landscapes were more unrealistic, a characteristic which would be unheard of for Renaissance art. - Unrealistic elements of this work include stylized water, perfectly straight and thin trees, stylized hair, elaborate drapery, and the fact that the figures float instead of being anchored to the ground (especially the central figure on the shell). - This was based on a contemporary poem from the wealthy and powerful Medici family, who also commissioned it. - This work demonstrates the reestablished emphasis on nudity and human form, but Botticelli demonstrates innovation through the lack of Christian content in his works. - Typical works of Botticelli are unrealistic, emphasize beauty and elegance through drapery, hair, and body details, and combine many medieval and renaissance elements to create a Lippi-inspired yet unprecedented style.

Chavín de Huántar Northern highlands, Peru. Chavín.900-200 B.C.E. Stone (architectural complex); granite (Lanzón and sculpture); hammered gold alloy (jewelry)

- Chavin de Huantar is a religious complex of the Inca people located in Peru that was built around 900-200 BCE. - The main temple was 60 meters tall and was decorated with a jaguar statue, a symbol of power. - Inside of the temple is a maze-like system of corridors, at the center of which is the Lanzon stone. The stone is fifteen feet tall and is carved to depict a figure that is part human, part snake, and part jaguar. - The stone was thought to have spiritual powers and potentially even be a point of pilgrimage as it served as a cult statue, although access to the corridors and the temple itself was limited to mostly priests.

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

- Chinese architecture is based on courtyard style houses that express the Chinese philosophy about family and position, the Forbidden City was named as such because only the royal court could enter. -The exterior walls of the courtyard residence (Fig. 28.2) kept the crowded outside world away and framed an atrium in which family members resided in tranquility. -In the forbidden City, the emperors seat is in the hall of supreme harmony, facing south, the Forbidden City is the largest and most complete Chinese architectural ensemble in existence with 9,000 rooms and 30 ft high walls to keep outside people out and the royalty inside. -Each corner of the rectangular plan has a tower representing the four corners of the world, yet the focus is on the Hall of Supreme Harmony (throne room). -Yellow tiled roofs and red painted beams placed on marble foundations unify the structure into an artistic whole. (Fig. 28.3)

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

- He started in Neo-Classicism but this artist is said to have started and laid the foundation for Romanticism which shows emotive expressiveness and sensuality. The figure is not set in a classical setting but instead in a cool aloof eroticism shown by its exotic context. It shows controversy because it was a female nude that wasn't Venus and the woman was thought to be in a harem (sex house). - The peacock fan, incense burner, the turban, the hookah, and the enormous pearls are Turkish elements and point to the French concept of the Orient. - This image would have been made for an early 19th century French male. The way the artist portrays sexuality is made acceptable even to the French culture because of the geographic distance. -The sensuality is very important and the weird anatomy plays a role in that. The back is extended and her leg is in an impossible position. There is a languidness that the artist achieves. People are intrigued and enjoy looking at it but the figure in the painting is distant and not inviting.

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

- Eadweard Muybridge is very famous in the film world for being the inventor of the Callotype print. - Callotype prints were seen as the first examples of moving pictures and were invented 40-50 years after the invention of photography. - They were made using graph paper in the back which helped to engage the image, paper negatives, fast shutter speeds, and a timer which would set off a series of cameras. Muybridge would edit the images down to the ones that he thought captured the essence of the movement best. - Muybridge specialized in images such as this one which would provide information to the artist and to scientists about humans and animals in motion - This particular callotype print was commissioned by a wealthy American who had a bet over if horses ever have all four legs off the ground when they run. This provided the first evidence that they do and allowed people to study the way that things and people moved, therefore expanding the knowledge of form and pose.

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

- God figure placed in commons of village; specific to place and people. - Wooden shaft with head of god at top, smaller heads below, some images that may be stylized pregnant women, but most are men. Traditionally a penis at bottom, a symbol of male potency. The staff god thus combines male and female power. - Usually wrapped in tapa cloth given as an offering to the god. The cloth is made by women out of bark — another way that male and female power are combined in this image. - Wrapped inside the tapa cloth are red feathers and polished pearl shells, "the soul of the god." - Contextual image shows the surrendering of the gods to missionaries, who collected these works but only kept the heads, in most cases — considered them both pagan idols and obscene...

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

- Jefferson believed that art could elicit social change, inspire the public to seek education, and could bring about a general sense of enlightenment for the American public. He thought that the Wren-Baroque aesthetic common in colonial Virginia was too British for a North American audience. - Monticello means "little mountain" in Italian. It was common for Virginia's gentry to place their plantations along the bank of a river in the 18th century, but instead he put his atop a solitary hill - After he completed Monticello, he became the minister of France where he found a lot of inspiration and decided to redesign his home. He took inspiration from the a hotel in Paris and the Palladian villas in Italy and the Roman ruins in France. - His architecture shows a commitment to Neoclassicism through his stripped-down version of Roman architecture such as an octagonal dome and perfectly symmetrical home. He also designed the Rotunda at UVA which was based on the Pantheon. Through his neoclassical architecture, he sought to represent the democratic ideals that Americans should strive for. - He was very proud that all the materials (such as wood and brick) were local, making Monticello truly American.

Improvisation 28 Vassily Kandinsky. 1912 C.E. Oil on canvas

- Kandinsky, who was Russian but collaborated with German artists in Munich, was influenced by the experimentations in color of the Fauves and of other radical painters in the early 20th Century to push beyond landscape into near-abstraction. - For Kandinsky, painting was analogous to music, a "pure art" that did not represent reality but reached the emotions directly through the senses. His treatise "On the Spiritual in Art" proposed that colors effected the soul directly, independent of recognizable imagery, and that the artist could only evoke the deepest reaction from his viewers by evading the conscious mind, which would seize on the recognizable to rationalize the images in a painting. Kandinsky wanted to reach the soul through the unconscious. - This particular work reflects the chaotic and volcanic forces Kandinsky saw remaking the modern world—the rising militarism of Europe but also the unrest that led to the Russian Revolution of 1917 and the rise of the Communist Party in Russia. - Kandinsky was trying to associate painting with music and to suggest that painting can mean something, that it can take us places without representing anything concrete. He wants the viewer to experience Synesthesia (crossing of the senses)-- he may have wanted us to actually hear something. - This work was also inspired by biblical tradition. This can be seen in the church on the upper right and the great flood on the lower left

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

- Leon Battista Alberti, the architect, was originally a scholar who wrote influential guidelines for art and architecture. His texts "On Painting" and "On Architecture" moves away from the medieval style and becomes more humanist. (3.3A) - The Palazzo Rucellai was a home commissioned by the Rucellai family. The Rucellai family was a wealthy merchant family in Florence Italy. Their family symbol, billowing sails, is found in many of the friezes. (3.4C) - The Greek and Roman influences are similar to that of the Colosseum. There are multiple tiers of decorative pilasters, which are flattened columns. The first floor is Tuscan (derived from Doric), the second floor is Alberti's own invention (derived from Ionic), and the third floor is Corinthian. (3.3A) - The Palazzo Rucellai shows Alberti's knowledge of science and mathematics which is shown in the careful calculations of the tiers. This knowledge is a continuation of the Greco-Roman naturalistic style and their cultural values of intelligence and math. (3.3D)

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

- Located in Java, Indonesia, this Buddhist temple contains 504 life-size Buddhas, 1,500 stupas, and thousands of feet of narrative relief sculptures. - It is meant to be circumambulated on each terrace. There are six concentric square terraces topped by three circular tiers with a great stupa at the summit. - The temple is iconographically complex and intricate and has many levels of meaning, both literally and figuratively. The lower stories represent the world of desire and negative impulses, the middle areas represent the world of forms and the idea that people have to control their negative impulses, and the top story is a world of formulas in which the physical world and worldly desire are expunged. - This site is pyramidal in form and is aligned with the four cardinal points on a compass, and was carved out of volcanic stone found locally on the island.

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

- Lukasas were an integral part of the culture of the Democratic Republic of the Congo. They were meant to tell the history of the culture through performance. - These memory boards were utilized in the oral retelling of history through song and dance. It is a mnemonic device, so the user would use the texture of the device (beads, carvings etc) to help tell the story. - The complex geometric carvings and the configuration of the beads were unique to each individual memory board, proving that each one served a different purpose and told a different story. The user would also change the manner of their delivery based on the audience. - The user would be granted authority of kingship and power, just by using the Lukasa, therefore proving its role as an object of power. Memory boards were primarily used in the kingdom of Luba where kingship was sacred. - "Men of memory" would use the Lukasa to recount the history of spiritual rituals. They would hold the board in their left hand and scan their right forefinger over it as if they were reading it.

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

- Malagan in a ritual to send the dead off and fulfill the responsibility of the living to them. Special structures are created to memorialize the dead and house the ceremonies and ritual feasting. These are then destroyed or left to rot. It can be the same with the art displayed in them, or if it is sold the family loses the right to use the imagery again and must commission new and different images for the next Malagan. - The ceremonies and rituals are lavish and one of a kind, so that another Malagan will require the family and artisans to create new houses and images and spend a great deal of wealth, thus honoring and satisfying the deceased. Even so, Malagans alsol serve as symbol of continuity a public ritual to reaffirm clan and family lineage as well as propitiate the deceased. - Masks like this one represent either spiritual portraits of ancestors, the spirit or "ges" of the deceased (kind of like the "ka"), or bush spirits, a kind of local god. - They are used in performances at the Malagan; their yellow, red and black colors allude to the powers of violence war, magic associated with the individual represented—the mana of the deceased or potency of the spirit. - A similar style was used for sculptures of ancestors in the Malagan structure.

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

- Manet's Olympia follows a long tradition of the female nude. This painting is modelled after Titian's Venus of Urbino, but it is stripped of the Greek aspects. - The features of woman, Olympia, are not idealized or perfected. Her face is asymmetrical and her lips are too thin. - Olympia looks directly at the viewer, which confronts the viewer with the reality of a nude woman. She is not a Venus, rather she a prostitute. - Manet doesn't pretend that the painting is real. He reveals the brush strokes, and used only about four shades. Manet unmasks the fact that paintings are not real, and that they are not perfect. This painting is about the convention of art, and forces us to be honest about the materials and subject of art.

Nan Madol Pohnpei, Micronesia. Saudeleur Dynasty. c. 700-1600 C.E. Basalt boulders and prismatic columns

- Nan Madol was an ancient city that acted as the capital of the Saudeleur Dynasty of Micronesia. - Similar to Venice, Italy, it consisted of 92 artificial islands connected by canals, resulting in about 170 acres in total. The islands were arranged from southwest to northeast in order to take advantage of the trade winds. - The city was built with the intent to separate the upper classes from the lower classes. The king specifically arranged for the upper classes to live close to him so he could keep an eye on them and ensure their support. - Fifteen-foot-high, thirty-five-foot-wide seawalls acted as breakwaters and prevented the city from being completely swamped. These walls curved and pointed upward at the edges, which gave the complex a symbolic boat-like appearance.

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

- Only patrician (wealthy) families could have these. They would parade them through the streets during the person's funeral as a "death mask". - The parade was meant to highlight the person's role as a patrician and the busts highlighted the old age of the person (the oldest male of each patrician family would sit in the senate). - After the parade, the busts would be kept in the family's residence as a reminder of the lineage of ancestors and their everlasting power and wealth. - Veristic verism was used by the sculptors to depict someone just as ugly as they were (or uglier). This caused the busts to express little vanity and allowed the dead to be remembered as wise, knowledgeable, and having longevity.

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

- Pop Art was coined by an English critic to describe the work of a variety of English artists who reproduced the imagery of popular culture and mass media as a way of both critiquing the homogeneity of cultural imagery, the commodification of identity and the fetishizing of consumption and celebrity that arose after WWII and coincided with the rise of both TV and youth. - Andy Warhol became the dominant pop artist in American and then the world after starting out as a very successful illustrator for magazine advertisements. He flouted the idea of the artist as a serious thinker doing individual, personal important work by embracing and reproducing imagery from the world of marketing (Campbell's Soup can label designs, movie stills from theater placards) and presenting the end result as art. His use of serigraphy or silk-screening, then used as a mode of cheap reproduction, goes along with this focus. - In the Marilyn Diptych, Warhol presents multiple images of Marilyn Monroe based on an image of her in a film, "Niagara." The replication of the images implies a comment and the ubiquity of celebrity images and the reduction of the figure's identity to a mere symbol that gradually fades in specificity.The use of garish yellow on one side of the diptych suggests the exalted value of Marilyn's identity as popular image, while the fading dark side alludes to her death by suicide and how it may be related to the effacement of her identity. - Calling this work a diptych implies that it is a altar-piece, a sacred image to be worshipped.

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

- Rembrandt was famous for his self-portraits. He created about 75 in his lifetime. His wife often modeled for him and his works were never for sale, but were for private purposes. - This is the only image of Rembrandt with his wife together in an etching. Rembrandt created this when they first got married and sought to transform the traditional marriage portrait into something that appeared to be dramatic yet every-day. He achieved this through their casual historical dress. - The etching seeks to display marital harmony, with Saskia (his wife) as a muse who is inspiring him. - Rembrandt was known for being an excellent etcher and he was the artist who popularized the style. Etchings were made with a copper plate covered with a waxy material. The artist would draw into the way with an etching tool to expose the copper. The plate would then be placed in acid which would expose the lines. The wax would be removed and the plate would be pressed onto the paper. An artist could make 100 etchings with one plate.

All-T'oqapu tunic Inka. 1450-1540 C.E. Camelid fiber and cotton

- The All-T'oqaupu tunic would have been used in the Inka civilization as means for indicating the status of the person wearing it, most likely a ruler. - It is made up of small rectangular shapes "T'oqapau" which were individual things that represent a specific idea or event, especially the identity and clan of the individual. - These textiles would be considered precious, and were luxury and power objects. They were considered even more valuable than gold. They were made from cotton and camelid fibers to create the finest cloth in the empire. They were made on looms by cloistered women. They were collected as part of the tax system and represent the height of the Inca empire. - People would wear this form of traditional dress when they conquered another people in order to show their class, place in society, and as a form of identification.

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

- The Court of Gayumars is from an important manuscript called the Book of Kings. The Book of Kings was made for the Safavid ruler of Iran, Shah Tahmasp. (7.4E) - The painting includes Islamic text and design, and also Chinese landscape. Gayumars himself is represented to have the features of a Mongol. This shows the cross-cultural exchange of ideas about art. (7.1B) - The painting depicts a court at the beginning of history. Gayumars was thought to be similar to Adam, in that he was one of the first beings on the earth, and a noble king. This painting associates Shah Tahmasp with known heroes, which include divine heroic kings. (7.1D) - Sultan Muhammad took three years to paint the Court of Gayumars, due the details and scale of the painting. Because of such detail, Sultan Muhammad had to have used fine brushes, which were made of squirrel hairs at the time. (7.4E)

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

- The Great Mosque was originally built in 1200 CE and has been a centerpiece of life in Mali and in Djenne ever since it was founded. It is a center of commerce, learning, and Islam, and is also a political symbol for local residents and colonial powers. - At the top of the pillars around the roof of the mosque are conical extensions with small replications of ostrich eggs on top of them. In this region, ostrich eggs are seen as a symbol of fertility and purity. - Every year, the mosque has to be replastered because the mud washes away during the rainy season and must be reinstated. This has become a festival called the Crepissage de la Grande Mosqueé. - Some important additions to the mosque since it was originally built are a special court reserved for women and a main entrance with two pillars, which mark the burial sites of two important local religious leaders.

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

- The Great Stupa and Sanchi was a buddhist temple and burial mound that was associated with the Mauryan emperor Ashoka. Ashoka was the first emperor who started adopting Buddhist ideas and caused conversion in his emperor. - This stupa was shaped in a hemispherical mound which was meant to represent the burial mound do the Buddha where his relics would have been deposited. Worshipers would enter through gateways and circumambulate the Stupa. People were supposed to be able to purify themselves through proximity to the relic and get closer to nirvana and rebirth. - The mound was undecorated but the gateways were intricately carved with figures such as fertility deities or narrative scenes. The Buddha is never depicted as a human, but sometimes by his feet or symbols (wheel, umbrella, tree). - Yakshi figures are also present on the gates. They are fertility goddesses- they kick the tree and it blooms with fruit. This is meant to represent the earthly realm of buddhism.

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

- The Kaaba is located in Mecca, which is the spiritual center of Islam. It is said to have been built by Ibrahim and Ishmael for God. - During a period of lapse in Islam tradition, the Kaaba was originally a space for pagan religions and filled up with pagan idols and statues, which had to be cleaned out by the prophet Mohammad. - The Kaaba is the destination place of the hajj, the pilgrimage all Muslims are obligated to take. While there, Muslims circumambulate the Kaaba seven times counterclockwise in order to fulfill their hajj. - A large mosque and gathering space was built around the Kaaba in order to make the hajj easier for Muslim believers.

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

- The aesthetic here associated with the Tea Ceremony and its central, minimalist principle of "wabi" (restraint and understatement allowing freedom for taste, imagination). These aesthetics squared with the Zen influence among the upper classes. - Rock placement was a major element of creating gardens. It was originally a job for the priestly class, but at the time this temple complex was created, the "river people" were called on to provide design and labor. - Rocks can be associated with the "kami" of Shinto belief and also the mountains of Hindu and Buddhist scripture. The placement of them can be related to the canons of Chinese and Japanese painting. - The dry garden was meant to be seen from a covered walkway by monks, become a subject for meditation. The emptiness is consistent with Buddhist beliefs. - The wet garden and landscape probably originally part of a palace complex. The site was originally created by a powerful family, and a retired emperor once lived at the complex among the monks which demonstrates a connection to political power.

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

- The artist strongly opposed the restrictions of named movements, but is generally considered to be an Abstract Expressionist. His paintings mix together abstraction and figuration. De Kooning's paintings dismember, re-assemble, and distort its figures. - De Kooning is also known for action painting. He leaves his paintings with a sense of incompletion, and he comes back to rework them continually. His style is opposite of the finished and polished works of the Beaux Arts Tradition. - Woman I began by De Kooning pasting a smile from a magazine onto a canvas. Then he paints onto the canvas. De Kooning slashes paint onto the canvas, and the jagged lines create an overpowering image. - The woman depicted is ferocious, white fierce teeth and huge eyes. She has large breasts and the smile cut out from a magazine advertisement. The woman has a blank stare and wears a frozen grin. - The painting is a combination of stereotypes which comment on the banal and artificial world of film and advertising. The woman's big breast are a satire on women who appear in magazine advertising.

Androgyne III Magdalena Abakanowicz. 1985 C.E. Burlap, resin, wood, nails, and string

- The figure seen in this work is made of hardened fiber casts made from plaster molds, and is completely hollowed out. The hardened fiber gives the appearance of crinkled human skin set in earth tones. - The figure sits on a low stretcher of wooden legs that substitute for human legs, which is meant to show the fragility of the human figure and the husk-like state of sorrow. - The figure is androgynous because Abakanowicz wants the viewer to focus more on the humanity of the figures rather than their gender. This work alludes to the brutality of war and of the totalitarian state, and is an expression of suffering

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

- The little boy with the pistol on the right side of the painting represents the role students played in the revolt, while a man depicted in a top hat and carrying a rifle represents the middle class and a man with a sword and a pistol in his belt represents the lower class. - Liberty's hat is styled after Phrygian caps, which were worn in the ancient world in order to designate freed slaves. - The Notre Dame Cathedral is seen on the right through all the smoke and has the French tricolor raised on its tower. Notre Dame as the landmark and symbol of Paris is mixed with the actual historical event and the figures representing the people of Paris. - Although the painting was acquired by the French state in 1831, it was not publically displayed for 25 years because of the revolutionary message it sent and the government's fears as to how that would be interpreted by the people.

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

- The style of this painting is Analytical Cubism. Braque worked with Pablo Picasso to develop this style. They eliminated a lot of colors in order to focus on being able to show multiple perspectives at once. - The content of analytical cubist paintings, such as The Portuguese, are the sights and sounds of the cafes in the areas where they worked. The Portuguese depicts café musicians, guitars, berets, absinthe glasses, and more. - A major aspect of this painting is the fractured forms. Braque broke down objects into smaller forms and many pieces. Breaking the objects allowed Braque to change the perspective of the object, showing it from the front, back, inside, and outside simultaneously. - The only realistic elements of The Portuguese are the stenciled letters and numbers. The content of these elements suggest that there is a dance hall poster behind the guitarist, which his very common in a café atmosphere.

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

- This Pyxis is a cylindrical box that was used for cosmetics. It was kept in a room of a palace and was given a central place as a symbol of the wealth and importance of its owner. - It was a gift to 18-year old al Mughira (the son of the Caliph) as a coming-of-age present. Ivory objects were bestowed upon members of the Royal family (esp. sons) and were later given to Caliphic allies in hopes they would convert to Islam. - Ivory allowed for ornate carvings and was also popular during roman times because it was so elegant, smooth, and easily carved. - The Pyxis is decorated with four eight-loBed medallions which are surrounded by figures and animals. One medallion shows lions attacking two bulls. The lions symbolize the victories of the Umayyad. Another medallion shows men on horseback picking dates which represents land under Abbasid control. - Pyxis were highly portable and the tradition continued into the Byzantine empire and spread to Al-Andalus.

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

- This painting and others like it were meant to record the likeness of the figure, but also to bring their ancestral presence into the world of the living. This painting is not just a representation of Tamati Waka Nene, it is an embodiment of him as well. - These paintings were passed down from the ancestors and treated with care and reverence. After someone dies, their painting is hung on the walls of the family home or in the central building of a community center. They were meant to be spoken to, wept over, and cherished. - The Maori people were indigenous people of New Zealand. Tamati Waka Nene, the person depicted in this portrait, was the chief of a group of these people. He was an important war leader. - In this portrait, Tamati Waka Nene wears a kahu kiwi, which was fine cloak covered in kiwi feathers. He also wears earrings of greenstone, or pounamu. Nene is also holding a tewhatewha, which is a blade with feathers attached and has a carved hand grip. His face is covered in a moko, which is an intricate facial tattoo. These mark him as a man of great mana (personal efficacy and status) - Gottfried Lindauer, the artist, would paint well-known Maori in traditional Maori clothing for European consumers, but he would paint unknown Maori in every European clothing when it was commissioned by their family.

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

- This painting depicts figures surrounding an orrery, each with different expressions on their faces. The two young boys look with wonder, the teenage girl is in quiet contemplation, a young man shields his eyes, a young woman stares unblinkingly, the man standing is taking notes, and another man leans back in his chair. (4.2A) - Joseph Wright of Derby was known for chiaroscuro, which is a skillful depiction of light and dark. This technique is comparable to Caravaggio's tenebrism, because they both play with dark and intense light. (4.2A) - Derby changes the genre of history painting, which usually depicted Biblical figures or Classical subjects to demonstrate a moral lesson. This painting instead depicts a lecture of a philosopher, and the moral of the painting is the pursuit of moral knowledge. (4.1) - The object everyone is looking at is an orrery, a mechanical model of the solar system. An orrery is much like a mini solar system, in which each planet is a sphere able to rotate around the sun when cranked by hand. (4.1B) - This painting expresses ideas from the Age of Enlightenment. The Age of Enlightenment was a philosophical shift from traditional religious morals of the universe to a more scientific approach. Artists of the time helped spread these ideas through written word and images. (4.1A)

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

- This painting is composed in a circular format, with the center of the circle and therefore the focus point of the piece being the grouping of hands. - The colors are somewhat uncharacteristically bright for this style and time period, which is thought to be meant to counteract the dark space of the church it would have been in. - There is no ground line for many of the figures, and some seem out of proportion compared to others in this painting. This is fairly typical for this time period, and artists were just starting to get away from the trend of having an indistinct ground line. - An interesting aspect of the expressions of the figures in this painting is that none of them are outright weeping; they instead seem to be yearning and longing for Christ.

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

- This painting is one of a set of three paintings that illustrated the life of Saint Matthew for a chapel dedicated to him by the Contarelli family. (3.4C) - There is a diagonal shaft of light that points directly at Saint Matthew, who is pointing to himself, as if he is questioning why Jesus would choose such a lowly tax collector. (3.4A) - The light technique aforementioned is called tenebrism, in which the majority of the painting sits in darkness, and the key elements are flooded by light. (3.3A, 3.4A) - The figures in the painting are incredibly realistic, because Caravaggio painted real people to act as Jesus, Matthew, and the others. Caravaggio was dedicated to complete realism, and many of the figures in this painting are actually people that he knew personally. Caravaggio had a realistic approach to Baroque art. (3.4A) - Jesus, who stands on the far right, points at Saint Matthew, alluding to Michelangelo's Adam in the Sistine Chapel. Jesus has a very faint halo, due to the fact that a more obvious one would detract from the realism. (3.4A)

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

- This plaque made from 900 brass plaques originally hung as wall decoration in the royal palace in Benin (Nigeria). This palace was a sprawling complex filled with similar brass plaques covering wooden pillars. - The plaque shows aspects of court life in the Benin culture. This particular scene features the Oba, king, of the Benin culture in a ceremonial scene at court. The Oba is believed to be the direct descendant of the legendary founder of the dynasty, Oranmiyan. Only the Oba is allowed to be shielded like it shows him being on the plaque. - Hierarchy of scale is employed in this plaque (the most important figures are the largest). Similarly, symbols of rank are emphasized. Most of the emphasis in this high relief sculpture is on the heads of figures, not on the figures' bodies.

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

- This portrait is of an official name Sin Sukju who was honored for his service in court and his loyalty to the king in difficult times. Neo-Confucianism rewarded people who did service for the good of the state. (8.2B) - In the portrait, Sin Sukju wears leather shoes and his hands are concealed by sleeves. To show his rank, a badge of a peacock is depicted on his clothing. (8.3D) - The facial features of the portrait are unique to Sin SUkju. There is attention to individualized bone structure and wrinkles. This individualism is due to the Korean belief that the face revealed information about the person. (8.2B) - This is an example of an academic painting. Academic paintings were done by a professional artist, and was more exact and technically polished than a scholarly painting. (8.3C)

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

- This work combines the traditional feminine aspects of a teacup and saucer with the masculine aspects of sculpture and fur. - The work was said to have been produced as a response to Picasso's claim that anything looks good in fur. - It was chosen as a quintessential piece of Surrealist art by visitors to a Surrealist show in New York. - Oppenheim created this work at the age of 22 and became famous almost overnight; unfortunately, this sudden fame hindered her work as an artist and she is most well-known for this work.

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

- This work is a story of life, and is interpreted from right to left. On the ride side, birth and infancy are depicted along with a group of three adults. In the middle, the figure reaching up is symbolically picking the fruit of the world. The left side depicts death through a figure that is derived from a Peruvian mummy that was exhibited in Paris at the time. - Many other cultures impacted this work, including the Egyptian figures that Gaugin used for inspiration, the Japanese prints in the solid color fields and unusual angles, and the Tahitian imagery in the Polynesian idol. - This painting was completed during Gaugin's second stay in Tahiti, during which he learned of the death of his daughter and decided to commit suicide and have this work be his last will and testament. - The figures in the foreground represent Tahiti and a paradise not unlike the Bible's Eden, while the background figures are anguished, darkened figures, perhaps in hell.

Pisupo Lua Afe (Corned Beef 2000) Michel Tuffery. New Zealand. 1994 C.E. Mixed media

- Tuffery was born in New Zealand and therefore had an interest in Polynesian heritage. - This life-size sculpture of a bull was made from flattened cans of cored beef. Canned corn beef was a favorite food in Polynesia and was exported from New Zealand. It was a major contributor to Polynesian obesity and many believed that its introduction caused a fall in traditional cultural skills of fishing, cooking, and agriculture. Cans were also given as gifts on special occasions. - This work aims to make a comment on the impacts of colonial economies on pacific island cultures and the giant cow serves as symbol of tradition becoming more attainable. - Tuffery aims to emphasize the theme of recycling through the reuse of the cans.

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

-A cacophony of (surrealist) faces, limbs, and stocks of sugarcane cover the 8 square foot canvas. -The figures in the work appear like they're a reflection in a funhouse mirror. The artist distorted the figures using crescent-shaped faces, rounded backsides, long/thin arms and legs, and flat (almost clubbed) hands and feet. -According to Khan Academy, the painting has the feeling of imbalance. The disproportionate amount of legs to the number of faces contributes to this feeling. The painting seems to be "on the verge of toppling over." -The sugarcane is a strange addition to the work as it does not actually grow in jungles (it is actually grown in fields). However, the artist included the plant to reference the socio-economic state of Cuba (as sugarcane was once it's biggest export).

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

-Angkor Wat was the captial of medieval Cambodia and was built by Suryavarman II. The temple was dedicated to Vishnu (this can be seen through the large amount of sculptures of Vishnu's reincarnations). It was built by various kings and each king often identified himself with the god he installed. There are both Hindu and Buddhist influences apparent. -The temple is designed as having one central pyramid that is surrounded by four corner towers. This style is called temple-mountain. These temple-mountains are meant to symbolize the five peaks of Mount Meru. Mout Meru is said to be a sacred mountain that is believed to be the center of the spiritual and physical universe in both Buddhism and Hinduism. -The gellery roofs are corbelled. This corbelling was a product of the influence of corbelled vaulting in India.

Trade (Gifts for Trading Land with White People) Jaune Quick-to-See Smith. Virginia. 1992 C.E. Oil and mixed media on canvas.

-Jaune Quick-to-See-Smith was a member of the Salish and Kootenai tribes of the Flathead Nation (in the Montana region). -Created on the anniversary of Christopher Columbus' arrival in the Americas. -This work brings to light the American Indian social issues caused by European occupation such as poverty, unemployment, disease, appropriation, and alcoholism. -The use of the red paint is meant to symbolize the shedding of Indian blood. -The artist included newspaper clippings/images of conquest and an array of objects that Western society feels represents Indian culture (toy tomahawks, sports teams logos, etc.). All of these objects/images were collaged/placed over the canoe.

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

-Lacy, light playful aspects shown by the fabric and swing uplifted by the motion of the swing. -The overgrown garden and overflowing greenery, the sexual and sensual aspects of the woman and the scene in general embodies the indulgence and opulence that characterizes the aristocracy of the time. -The subject is simple, as are most Rococo paintings: two lovers had organized for a man to push the woman on the swing as her lover retreats to the bushes, as the man pushes her, her lover gets to peek up into her skirt. -The loose brushstrokes can be seen in the dress, and her stocking and garter belt can also be seen, bu these were "uncouth" elements of rococo art, and would soon be condemned by the painters of the enlightenment- who showed humans at their most noble state. -The lady is wearing a bergère hat (shepherdess hat) which is ironic since shepherds are normally associated with virtue because of their living close to nature, uncorrupted by the temptations of the city.

The Steerage Alfred Stieglitz. 1907 C.E. Photogravure

-On May 14, 1907 the photographer, Alfred Stieglitz, departed for Paris with his family. They traveled on the Kaiser Wilhelm II in the first-class quarters. However, Stieglitz felt out of place/discomfort among the upper-class passengers. -The Steerage was prompted from this discomfort. One day, Stieglitz couldn't stand the presence of the nouveau riches anymore so he went as far forward on the ship's deck as he could. When he came to the end of the deck he looked down into the lower deck of the steerage. -Stieglitz stated that the "whole scene fascinated me. I longed to escape from my surroundings and join these people." (talking about the lower-class people in steerage) -The Steerage captured the photographer's mission to convince the world that photography could be considered fine art.

En la Barberia no se Llora (No Crying Allowed in the Barbershop) Pepon Osorio. 1994 C.E. Mixedmedia installation.

-Puerto Rico is a US territory yet citizens cannot carry a US passport, vote in presidential elections, or be represented in Washington, Osorio picks up on this sense of marginalization and addresses the sense of nationalistic pride that Puerto Africans have in being both American and Puerto Rican. -This interactive installation represents a barbershop, and attempts to engage the community by walking through and getting haircuts in this place. -Masculinity is a theme that is explored here, as many times a barbershop is filled with typically masculine figures like barber chairs, sports paraphernalia, depiction of sperms and a boys circumcision, phallic symbols and male action figurines to challenge the idea of masculinity in Latin America. -Cucherias, Spanish for trinkets, (kitsch, tchotchkes) are placed to highlight a perception of cultural celebration versus social critique, by placing flags, religious ornaments, dolls, ribbons, and beads, and famed portraits of famous Latin Americans. -there are also video installations featuring Latino men in "machismo" or macho poses, juxtaposed with men crying and either receiving sympathy or disgust from the public to bring to light how popular culture, religion, and politics help craft these issues and identities.

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

-Templo Mayor was located in modern-day Mexico City (aka the Aztec capital of Tenochtitlan). It complex was built in phases which corresponded with different rulers taking the throne. -It was divided into two quadrants, reflecting the belief that the cosmos was divided into 4 parts centered around the axis mundi of the universe. -The twin temples dedicated to different deities. One to Tlaloc (deity of rain and water/associated with agriculture), and to Huitzilopochti (deity of Mexica, associated with warfare, fire, and the sun). These two deities together symbolized the Mexica concept of burnt water and the acquisition of power and wealth for the empire. -The Coyolxauhqui stone shows the female deity Coyolxauhqui. She was killed by her brother Huitzilopochtli - dismembered and thrown down Snake Mountain. The Aztecs repeated this story which their sacrifices at the temple each year. -The Olmec mask was found buried at the temple of Tlaloc as an offering. The site the mask was buried at demonstrates the Aztec reverence for older cultures.

Ikenga (shrine figure) Igbo peoples (Nigeria).c. 19th to 20th century C.E. Wood

-The Ikenga means strong right arm, hus portraying physical prowess, and honors the right hand which holds tools or weapons, makes sacrifices, conducts rituals, and alerts to speak at public forums. -This is representative of the Igbo people's traditional masculine associations of strength and potency, as it was carved from hardwoods, and its horns symbolize power. -It tell's the owner's morality, prosperity, achievements, genealogy, and social rank, and is one's personal god of success. -Before using it, a blessing must be put upon it, it is consecrated with offering before kinsmen. -As a man achieves more success, a more elaborate version may be commissioned by him- when the man dies, it must be destroyed with him, although if one is not destroyed, it may be used again. (Fig. 27.10)

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

-The Palace sits on the river Thames in London. -It was built in the early Victorian Era. (a huge fire burned down the previous palace so there was a competition to design the new palace, the palace had to either be designed in Gothic style or Elizabethan style) -The Palace appears as though it was built 100s of years before it actually was because it's in Gothic style. Due to industrialization, the modern era seemed ugly to people so they wanted a "taste of history" and to bring back old, beloved styles of architecture. -Architect was Charles Barry who was assisted by Augustus Pugin (responsible for interior designs, stained glass, and some of the exterior facade) -The Palace of Westminster was the seat of the English government.

Mesa Verde cliff dwelling Montezuma County, Colorado Ancestral Puebloan (Anasazi) 450-1300 C.E. Sandstone

-The ancestral Pueblo (also known as the Anasazi) built this dwelling into the sides of a cliff. The clans moved together for mutual support and defense. Each family in would have received one room to live in. - Farming would have been done on the area above the plateau. Inhabitants of the cliff dwelling would have had to bring down everything they needed, including water. - The dwelling was structured so that the plaza was in front of the abode structure and the kivas faced the plaza. Also, the top-ledge would have been where all the supplies were stored because they were kept cool, dry, and out of the way.

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

-The ancient gods of marriage and love, Hymen and Cupid, they present this portrait to Henry IV, the king of France. Hymen holds a flaming torch, symbolizing the ardor of love. Cupid's arrow hits the king, presumably smitten as he is rendered as grateful for his bride-to-be. -The king and queen of the Olympian gods, Jupiter and Juno,look down on the king with approval as their hands embrace in marital union, a pink ribbon binding them together, Cupid balances a yoke-shaped garland (symbolizing marriage). -This painting also speaks to the politics at the time, the with King Henry's silk garment and the monarch coat-of arms, he personifies france. -France touches Henry and assures him that the match with the princess is indeed a good choice for the kingdom, and France burgers Henry to turn away from battle (the aftermath of the battle is in the foreground of the picture), and Henry obliges. -This painting is part of a 24 series of paintings on the life of Marie de' Medici to adorn her palace and home, these paintings included events that were painful to the queen, as she gained the throne after Henry was assassinated; this series could be described as vindicating her right to rule.

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

-The basin was signed by the artist six times -Initially, it was used to wash a person's hands at official ceremonies. Later on, it was used by the French royal family and court for baptisms. -The exterior depicts scenes from the Mamluk court (we know this because the sultan's courtiers wearing clothing characteristic of their status and bearing symbols of their rank). There are also some hunting and battle scenes that contrast with one another. -The bottom of the basin was decorated with images of fish, eels, crab, frogs, and crocodile.

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

-The beauty and pathos in the madonas face (fear and passion) shows a connection from the viewer to the painting. -The homunculus is also not present, Lippi had embodied God within the young child with a sense of realness and holiness; along with Mary's shadow (the natural light aides in a convincing three-dimensionality). - All of the colors are gentle and gem- like, as Mary occupies a dimensional space behind her, whereas a 100 years ago there would have been a flat gold background. -In this painting, the halos, an artistic tradition that had been upheld for centuries, disappear, and the figures become so incredibly human and realistic that the mother and child together look like a portrait rather than an icon. -Lippi himself seems to have reinvented what it meant to be an artist during the renaissance, instead of a being viewed as a skilled laborer there is an element of instead, being an inspired professional.

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

-The painting was part of the Fauvism art movement that debuted in 1905, where artist would stress a painterly surface with broad flat areas of violently contrasting colors. -In Matise's still-life painting of goldfish in a cup, there are evident signs of Fauvism in the violent contrasts of color. -Matisse also showed the contemplative qualities of the fish, and how they are representative of ease yet their color suggests an idealistic paradise. -The pictorial construction of this space is revealed in the way the goldfish are refracted in their refraction, almost as if there are two sets- but the table and the objects that surround it does not share the same point of view which confuses the viewer, as the viewer now has to rely on the vivid use of color to make sense and pull together the painting as a whole. - This technique was influenced by Cezanne's multiple viewpoints, as Henri had observed were "a harmony parallel to nature". -This piece may have been influenced by the decorative quality of asian art, and the broad patches of color foreshadow Color-Field painting later in the century. (Fig. 22.1)

Seagram Building New York City, U.S. Ludwig Miles van er Rohe and Philip Johnson (architects). 1954-1958 C.E. Steel frame with glass curtain wall and bronze

-This building was greatly influenced by the International Style, pulling from the streamlined qualities of the Bauhaus. -The minimalist movement in reflected in this building in its great simplicity, geometry of design, and elegance or construction. -The Seagram occupies a considerably smaller percentage of its lot than other buildings, this makes room for a plaza (revolutionary!). -The bonze veneer gives the skyscraper a monolithic loo, while integrating vertical and horizontal accents into the architecture. -It became the model building after WWII and was regarded as a triumph of the international style of architecture. (fig. 22.18)

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

-This chart was a type of Rebbelib, and covers a large section or all of the Marshall Islands, this chart shows two chains of islands which form the Marshall Islands. -The knowledge of the art of navigation was primarily handed down and through chiefly families and were usually used on land prior to voyage. -The chart indicates the position of the islands but mostly they record the features of the sea. -Marshallese navigation was based largely on the detection and interpretation of the patterns of the patterns of ocean swells. -These currents, swells, and orientation of waves were primarily marked on these charts.

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

-This is a prayer carpet, the world's oldest dated carpet, from the funerary mosque of Shayik Safial-Din, and was probably made when the shrine was enlarged. -The medallion in the center is possibly representative of the inside of a dome with sixteen pendants. -Mosque lamps hang from two of the pendants, the larger one placed further away so that it would appear the same size as the smaller one. -Corner squinches also have pendants; this completes the feeling of looking into a dome. -This wool carpet was woven by ten people, although women were primary weavers then, the size and importance of the object indicated that only men were entrusted with this kind of work. (Fig. 9.7a and b)

Portrait mask (Mblo) Baule peoples ( Côte d'Ivoire). Early 20th century C.E. Wood and pigment

-This mask was presented at Mblo performances. During the performances someone was honored by having dances and tributes dedicated to them. -The individual who was honored was given the mask after the performance - which was commissioned by their admirers. -The honoree accompanies the dancer during the performance who wears their mask and clothes. -The masks are idealized with broad foreheads, pronounced eye sockets, and column-shaped noses.

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

-This painting was produced out of the modernist movement, symbolized by the avant-garde artists who started it. -Impressionist brushstrokes capture dappling effects of light across a given surface, and the notion that shadows contained color, and the time of day or season affected the appearance of objects were the pillars of Impressionism. -The Saint-Lazare Station was exhibited at the expressionist exhibition of 187 as part of a series depicting this train station. -Monet was known for painting the same subject at different times of day at different days of the year to show the effects of steam, light, and color. -His painting was not about the machines or travelers, it was about the light and subtle gradations of the light on the surface, as forms dissolve and dematerialize, color overwhelms and takes form. (Fig. 21.6)

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

-This site was originally used as a retreat for Inkan royalty, and was an estate of 15th cent. Inkan rulers. -Because it is so remote, it was probably not used for administrative purposes in the Inka world. -The Inkan culture used ashlar masonry of perfectly grooved and fitted stones placed together in an almost "jigsaw" arrangement, and the structures taper upward into a trapezoidal shape. -There were 200 buildings, along with temples, houses, palaces, baths, and an astronomical observatory, and inhabitants would farm on terraces. (Fig. 26.9a) -The observatory was used to chart the sun's movements, and is made in the same ashlar masonry style. (Fig. 26.9b)

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

-This statue is believed to have been blest by the Buddha and created in India during the Buddha's lifetime. It was originally brought to Tibet as part of a dowry. It depicts the Buddha Sakyamuni as young man (12). -The Jokhang Temple was founded in 647 by the first ruler of unified Tibet. This temple is also Tibet's oldest and central most Buddhist temple. -The name of the statue, Jowo Rinproche, and the temple in which it's enshrined, Jokhang Temple, is significant. "Jowo" means "lord" and "khang" means "house." Thus the statue is lord of the house. - The statue was lost during China's Cultural Revolution and subsequent invasion of Tibet from about 1950 to about 1960. In 1983 the lower part of the statue was found in a trash pile. The upper part was found in Beijing in 2003.

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

-This work was painted almost 100 years after the civil war that it depicts with elevated viewpoint. -There are strong diagonals and swift active brushstrokes the emphasize and give a sense of movement and action in the work. -Many of the figures are depicted with only one stroke for the eyes, ears, and mouth. This signifies that they are not central to the events. -The scroll is read from right to left as it is unrolled. -The imperial palace is inflamed as the rebel forces attempt to seize power by capturing the emperor.

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

-Turtle shell masks such as this are unique to the Torres Strait (a water passageway in between Australia and New Guinea) region. -Many masks combine elements from human and animal forms. For example, this mask combines the human face with a bird placed on top. -This mask most likely would have been worn with grass costumes in special ceremonies about death, fertility, or male initiation. -These ceremonies involved fire, drums, and chanting. They "recreated" the mythical ancestral beings and demonstrated their impact on the everyday activities of the people.

Terra Cotta Fragment Lapita. Solomon Islands, Reef Islands. 1000 B.C.E. Terra cotta (incised)

1) Lapita art is best known for its cermamics, featuring intricate, repeating geometric patterns that occasionally featured anthropomorphic figures. 2) These patterns were incised onto the wet clay with a stamp before getting fired, stamps were used in conjunction with each other to create unique intricate designs. 3) Many Lapita ceramics were found in large vessels, supposedly pots or cooking utensils, or used to store food. 4) The term Lapita refers to an ancient Pacific culture that archaeologists believe to be the common ancestor of the contemporary cultures of Polynesia, Micronesia, and some areas of Melanesia. 5) Beginning around 1500 B.C., Lapita peoples began to spread eastward through the islands of Melanesia and into the remote archipelagos of the central and eastern Pacific

Maize cobs Inka. c. 1440-1533 C.E. Sheet metal/repoussé, metal alloys

1. 2. 3. 4.

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

1) Roman forums were centers located in large cities that were used for business, economics, politics, religious reasons, and social activities. The tradition of the forum dates back to the Roman Republic. However, Julius Caesar was the first emperor to make a forum to symbolize his power as a ruler. The tradition of the forum as symbol of prestige continued after Caesar, as future emperors made their own forums to show their supremacy. The forum of Trajan is meant to honor emperor Trajan, and is the largest forum ever to be made. (2-4C) (2-4A) 2) Much of the architecture and decoration of the forum emphasizes the power and military victories of emperor Trajan. Trajan's column is a column decorated with reliefs that depict the emperor's victorioys military campaigns in Dacia. The Equestrain statue of Trajan that was located in the center of the forum to again represent Trajan as a triumphant military figure. (2-4C) 3) The forum also had a number of practical uses as well. At the side of the central plaza of the forum were the Trajan markets, a shopping center of about 150 stores. Within the main building of the forum, there was a Greek library on the West side, and a Latin library on the East side with scrolls stored on the walls of the libraries, and tables in the middle (similar to modern day libraries). (2-4) 4) The Basilica of Ulpia was a central public space in the Forum of Trajan. It was used as a public space for business and law courts, as well as an assembly and market space. Its grand appearance helped display the wealth and power of Rome. (2-4) 5) There were three main temples in the Forum of Trajan that served religious and government purposes: The Temple of Saturn, The Temple of Vesta and the House of the Vestal Virgins, and The Temple of Castor and Pollux. The Temple of Vesta served as the state treasury, and the Temple of Vesta honored the goddess Vesta. Women called the Vestal Virgins lived in the temple and kept the sacred flame of Vesta from going out. (2-4)

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

1) The agora was used in the Archaic, Classical, and Hellenistic eras as a public place of debate, place of worship, and marketplace, played a central role in the development of the Athenian ideals, and provided a healthy environment where the unique Democratic political system took hold. 2) This democratic society directly chose government officials (you had to be a man and athenian) many of whom stayed in office because they were voted in so many times (Pericles served 15 terms as general) 3) The Agora became the epicenter of athenian life, and hosted many culturally enriching sites. 4) The Stoa is a large hypostyle hall where political discussions took place, a market was held, and civic life was held. 5) Once a year, a great procession would make its way through the agora up to the sacred mount- this celebration was in honor of Athena and traveled up to the parthenon.

Rebecca and Eliezer at the Well and Jacob Wrestling the Angel, from the Vienna Genesis Early Byzantine Europe. Early sixth century C.E. Illuminated manuscript

1) The creation of religious manuscripts such as this one was a very time consuming process. The pages are purple vellum which is treated animal skin, suggesting a royal institution, and all the writing and illustrations were done by hand using silver script. The care and detail taken with such manuscripts makes them very important and accessible by only the very wealthy. (3-2) 2) The style of the illustration is very classical and shows the training of the artist in Greek and Roman tradition. Foreshortening, shadowing to show depth, contrapposto and the roman style of columns and arches on bridge are all examples of classical elements in this piece. (3-1C) 3) The perspective used in this illustration is typical of the Byzantine period but different from the classical linear perspective of the previous period. Here all the figures are the same size regardless of which section of the narrative they are from. Also the perspective on the bridge is unique, the columns that would appear closest to the viewer are smaller than the columns from earlier in the narrative, opposite how they would appear using linear perspective. (3-1B) 4) The illustrations on both of these pages were done to aid the reader in contemplation over the religious stories. One page shows Jacob leading his family and wives and then wrestling with the angel who then blesses him, using a bridge to wrap the scene around in two levels. The other page is also a narrative that has multiple scenes, showing Rebecca assisting Isaac with his camels at the well. (3-2C) 5) The image of Rebecca and Eliezer at the well also demonstrates the shift in art style between the classical period and early medieval art. The nude next to the river is a very classical element, which contrasts with Rebecca's outfit of heavy drapery and simplified clothing, typical of early Christian art. The presence of the walled city, which is a symbolic element is not shown in a spatially accurate way, which is typical of medieval art. (3-1C)

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

1) This statue was commissioned by the Kuba King Mishe miShyaang maMbdul in 1710. Statues like these were used to memorialize the accomplishments of rulers. In the African culture, history was not often recorded, but rather told through the generations. This led to a greater emphasis on symbolism and less of a focus on the accuracy of the facts. 2) The Kuba refers to a group of about 19 different but connected tribes in the Democratic Republic of Congo. All of these groups follow the leadership of the same leader called nyim. There are a total of 7 ndop statues believed to hold significance that we know of today, and this is because the historical moments surrounding their creation were recorded by European visitors. If this had not been done, the historical events would have continued through the oral history, and the actual events behind the statues would not be known. 3) The statues depicts a particular king, but the features of the stature are not specific to that king. The appearance of the figure is based on cultural standards about hopw kings should look. For instance, the ratio of the head to the body is 1/3 because the head is associated with intelligence and thus emphasized. The statue also wears royal regalia like a belt, headdress, and armbands, signifying the figure's status as a ruler. 4) Since the figure itself is idealized, the specific subject is identified by the geometric pattern at the bottom of the statue and the emblem in front (in this case, a severed hand with a drum).

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

1. 2. 3. 4.

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

1. "Conceived as part of Munch's semi-autobiographical cycle, "The Frieze of Life," The Scream's composition exists in four forms: the first painting, done in oil, tempera, and pastel on cardboard (1893, National Gallery of Art, Oslo); two pastel examples (1893, Munch Museum, Oslo and 1895, private collection); and a final tempera painting (1910, National Gallery of Art, Oslo). Munch also created a lithographic version in 1895. The various renditions show the artist's creativity and his interest in experimenting with the possibilities to be obtained across an array of media. The work's subject matter fits with Munch's interest at the time in themes of relationships, life, death, and dread." 2. "A passage in Munch's diary dated January 22, 1892 and written in Nice contains the probable inspiration for this scene as the artist remembered it: "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." The figure on the bridge—who may even be symbolic of Munch himself—feels the cry of nature, a sound that is sensed internally rather than heard with the ears." Smarthistory. 3. Munch's art was haunted by his own experience of sickness and the death of his mother and sister from tuberculosis, to which the artist himself ultimately succumbed. But the scream he represents here visually through emphatic linear emphasis, distortion of form and exaggeration of color was in his own mind the scream of modern man out of harmony with his existence. 4. He does something you wouldn't have done 50 years earlier, figures aren't realistic (looks like a candle flame) and are part of the landscape. Color isn't realistic to express the emotion. Creates a sense of oppressive reality. Synesthesia (mixing the senses) like hearing something through sight. He was haunted by sickness, modern life, and sexuality.

Apollo 11 Stones Nambia. c. 25000-25300 B.C.E. Charcoal on stone

1. 7 painted stone slabs of brown-grey quartzite, depicting a variety of animals painted in charcoal, ochre, and white. The images are not easily identifiable to species level, but have been interpreted variously as felines. One of them in particular has been observed to be either a zebra, giraffe, or ostrich, demonstrating the ambiguous nature of the depictions. (1-2b) 2. The animal, which may be some sort of supernatural creature, suggests a complex system of shamanistic belief (someone who interacts with a spirit world). Apollo 11 then becomes a site of ritual significance. (1-2f) 3. The Apollo 11 stones are the oldest discovered representational art in Africa, but it is now well-established, through genetic and fossil evidence, that homo sapiens developed in Africa more than 100,000 years ago. (1-2b) 4. The geometric images are painted on stone rather than the inside of a cave. (1-1b)

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

1. A late example of the Rococo style. Rococo epitomized a fashionable ideal, where perpetual youth was libertine and pleasure-loving, its sexual gratification taken without guilt or consequence. 2. Louise Elisabeth Vigée Le Brun was born to Louis Vigée and Jeanne Maissin in a bustling section of Paris. 3. she grew up to be intelligent, beautiful, rich, and talented. These characteristics on display in her Self-Portrait of 1790. 4. The self-portrait was painted in Rome; one of the first city's in which Vigée-LeBrun stayed during her decade-long exile from France. 5. The artist sits in a relaxed pose at her easel and is positioned slightly off center. She wears a white turban and a dark dress

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

1. A vertical sculpture that was intended to be the central structural post for the palace porch at Ikere. 2. The king sits as the main focal point of the sculpture, but the senior wife's importance and the king's dependence on her is displayed through her size and pose. In fact, she was in charge of placing the crown on the king's head during his coronation. 3. The King wears a crown with a bird on top, which suggests a divine presence. The crown itself symbolizes the king's spiritual essence. 4. The senior wife's body (strong shoulders, neck, and elaborate hairstyle) provides support and holds up the roof of the veranda. 5. A junior wife and the god Esu are present at the king's feet. They are much smaller than the king and his senior wife because they are less important.

Illustration from The Results of the First Five-Year Plan Varvara Stepanova. 1932 C.E. Photomontage.

1. After WWI and the Russian revolution of 1917, radical artists sought to create new styles of art that would represent the new society imagined by the Bolsheviks as the sole Communist party that guided the state, first under Lenin and then under Stalin. 2. This work was not aimed at the people of Russian but was included in a publication, "Construction," that told readers in other countries about the successes of the USSR in all areas of industry. This is what this work celebrates, using modernist tools for propaganda purposes. 3. The dramatic contrasts in color and scale, diagonals and cropped images are meant not just to draw attention to the great leader, Lenin, but to create a sense of dynamism and drama that are particularly modern. The color scheme also alludes to the national identity of "red" Russia. 4. Work was meant to be reproduced and seen by a lot of people because it was propaganda trying to persuade the people and promote communism.

Virgin and child between Saints Theodore and George Early Byzantine Europe. Six or early seventh century C.E. Encastic on wood.

1. Allows for visual movement of the eye inward from Theodore and George to the Virgin and her child (Christ) and from the Virgin and child upward at the angels. 2. The architecture in the painting brings closer focus on the Saints, the Virgin, and the angels, separating the scene from the normal world. 3. Is an example of a byzantine encaustic icon, or a portable painting used for worship and spiritual growth, depicting a combination of holy figures and painted in a classical style. 4. The saints stare directly at the viewer as they live in a world similar to us, while the Virgin and Child look beyond. The angels are positioned above the other figures and look up at the hand of God and towards heaven.

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

1. Arabic is read left to right, the script shown is Arabic, but it was created to be more artistic then scholastic. 2. Written in Kufic script: "strong uprights and long horizontals". 3. Letters of the alphabet were written differently by Qur'anic scribes, and other professional copyists. The calligraphic style used by these early scribes of the Qur'an is known today as Kufic. 4. People would often only get the chance to read this once, so clarity of the writing was key, however because of the artistic characteristics, it was likely the readers had already memorized the Qur'an and used the whole book as a "mnemonic device".

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

1. Buddhism, born in India, was transmitted to China intermittently and haphazardly. Starting as early as the 1st century C.E., Buddhism brought to China new images, texts, ideas about life and death, and new opportunities to assert authority. 2. The Central Binyang Cave was one of three caves started in 508 C.E. It was commissioned by Emperor Xuan Wu in memory of his father. 3. Imagine being surrounded by a myriad of carvings painted in brilliant blue, red, ochre and gold (most of the paint is now gone). Across from the entry is the most significant devotional grouping 4. The Buddha's monastic robe is rendered to appear as though tucked under him (image above). Ripples of folds cascade over the front of his throne.

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

1. Built by Shah Jahan in honor of the death of his favorite wife, who died during the birth of their 14th child. Mumtaz Mahal was placed in the middle of the tomb, and Shah Jahan was interred next to her. Essential Knowledge 8-2b. 2. The building and its surrounding gardens are meant to impose a sense of harmony through use of symmetrical elements. The minarets act similar to a picture frame, drawing our eye to the dome but also shelter the monument. Persian motifs and some Hindu elements such as the colors (white =pure, red = warrior) are used in the tomb as well. Essential Knowledge 8-2c. 3. There are many Islamic elements. There are intricate floral and geometric patterns in the inlays on the façade. The onion shaped dome is common in mosques. Also the Islamic feature of one large arch flanked by two smaller arches is apparent in the front of the tomb. Also there are 8 levels of the tomb, similar to the 8 levels of paradise in the Qur'an. Essential Knowledge 8-2d. 4. The white marble used in the walls and reflective water in front cause the tomb to look as if it was floating or in heaven. The gardens surrounding the tomb represent a funerary garden like the ones in heaven. Essential Knowledge 8-2e.

Mosque of Selim II Edrine, Turkey. Sinan (architect), 1568-1575 C.E. Brick and stone

1. Built by the Sultan Selim II, son of Süleyman the Magnificent, between 1568 and 1574. Edirne was one of Selim II's favorite cities. He was stationed here as a prince when his father campaigned in Persia in 1548 and he enjoyed hunting on the outskirts of the city. Located in the Balkans, within the European lands of the Ottoman Empire, Edirne had been a capital of the Ottoman Empire in the 15th century before Istanbul and was effectively the second city of the Empire through the 17th century. The first major city that Europeans traveling to the Ottoman Empire reached—so building a large complex here offered the Sultan an opportunity to use architecture to impress the Ottoman Empire's greatness upon visitors 2. It is composed of a mosque, two symmetrical square madrasas (one of which served as a college for studying the hadiths, or traditions of the Prophet Muhammad), and there was a row of shops (arasta) and a school for learning the recitation of the Quran located to the west and added during the reign of Sultan Murad III. 3. The mosque's nearly square prayer hall is approached through a porticoed courtyard, making the central block of the complex rectangular. The approach to the north façade of the mosque is dramatic: the aligned gates of the outer precinct wall and forecourt focus the eye upwards toward the dome, which could also been seen from a distance. The ethereal dome seems weightless as it floats above the prayer hall. 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. Muqarnas are the faceted decorative forms that alternately protrude and recess and that are commonly used in Islamic architecture to bridge a point of transition—in this case, the broad base of the dome above and the slender piers below. Note that the muqarnas steps outward it rises, creating a corbelled effect, and allowing for a more open space below. The squinches are the architectural support, decorated by the muqarnas, transition from the dome down to the eight piers. 4. Influences: The mosque's epigraphic program—its inscriptions, was developed after the devastating defeat that the Ottoman fleet suffered at Lepanto in 1571 against the navies of the Christian Holy League. This loss prevented further Ottoman expansion along the European coast of the Mediterranean. The mosque's inscriptions focus on a central difference between Islam and Christianity. Certain passages from the Hadiths were included to emphasized Muhammad's position as a messenger both and intercessor. 5. The placement of the pencil minarets at the four corners of the prayer hall focus attention on the volume of the Dome. Polychrome exterior is composed of stone mixed with brick that compliments the geometric volumes that define the exterior forms of the building. The dome's octagonal shape was probably influenced by the tomb of Öljeitü in Soltaniyeh, which Sinan had seen while on Süleyman's Baghdad campaign. The tomb had a large octagonal dome of 25 meters, which at one time was surrounded by eight turrets, which we can see echoed at Edirne. Sinan's dome, at just over 31 meters.

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

1. Cezanne painted an entire series of this mountain from this view as it is seen from the hill of Les Lauvres. They rarely feature humans and he was more concerned with the geometric forms in landscapes rather than light etc. 2. A panoramic scene is created through lines of geometric shapes and brush strokes as well as splashes of solid colors. 3. The perspective of the landscape is created by placing warm colors next to cool colors.

Angel with Arquebus, Asiel Timor Dei Master of Calamarca (La Paz School). c. 17th century C.E. Oil on canvas

1. Combining guns (the harquebus), angels, and fashion to celebrate aristocratic, divine, and military beings, these images spread throughout the Andes after first becoming popular in Peru. 2. Represented the Catholic Counter Reformation's philosophy that the Church is an army and the angels are the soldiers, so the angel holding a gun showed that faithful Christians were protected. Also suggested the power Spaniards had over indigenous people. 3. The gun-bearing angel may have been associated with Illapa, the Andean deity of thunder and with the myth of the creator god Viracocha and his invisible warriors, huamincas, by indigenous people. 4. The elaborate apparel worn by the angel represents what was worn by Andean aristocrats and Inca royalty.

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

1. Constantin Brancusi is one of a handful of artists who helped redefine modern sculpture at the turn of the twentieth century and was considered an outsider in Paris (the center of the art world before the World Wars) because he was Romanian. His work is often put in the same category with and compared to Auguste Rodin. 2. Reflects the trend that occurred in France at the end of the 19th century of artists leaving France to go to less industrialized/not Westernized countries for more primitive inspiration for art. Sculpture emphasizes truth in nature. 3. At first glance, the kiss looks like something a child could create but upon further analysis the stylistic mastery is revealed as he makes the forms of the people evident while still maintaining the integrity of the limestone itself. It is left raw and looks back at the archaic tradition that took place before the classical style of sculpture. 4. This piece was originally commissioned by an American collector and the version on the curriculum framework is actually the fourth version.

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

1. Constructed during the rule of Emperor Justinian I and serves as a symbol of the entire Byzantine Empire the same way the Pantheon serves as a symbol for classical Greece. Also served as a way for the emperor to assert his power over the people. HOW WAS IT USED IN A WAY THAT GLORIFIED HIS STATUS? 2. Inspiration for the columns used in the construction of the building come from the Classical Ionic order but features uniquely Byzantine treatment in the capital of the column. 3. The church has been burned down several times during riots against the emperor and damaged by earthquakes in the region and has had to be repaired because of it's importance to the history of the region (Istanbul, Turkey). 4. Two scholars were hired to figure out how to vault the dome roof of the building: creation of a centrally planned building in a basilica setup. The dome is essentially grounded on a pendentive that takes the load of the dome and distributes the weight on to stone piers and several several smaller half domes.

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

1. Dirt and rubble were pushed into this form. Basic shape, influenced by prehistoric earthwork, the more abstract ones. 2. Interactive, people can walk on it, touch it, it makes it fun. 3. Was a temporary piece, controlled by mother nature, and the artist is questioning if art should be in museums 4. The work is part of the environment and it also effects the environment.

Painted elk hide Attributed to Cotsiogo (Cadzi Cody), Eastern Shoshone, Wind River Resservation, Wyoming. c. 1890-1900 C.E. Painted elk hide

1. Elk hides were created according to the stories of oral traditions to record history. The tradition has most likely been practiced throughout history in different forms such as rock engravings 2. Earlier elk hides were decorated with geometric or figural motifs. Later 19th century elk hides were focused on images that "affirmed native identity" and was more appealing to tourists and visitors. Cotsiogo and others likely created the hides to help support themselves and the tribe after being relocated to a reservation. 3. Cotsiogo was a member of the Eastern Shoshone tribe, a formerly nomadic people of the Great Plains and Plateau region of the US who lived on the Wind River Reservation in western Wyoming. 4. The hide depicts several dances including the Sun Dance which was meant to honor the earth for what she has provided the people and encourage her to continue to provide for the people. The Sun Dance was banned by the US government as an effort to get Native Americans to abandon tradition and assimilate. In the hide, the Sun Dance is combine with the Wolf Dance (an effort to avoid punishment/consequence from the government). The hide also depicts other aspects of Native American culture such as daily life and hunting. 5. The hunting scene featured horses which the Native Americans were introduced to by the Spaniards and became an essential part of the Native American culture in the Plains region.

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

1. Fan Kuan is known as having been an unconventional artist having lived in the mountains as a Daoist hermit. The landscape painting he created is often denoted as a primary example of the Northern Song grand style of landscape painting. The landscape depicted shows two mountains bisected by the Yellow and Yangzi rivers (the two main rivers of China). Even from early Chinese history, mountains have been regarded as sacred and known as the home of the immortals. 2. Landscape paintings came out of a period of political upheaval during the tenth century when nature became synonymous with virtues. For example, Fan Kuan's painting in the curriculum framework is meant to show his ideas of man's amicable existence in a large but organized universe. 3. The development of the monumental landscape painting coincided with the development of Neo-Confucianism which emphasized self-cultivation as a path to self fulfilment and to the formation of a virtuous and harmonious society overall. 4. Neo-Confucianism emphasizes observing things in a light of their own. In this painting, several different aspects of the landscape are brought together in one composition creating an image of a moral and organized universe.

Female deity Nukuoro, Micronesia. c. 18th to 19th century C.E. wood Carving,

1. Figures like this were made in considerable numbers and represented individual, even local deities worshipped in community religious buildings. Local deities in Nukuoro resided in animals or were represented in stones, pieces of wood or wooden figurines. Each figurine bore the name of a specific male or female deity which was associated with a particular extended family group, priest, and specific temple. They were placed in temples and decorated with loom-woven bands, fine mats, feathers, paint, or headdresses. 2. Body stylization is typical, but figures like this varied in terms of gender, one of the elements that was picked out in the detail. Here, pubic triangle, breasts and buttocks are emphasized even with the abstraction of the image by shape and line. 3. May have originally been dressed and draped in flowers, somewhat like Indian statues. 4. By late 19th Century, these figures had lost their function as the Micronesian community became Christianized. They were taken by merchants and missionaries to Europe and the Americas, where they were admired for their formal qualities and directly influenced modernist sculpture.

Standard of Ur from the royal tombs Summerian. c. 26000-24000 B.C.E. Wood inlaid with shell, lapis, lazuli, and red limestone.

1. Found in one of the largest graves in the Royal Cemetery at Ur, this piece shows the general representation of power to the Egyptians. THIS WORK IS SUMERIAN! 2. (Essential Knowledge 2-1A) Usually the art of the ancient Near East is associated with power because many powerful city-states and cultural power were rising, which was seen specifically in this work. 3. Read from bottom to top, the two main panels depict "war" and "peace". 4. The "war" panel shows one of the earliest representations of a Sumerian army at war with a man held captive. 5. The "peace" panel depicts animals and other goods brought in procession to a banquet which includes the same successful priest-king as the "war" panel. YOU NEED SPECIFIC DETAIL HERE.

Pink Panther Jeff Koons. 1988 C.E. Glazed porcelain

1. From an exhibit called Banality, where there were many overgrown toys as sculptures. 2. It is on Jayne Mansfield who was a B list hollywood star, who was very smart but known only for her looks, and her roles never quite acknowledged her intelligence. 3. The Panther looks tired or worn out, but it is being held in a very sexual manner as the actress is topless and his tail goes up close and personal. 4. It is meant to look a little tacky and cheap or kitch like a toy.

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

1. Funerary Contents in the Etruscan culture tell us the most about their civilization, for example, the elite members performed funerary rituals and we are able to see how they changed based on time and location. 2. The city where this tomb was found was one of the most powerful and important cities in Etruscan times and is specifically known for its painted chamber tombs. The tombs were also made out of subterranean rock. The walls of this tomb reveal important information about funeral processes but also ways of living. For example, we can tell that the Etruscans got much of their wealth from long trading networks where they traded metal and mineral oils. 3. The tombs hold the remains of the person but also grave goods and offerings. This tomb is called the Triclinium tomb because of the fresco painted on the wall of a three-couch dining room. The back wall included a scene of many people enjoying a dinner party, people are eating while reclining (Kline figures). The diners are dressed very well which implies high status. Dancers and music appear all over the walls which show the happy tone and the accompany of games and which was a tradition. 4. The tone of the frescos are happy and festive because it Etruscan Culture they celebrated the dead and sought to share a final meal with the deceased. They also were trying to emphasize the importance of the person who died.

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

1. Hatshepsut herself was the first "female king/pharaoh" of Egypt and the temple has a whole mythology detailing the story of her divine birth (divine births gave pharaohs the right to rule by having received it from the gods). 2. Hatshepsut took power at the beginning of the New Kingdom after a period of disunity in Egypt and believed that returning to the style in which earlier pharaohs had themselves depicted would allow the kingdom to see her as a stable and unifying leader. 3. There is no word in Egyptian for a female ruler because women rarely had that kind of power. The sculptures of Hatshepsut depict her as more masculine with broad shoulders, a flatter chest, and a deemphasized waist. 4. Her nephew/stepson attempted to have all the images of Hatshepsut systematically destroyed after her death. This was originally thought to have been because she had possibly usurped someone of their rightful position as ruler and had forcibly taken away power. A more modern interpretation of this is that there was jealousy surrounding her right to rule by other members of the royal family. YOU NEED MORE HERE ABOUT THE ACTUAL TEMPLE.

Moai on platform (ahu) Rapa Nui (Easter Island). c. 1100-1600 C.E. Volcanic tuff figures on basalt base

1. There are about 900 of these statues in Rapa Nui. Almost all of these statues are male and the majority are facing the sea. 2. The platforms upon which the statues are mounted are made stone mixed with ashes from cremations. This led to the platforms being just as important and sacred as the statues on them. 3. The statues represented personalities defied after death or respected as the first-settler kings. These figures were highly stylized with delineated chests and navels, short thin arms, prominent foreheads, large noses, thin pouting lips, and large ears.

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

1. In this portrait, Washington wears clothing in the style of the 18th century. Many wanted Washington to wear Classical attire, but he wanted to be seen wearing contemporary clothing, and not garments of a hero from ancient Greece or Rome. Enduring Understanding 4-1. 2. Washington is seen as a farmer and not a solider. His military associations are minimized; Houdon only includes epaulettes on Washington's shoulders and a sword for him to lean on. There is the badge of Cincinnatus on his belt, which associates him with Cinicinnatus who left his farm in the Roman Republic to command Roman armies and returned to his farm when the war was over. Enduring Understanding 4-1. 3. George Washington was the first president of the United States. In the sculpture he is leaning on a Roman fasces, a group of 13 rods bound together on top and bottom. The number 13 symbolizes the 13 colonies coming together to fight for independence. Essential Knowledge 4-1b. 4. Thomas Jefferson specifically chose Houdon to create the portrait because he was the most famous and accomplished neoclassical sculptor in France. At the time there were very few sculptors in America, and Europe, especially France, was the center of the art world. Essential Knowledge 4-2b. 5. The portrait was meant to mimic Classical Greek and Roman sculpture, but the price of bronze had dropped because of the Industrial Revolution. Houdon decided to create it out of marble to display the importance of Washington. Essential Knowledge 4-2c.

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

1. It is a sculpture of a young female with open eyes, an archaic smile, braided hair, a damaged nose, and a broken left arm. There are also holes in her head which have originally may have held a crown. (2-5B) 2. They were usually created as votives or offerings to goddesses, but this particular sculpture might not be an offering but an actual goddess herself. It might be the goddess Artemis who would have been holding a bow and arrows. (2-4C) 3. There are traces of red paint that are still visible. With a special camera, other bright colors and patterns can be seen. An example of this is her archaic smile which is an unnatural smile that is meant to show a sense of well-being. (2-4C) 4. The sculpture is done in marble. It was painted using the encaustic technique which is the mixing of colored pigments with wax so the color bonds well to the heated sculpture. (2-5B)

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

1. It is an important pilgrimage church, but is also an abbey where monks lived, prayed, and worked. Only parts of the monastery remain, but the church is still almost fully intact. It has barrel vaults and arches on the interior. (3-2B) 2. It is considered a pilgrimage church because of the shape - cruciform plan. This shape was symbolic of the cross and it also helped with large crowds of people. Pilgrims could enter on the west side and then circulate around. (3-2B) 3. The scene of the Last Judgement is depicted on the tympanum. Christ is sitting in the center and right is pointing upward while his left hand is pointing downward. This reminded everyone who was entering about all of the great things of heaven and the horrible things about hell. Many other saints are also depicted on the other sides of Jesus. (3-2C) 4. The reliquary of Sainte-Foy contains the remains of Saint Foy and is one of the most famous throughout Europe. It is covered in gold and different gems. The head stares directly at the viewer and it is thought to have originally been the head of a Roman statue of a child. People come from all over to pay respect to it. (3-2D)

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

1. It is called Saint Charles of the Four Fountains because it is on a square in Rome with four fountains and it is unusually small. Borromini built it for free because he was very grateful to this religion and it allowed him to have artistic creativity. 2. The exterior is curving and is a balance between a convex and a concave. The interior is oval shaped. The main theme is the order of religion - Trinitarians (triangles). Borromini was more focused on the science of mathematics so if you draw circles inside each triangle and then draw lines to connect all of the points, it represents the architecture of the church. 3. There are white columns that brings the viewers eyes to the top part of the church. All of the geometry appeals to intellect because you must think about how the shapes fit together. Borromini worked in shades of white and avoided color used in many other Barque buildings. 4. The Barque characteristics of this building are the spatial geometry, the columns and entablatures have lines throughout them, the dome is stretched, there are hidden windows, and there is an undulating facade. (3-5)

Presentation of Fijian mats and tapa cloths to Queen Elizabeth II Fiji, Polynesia. 1953 C.E. Multimedia performance (costume; cosmetics, including scent; chant; movement; and pandanus fiber/hibiscus fiber mats), photographic documentation

1. It is the enormous tapa cloth made for the visit of Queen Elizabeth II in 1953, on the occasion of her coronation as Queen of England. This is an example of performance art. 2. There is imagery of royal crowns, geometric patterns, and a floral motif. Men oversee the growth of the mulberry trees that produce the tapa and women turn the bark into cloth. 3. The bark is removed from the tree, soaked in water, and then treated to make it pliable. Clubs are used to beat the strips into a long rectangular block to form pieces of cloth. 4. The edges of the smaller pieces of bark are then glued or felted together to produce large sheets. They are decorated according to local traditions. They are sometimes stenciled, printed, or dyed.

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

1. It portrays Christ's final meal with his apostles. Two main events are present. The first one is when Jesus tells his apostles "One of you will betray me" and they all react. The second event is Christ blessing the bread and wine. 2. Different apostles can be recognized based on symbols and references - Judas because he reaches toward a plate beside Christ and Peter because he holds a knife in his right hand which foreshadows the fact that he will sever the ear of a soldier who attempts to arrest Jesus. 3. Geometric figures are present because an equilateral triangle is formed by Christ's body. He also sits below a pediment that can be traced to form a circle. These figures refer to the interest in Neo-Platonism (has aspects of Greek philosophy and Christian theology. 4. The apostles are arranged in groups of 3 which is a reference to the Holy Trinity. Leonardo used linear perspective and simplified the architecture by using less distracting details. This made more of a reference to the spiritual world. 5. The painting is in terrible condition and has been restored many different times. One reason for the condition is that Leonardo covered the wall with a double layer of dried plaster. (3-4)

Seated Scribe Saqqara, Egypt. Old Kingdom, Fourth Dynastic. c. 2620-2500 B.C.E. Painted limestone.

1. It represents a figure of a seated scribe at work. The sculpture was discovered at Saqqara, north of the alley of sphinxes leading to the Serapeum of Saqqara, in 1850 and dated to the period of the Old Kingdom, from either the 5th Dynasty, c. 2450-2325 BC or 4th Dynasty, 2620-2500 BCE. It is now in the Louvre Museum in Paris. 2. The scribe has a soft and slightly overweight body, suggesting he is well off and does not need to do any sort of physical labor. He sits in a cross-legged position that would have been his normal posture at work. His facial expression is alert and attentive, gazing out to the viewer as though he is waiting for them to start speaking. 3. MISSING A NOTE! 4. The Seated Scribe was made around 2450-2325 BCE, it was discovered near a tomb made for an official named Kai and is sculpted from limestone.[1] Many pharaohs and high-ranking officials would have their servants depicted in some form of image or sculpture so that when they went to the afterlife they would able to utilize their skills to help them in their second life.

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

1. It's creation reflects the complex intermingling of Buddhism and politics in early Japan. It ushered a new era of Shoguns and helped found Japan's most celebrated school of sculpture. It was meant to show power and be amazing. 2. This site reflects the exchanging of cultures and traditions among different places. Buddhism made its way into China in the 6th century along the silk road trading route. Buddhism was originally presented to the imperial court and they were given a sculpture of the Buddha so Buddhism is associated with the imperial court in Japan. Buddhism then combined a lot with political ideas and changes. 3. This place was built to unite Japan under centralized rule and to promote spiritual unity. It cost a lot and took a lot out of Japanese citizens money which people weren't too happy about. It contains a huge bronze Buddha that was inspired by similar statues of the Buddha that had been commissioned. It took a lot of workers and copper. 4. The emperor that commissioned it was said to have sat in front of the Buddha and vowed himself to be a servant of the three treasures of the Buddhism: the Buddha, Buddhist law, and Buddhist monastic community. The site was destroyed and it shocked Japan but they made a project to rebuild it.

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

1. It's one of the earliest known Pacific works, stone mortars and pestles from Papua New Guinea often depicted birds, humans, and animals. 2. Higher sculptural level than other prehistoric pestles; great level of figurative detail. Made of tough material (greywacke), requiring many weeks of chipping/hammering w stone tools. The artists were likely specialists due to their improved technique and better tools. 3. Animalistic features: Nose tip resembles fruit bat. Depicts a juvenile long-beaked echidna (spiny anteater). It's useful fat deposits were used by people before they were introduced to pigs. 4. The animal has human posture, showing the theme of animals behaving like humans. 5. Significance/function is obscure - unknown. It's considered sacred, likely was one of many spirit stones used for rituals/sorcery. The figure is credited with supernatural powers by present day people in the region, yet it might have not been the original function. Is also speculated whether it could have been a male fertility stone.

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

1. Jahangir had many artists follow him wherever he went and he wanted everything recorded. He sought to bring together things from different lands. 2. He is shown here seated on an hourglass throne as sands of time run out which means that he is near the end. He is surrounded by a halo of the sun and moon. This represents that fact that Jahangir is the source of all light. 3. Some cross-cultural influences are the fact that he sits on a Renaissance carpet and the figures of the small cherubs are copied from European paintings. The artist represents himself in the lower left hand corner and symbolically signs his name on the foot stool beneath Jahangir. The artist holds a miniature with two horses and an elephant. These might have been gifts from his patron. 4. James I of England is shown in the lower left corner. The Holy Man is handed a book by Jahangir (or the Holy Man is handing Jahangir the book). The Holy men were placed higher than everyone else.

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

1. Kirchner was the main artist in "Die Brüke", a movement of young German artists who sought to remake art for the modern world by reaching back to elements of style that they felt would more directly express the powerful, primitive emotions that modern life and academic style repressed. They were influenced by Munch, Gaugin, Van Gogh, and Matisse but also by African art and by late medieval German art. 2. This particular work expresses Kirchner's feeling that being forced into the German war effort has shattered his consciousness and destroyed his creativity. Thus the missing right hand, the hand with which Kirchner painted. 3. Compare the work with the Kirchner works on the Smarthistory page and one can see that this version of the artist's self-portrait looks tortured and sick in comparison to the earlier, primitively healthy version. 4. The colors are non-representational, but symbolic, and chosen to provide a jarring impact. There is a tilted perspective that moves things closer to the picture plane.

Narcissus Garden Yayoi Kusama. Original Installation and performance 1966. Mirror balls

1. Kusama is a self-taught artist who now chooses to live in a private Tokyo mental health facility, while prolifically producing art in various media in her studio nearby. Her highly constructed persona and self-proclaimed life-long history of insanity have been the subject of scrutiny and critiques for decades. 2. The artist originally featured the work as a non-participant in the 1996 Venice Biennale. It is made up of 1500 large, mirrored, stainless steel balls placed on a lawn under a sign that said "Your Narcissism for Sale". 3. She offered the balls for sale for $2 each as a commentary on the commercialism and vanity of the current art world. It references the ancient myth of Narcissus, a young man who is so enraptured by his image in reflecting water that he stares at it indefinitely until he becomes a flower. 4. The installation was later moved to water, where the floating balls reflect the natural environment. The water placement makes a stronger connection to the ancient myth. The balls move with the currents of the water and wind.

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

1. Lady Dai lived in the Hunan province in eastern China and died in 168 B.C.E. Her husband was a high-ranking official civil servant, but neither her husband nor son's tombs were well preserved. Essential Knowledge 8-1c. 2. The banner was found with over 100 objects in 1972. Her tomb was typical of a high official, full of beautiful silk robes, whereas a peasant would have homespun paper garments. Essential Knowledge 8-2b. 3. The banner is T-shaped and covers the inner coffin, where her body was still intact. The funeral banner was most likely used in a procession into the tomb and then laid on top of Lady Dai's coffin. It was meant to help the body with its journey into the afterlife. It shows yin symbols on the left, and yang symbols at right. In the center the two are mixed. Essential Knowledge 8-2c. 4. There are 3 regions on the banner. The top represents Heaven. There is a crescent moon on the left and 10 suns on right, and in the middle are two officers guarding the entrance to Heaven. The middle is earth with Lady Dai in the center. Painted is Lady Dai on a platform with her walking stick ready to go to Heaven. Around her are dragons that look like a ying and a yang. The underworld is seen in the bottom, which is full of low creatures. Essential Knowledge 8-3c.

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

1. Mary Cassatt's work was heavily influenced by artists like Manet and Degas, but differed from some of her other contemporaries like Monet, as she painted interiors, women, and children rather than landscape, and used much more line in her works. 2. This print is inspired by the Japanese Ukiyo-E style. Cassatt would have had great exposure to these types of prints as Japanese art flooded the market at this time and prints became immensely popular. 3. Ukiyo-E prints are called "pictures of the floating world," meaning they depicted everyday life. This scene puts the viewer in an almost voyeuristic position, as they are watching the everyday routine of this woman. 4. Cassatt's goal was to create popular art everyone could enjoy, which is why she chose the medium of print. Her work emphasizes flat areas of color, very clear lines, patterns, and shape. The room is slightly cropped to bring focus to the patterns and the intimacy of the scene.

Vietnam Veterans Memorial. Washington, D.C., U.S. Maya Lin. 1982 C.E. Granite

1. Memorial for those who fought in Vietnam War. Large, black, granite wall with all of the names of who died, (seen as a "black scar in the earth") 2. Timeline, Chronological order. Walls start small (on outside) then get bigger and meet at a corner 3. Surrounded by nature, green living grass and trees, worked into the landscape. Near other memorials. 4. Rubbings of names/encouraged to touch - interactive. Art doesn't need to be a traditional media (can be abstract/interactive/simple/meaningful)

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

1. Men were often responsible for arts made of hard materials such as wood, stone, or bones and the art was generally more often associated with the realm of the sacred and had more ritualistic components. Women's arts were constructed primarily of soft materials such as flowers and eaves and other materials used to make mats and bark cloth. 2. Women harvested the bark from the inner part of the paper mulberry (a tree) and then hammered the bark flat. Designs were put in the bark cloth through a variety of methods such as carving, painting, staining, or drawing. 3. Tapa was traditionally used in Polynesian culture for clothing, bedding, wall hangings, and decorations. It was often prepared for people of high rank and for special occasions (birthdays and weddings). Textiles in Polynesian culture also reflect the wealth of a woman. She may prepare the in exchange for work or food. 4. Niue is a small country located just south of Samoa. After 1774 (arrival of Captain Cook), no visitors were allowed on the island until 1830 with the London Missionary Society who brought Samoan missionaries who introduced bark cloth to Niuans. In the 1880s the distinctly Niuan style of hiapo emerged (featuring complicated geometric designs and diminishing motifs). Hiapo was discontinue in the late 19th century.

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

1. Michelangelo was commissioned to do this piece for Pope Julius II. He was asked to do a geometric design of just the 12 apostles but asked instead if he could paint scenes from the Old Testament 2. The scenes depicted on the vault are divided by fictive architecture to separate and organize the whole composition. The narrative starts at the altar and is separated into three parts: the Creation of the Heavens and Earth, The Creation of Adam and Eve and Expulsion from the Garden of Eden, and lastly the story of Noah and the Great Flood. 3. Change in style between ceiling frescoes: 1510: Michelangelo takes a break from working on the Sistine Chapel. This resulted in frescoes that are more apparent from the ground and have more of an impact on the audience where as the earlier frescoes are smaller and more difficult to understand. 4. Michelangelo's circular composition of the Delphic Sibyl and the Libyan Sibyl makes to contours of the body evident and makes the sibyls appear more sculptural and 3D rather than 2D. The positions that the sibyls are holding would be nearly impossible for any real person to do and this style would go on to influence Mannerists (much of their work was modeled after Michelangelo's portrayal of the human body).

The Gates New York City, U.S. Christo and Jeanne-Claude. 1979-2005 C.E. Mixed-media installation

1. Neither of the artists are native to America. Christo was born in Bulgaria, and Jean- Claude was born in Morocco, but is French. They are world famous artists, and have had their work all over the globe. They personally financed the project. EK 10-2a. 2. It was made up of 7,503 plastic and steel gates. These gates were 16 feet high, framed the walkway, and held up free hanging saffron fabric panels. People were still able to walk in the Park, they were even allowed to touch the gates. The artists wanted the gates to fit in with the structure of the park and not impede any activities. ED 10-2 3. The Gates was a temporary installation. The work was only left up for sixteen days, which to some people was not long enough, but others believed the work was an intrusion into natural land and did not appreciate the new perception of the landscape. The short period of the installation created urgency for people to go and experience it. ED 10-1. 4. After The Gates was exhibited, all of the materials used were recycled. The left no holes in the ground even though there were 600 workers that helped to install all of the gates spanning the 23 miles of walkway. ED 10-2.

Guggenheim Museum Bilbao Spain. Frank Gehry (architect). 1997 C.E. Titanium, glass, and limestone.

1. One of the first museums to go against the tradition of neo-classicism commonly associated with museums around the world. The quintessential pediments in front, colonnades, rotundas, and stateliness. 2. The Guggenheim Museum was built in an old industrial port city in order to attract tourism and bring wealth to the region. 3. Gehry's work can be considered deconstructive ("radical freedom of form and the open manifestation of complexity in a building rather than strict attention to functional concerns and conventional design elements" --Google) and was often inspired by the Italian Baroque style. 4. The deign of the building was inspired by the river that it is situated over. The titanium and glass reflect sunlight off the water adding to the majestic quality of this unique museum.

Great Mosque Córdoba, Spain. Umayyad. c. 785-786 C.E. Stone masonry

1. One of the oldest standing structures from the time period where Muslim's ruled the Iberian Peninsula (Spain, Portugal, and part of France) in the 8th century. (3-1, 3-1a) 2. The site first had a temple that was converted into a church by Visigoths in 572, then a mosque and then completely rebuilt by Umayyad descendants. When Damascus was overtaken by the Abbasids, prince Abd al-Rahman escaped to Spain and created a new capital, Cordoba. He wanted to recreate the grandeur from Damascus and sponsored extensive building programs, etc. that created this great temple. (3-2, 3-2a, 3-2b) 3. The building was expanded over 200 years. The building includes a large hypostyle hall, courtyard with a fountain, garden, covered walkway and a minaret (now encased in a bell tower). It was also made with roman columns (spolia). (3-2b 4. There is a famous mihrab (wall used to identify which direction Mecca is) in the prayer hall. The large archway is decorated with Kufic calligraphy and motifs of plants. Above the mihrab is a dome decorated with gold mosaic. (3-1b) 5. There are double arched columns made with voussoirs of alternating colors. The double arches enhance the interior space which had fairly low ceilings. There is an overall light and airy interior. (3-1b)

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

1. Ruysch specialized in still lifes, which were very popular w/ the widening middle class. This particular painting depicts fruits associated with harvest and autumn 2. The wheat and grapes on the table represented the bread and wine of Eucharist, which would have been obvious to anyone looking at the painting at the time. 3. Ruysch's father was a scientist who specialized in botany and anatomy, and Ruysch herself depicts the subjects of her paintings with an almost scientific attention to detail. It is likely that the painting is a composite of studies of various fruits/insects (as opposed to one scene that she assembled and copied). 4. The detailed realism, careful attention to color balance, and dark background are all typical of Ruysch's art.

Santa Sabina Rome, Italy. Late Antique Europe. c. 422-432 C.E. Brick and stone, wood

1. Santa Sabina represents a synthesis of pagan Byzantine culture and an emerging acceptance of Christianity. It was constructed under the emperor Constantine who was privately Christian and baptized on his death bed. Components of the church are clearly borrowed from traditional Roman architecture including the triumphal arch over the altar in this church. This type of arch was traditionally used to commemorate generals or emperors and their victories, but were now being used by the Christian community to celebrate the triumph of the church. (3-1.a) 2. The structure of the church is based on Roman basilicas to include more interior space for worshipers ar masses, give a sense of imperial authority to God, and incorporate a longitudinal axis in order to place focus on the altar. (3-1.c) 3. The cross shape that came with the use of the basilica structure is clearly symbolic in Christianity, and the transept of the cross shape was where the most prestigious members of the church sat for mass. (3-2.b) 4. The walls in Santa Sabina have very large windows and give a clear sense of light and space. The décor also incorporates columns repurposed from pagan structures. These factors not only give a sense of divinity through the use of lightness and ethereality in the decoration, but also represent a victory of Christianity over Paganism through the repurposing of the columns. (3-2.b)

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

1. Serves as representative for Roman townhouses in Pompeii, Italy. They functioned as both domestic space and a business space. 2. Aristocratic families used the domestic space to reflect their social position through the decoration and the business space to continue expanding their wealth. The Roman Republic was based on a patron-client relationship and the setup of the homes was meant to reflect this by having aristocrats receive clients in a domus (townhouse owned by the wealthy). 3. Freedmen (former slaves) also often occupied these homes and used them as a way to advance their social standing after leaving slavery. 4. Domestic decoration in the House of Vettii as well as other domus homes was meant to reflect the wealth and the education of the aristocratic class by having reproductions of famous artworks or having artwork similar to famous pieces.

Portrait of Sor Juana Inés de la Cruz Miguel Cabrera. c. 1750 C.E. Oil on canvas.

1. Shows the Mexican tradition of wall painting - oil painting developed faster in Mexico than Europe. The portrait format (in library) is similar to the portraits of Popes, alluding to her intelligence, religious dedication, and depicts her in a powerful position. 2. She is a writer, reader and a scholar. She pursued education in astronomy, history, and religion. She loved to learn so that she wouldn't seem "ignorant". Was part to the Enlightenment movement. 3. Although she became a nun, she didn't follow Church doctrine, because she was a woman who discussed new ideas in intellectual circles (science, history, etc.). 4. Her passion of learning and writing books got her in trouble with the Church. She was associated with groups seen as "Intellectual radicals". Her library and all of her scientific and musical instruments were taken from her by the Church.

Lying with the Wolf Kiki Smith. New York. 2001 C.E. Ink and pencil on paper

1. Smith often puts women in the natural world. Here instead of predator and prey they are companions. 2. There is a female character that seems to be reoccurring, as well as a wolf and deer theme in many of her drawings and sculptures. Kiki Smith uses natural and spiritual motifs in her work. 3. Smith is a feminist and socially conscious artist and, as such, intentionally creates images with subliminal or intended meanings. there is an obvious feminist theme; we see a nude female figure, reclining as she embraces a wolf. 4. The wolf, a typical figure in myth and fables, is a symbol of evil, temptation or downfall, but here we see a placid wolf, welcoming the woman's embrace. She has tamed the wolf.

Summer Trees Song Su-nam. 1983 C.E. Ink on paper

1. Song Su-Nam's summer trees are very modern looking but also deeply influenced and rooted in tradition. 2. Song explores tone, especially black and grey, and it ends up creating abstract works that some think are the real subject of this very modern looking world. Song's titles address the natural world and issues of contemporary art. 3. In Chinese poetry landscapes and plants serve as metaphors for loyalty, intelligence, spirituality, and strength in adversity. Summer trees may also reference a group of pine trees that can symbolize a gathering of friends of upright character. 4. In Korea during the 80's there was a tension between the influence of Western art that used oil paint and traditional Korean art that used East Asian style and medium of ink for calligraphy and painting. He did not express himself as a Korean and follower Western styles. This work may be Song's statement of optimism in the rediscovery of traditional values recast for modern times.

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

1. The Alexander Mosaic was the floor of a house in Pompeii, in which it was pasted into cement. A million and a half pieces of colored pebbles make up the mosaic. The mosaic was made during the Roman Republic. (2.4A) 2. The mosaic is based on an ancient Greek painting that was lost in time. Literature tells art historians that the Greek wall painting was immensely beautiful, but the mosaic is the closest there is to the original. The Roman copy of a Greek painting shows the regard that the Romans had for Greek art. (2.4C, 2.5A) 3. The mosaic depicts the ruler of Persia, King Darius, fleeing from Alexander the Great's Greek army. King Darius looks terrified and is begging Alexander to spare his soldiers. This speaks to the power of the Greek Empire under Alexander's reign. (2.1A, 2.5B) 4. There is incredible realism in the figures of the mosaic. The artist uses light and dark to create 3D forms. The anatomy of the bodies is realistic, and the horses are foreshortened to create perspective. (2.4C)

The Bay Helen Frankenthaler. 1963 C.E. Acrylic on canvas

1. The Bay is an example of color field painting. In this style of painting, the artist relies on subtle tonal values that are often variations of a monochromatic hue. Frankenthaler's images often hover in ambiguous space. EK 10-1b. 2. The artist painted directly on an unprimed canvas. By not priming the canvas, Frankenthaler allows the canvas to absorb the paint more directly. The acrylics she painted with allowed her more flexibility with movement than oil paints, and allowed her more control as she poured paint onto canvas. She would stretch, lift, and tilt the canvas to create the shapes by letting the paint flow across the canvas. EK 10-1a. 3. Frankenthaler used landscape as a starting point, and was inspired by all of nature. The imagery in her works stems from the observations she had of nature. She was also inspired by the medium of watercolor and was able to use elements of it in her color field paintings by diluting her pigments. ED 10-1. 4. The artist believed colors and shapes don't have to represent something in particular, but can just be something unclear for the viewer. She said that "sentiment and nuance are being squeezed out", she just wanted art to be the basic act of responding to color and filled with emotion. ED 10-2.

Dedication Page with Blanche of Castle and King Louis IX of France, Scenes from the Apocolypse from Bibles moralisées. Gothic Europe. c. 1225-1245 C.E. Illuminated manuscript

1. The Bibles Moralisees were originally commissioned by Blanche of Castile while she was serving as monarch of France 2. Used as the private Bibles of the royal family and thus served a major role in the Biblical and religious education of the future kings. 3. Commissioned in preparation for the marriage of Blanche's son which further highlights their importance to the family, they depict opulence. 4. Bibles also feature many gothic elements. The figures seen in the illuminated text have long, elongated bodies and necks that were characteristic of the gothic art period. 5. Lastly, the figures show a move towards greater realism and thus away from many Byzantine conventions.

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

1. The Bundu masks were commissioned by the Sande society, a group that prepares girls for the rite of passage. The masks are only worn by women during the rite of passage ceremony. (6.2A) 2. The masks are black, which symbolize water, coolness, and adulthood. They call to Sowei, the water spirit. (6.2B) 3. The masks are individualized, but also idealized. They have large foreheads and small eyes. The elaborate hairstyles on the masks symbolize wealth, and the rings around the neck are marks of beauty and also represent waves of water. (6.2B, 6.2C) 4. In the ceremony of the rite of passage, the young women going through the rite are painted and dressed in white. Dancers dressed in rafia, a black cloth which covers the figure and represents water, wear the masks and dance around the girls in white. (6.2C)

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

1. The Great Serpent Mound in rural, southwestern Ohio is the largest serpent effigy in the world. Numerous mounds were made by the ancient Native American cultures that flourished along the fertile valleys of the Mississippi, Ohio, Illinois, and Missouri Rivers a thousand years ago, though many were destroyed as farms spread across this region during the modern era. 2.The Great Serpent Mound measures approximately 1,300 feet in length and ranges from one to three feet in height. The complex mound is both architectural and sculptural and was erected by settled peoples who cultivated maize, beans and squash and who maintained a stratified society with an organized labor force, but left no written records. 3.​ The serpent is slightly crescent-shaped and oriented such that the head is at the east and the tail at the west, with seven winding coils in between. The shape of the head perhaps invites the most speculation. Some scholars read the oval shape as an enlarged eye, others see a hollow egg or even a frog about to be swallowed by wide, open jaws. But perhaps that lower jaw is an indication of appendages, such as small arms that might imply the creature is a lizard rather than a snake. Many native cultures in both North and Central America attributed supernatural powers to snakes or reptiles and included them in their spiritual practices. The native peoples of the Middle Ohio Valley in particular frequently created snake-shapes out of copper sheets. 4.Aspects of both the zoomorphic form and the unusual site have associations with astronomy worthy of our consideration. The head of the serpent aligns with the summer solstice sunset, and the tail points to the winter solstice sunrise. The curves in the body of the snake parallel lunar phases, or alternatively align with the two solstices and two equinoxes.

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

1. The Greeks were employed by the Romans to create works of art even after they were conquered by them. 2. This figure is less idealized than traditional Greek works that showcased contrapposto. 3. 2-4C The was a Greek Hellenistic statue (Hellenistic refers to the period after Alexander the Great) and was particularly representative of the Hellenistic period as it explored the different aspects of human form and condition explored through art. I DON'T KNOW WHAT YOU ARE SAYING ABOUT HELLENISTIC ART HERE. 4. 2-4C The Boxer, unlike previous statues, is not a perfect representation of a human body or condition, in fact there is an emphasis on this Boxer's defeat. His posture is slumped, and his ear have been beaten badly, the ties of leather around his knuckles show us that he has been in battle. 5) The blood drops are also indicative of the boxer's defeat, his pained expression and hunched defeat even though he is muscular, energies the viewer with pathos, or, emotionally.

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

1. The Kuosi masking society controls the right to own and wear the elephant masks and they would've been enacting a terrifying force from the forest. They were used in the elephant dance and were worn with costumes. 2. They exerted the will of the village elders by imposing economic prohibitions and organizing hunting parties to provide for and protect the village. The dances were danced by members of the Elephant Society in Cameroon. 3. The dancing and the music honored the king, the Fon. Dancers would wear red feather headdresses and leopard skins which were powerful symbols for the Fon who could transform into an elephant while the leopard could transform into a human. 4. Court officials would've worn the mask as a symbol of high status and political power. The hierarchal order of the costumes shows political stability.

Lamassu from the citadel of Sargon II, Dur Sharrukin Neo-Assyrian. c. 720-705 B.C.E. Alabaster

1. The Lamassu were guardian figures that stood at the gateways to the city and its citadels. It would have been impossible to approach the citadel without seeing them. (2.1A) 2. They were created at the height of Assyrian civilization. They were an expression of the power of the Assyrian king. They are comparable to Sphinxes in the Egyptian tradition. (2.1B) 3. The perspective of the Lamassu is different depending on where someone views it. From the side, the legs appear to be walking with the viewer and is welcoming. From the front, the figure is static and formidable. (2.1) 4. The face of the Lamassu has wavy hair, connected eyebrows, earrings, and an elaborate beard. The wings form a decorative panel which show power and prestige. (2.1) 5. The figure is carved out of a monolithic stone. There are inscriptions that talk about the power of the Assyrian empire. (2.1A)

Arena (Scrovengni) Chapel, including Lamentation Padus, Italy. Unknown architect; Giotto di Bonde (artist). Chapel: c. 1303 C.E.; Fresco: c. 1305. Brick (architecture) and fresco

1. The Lamentation is a moving depiction of Christ's mourners surrounding him on the cross. This is a well-known work, particularly for the raw emotion evident on the people's faces. 2. The chapel and its fresco paintings were created in 1305 for the Enrico Scrovegni family in Padua, Italy. Giotto made them for the family at the request of Enrico, who wished to build and decorate the church with the purpose of cleansing the family of his father's sins. 3. This is one of the first instances of the use of horizon lines, geographic forms and architecture within scenes seem to have been manipulated to point viewers in a certain direction. 4. Giotto arranged the different scenes chronologically, in horizontal bands. Mary's life appears first, followed by the life and ministry of Jesus, and finally scenes depicting the Passion. One particularly unique aspect of these frescos is that when the bands are read vertically, viewers will be struck to realize that each scene foreshadows the next.

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

1. The Lindisfarne Gospels were created by monks who devoted their time to making these books. The depiction of the Gospel writers (Matthew, Mark, Luke, and John), is comparable to the monks, the writers of these Gospels. (3.1A, 3.2C) 2. They were written in black ink even though at the time, brown ink was more commonly used and was cheaper. Black ink was harder to make, and therefore more expensive, but the monks decided that it enhanced the importance of the gospels. (3.1B) 3. The intricate swirls and designs of the Lindisfarne Gospels were meant to be meditative and contemplative. The purpose of the gospels were to be meditated on. (3.1B) 4. The clothing of the figures is very similar to Roman robes and Greek drapery. However, they are less realistic in these gospels. This is important because that means that the style of the figures are originally pagan, but is being reused for a Christian gospel. (3.1A, 3.1C)

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

1. The Niobid Painter was probably inspired by the large frescoes produced in Athens and Delphi. This krater was decorated with two scenes in which the many figures rise in tiers on lines of ground that evoke an undulating landscape. 2. The main side of the vase shows eleven figures placed at different levels, but only two of them are recognizable. Heracles is in the center holding his club and bow, with his lion skin over his left arm, and Athena is located on the left. Around them several warriors are represented in varying poses. 3. The B side of the vase illustrates a legend that is rarely represented, and is what gave the painter his name. This side depicts the massacre of the children of Niobe by Apollo and Artemis. 4. The vase was created using a red-figure technique, in which the artist used varying tones of slip in order to create the red look that he wanted to achieve. THIS DOES NOT ADEQUATELY EXPLAIN THE TECHNIQUE OR ITS PURPOSE. The process included firing the clay several times in multiple different heats and in varying levels of dryness.

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

1. The Tlatilco Female Figurine was a female ceramic figure. Ceramics were widespread for only a few centuries before the Tlatilco figurines. (1.1B,1.2C) 2. Motifs of maize, ducks, and fish are found on the ceramics. The makers of these figurines lived in farming villages. The inhabitants of Tlatilco grew maize and hunted in the lake to sustain themselves. (1.1B, 1.2B) 3. The figurine emphasizes wide hips, spherical upper thighs, intricate hair, and a pinched waist. The majority of these figurines were female, but when men were depicted as men who wore costumes and masks. The two connected heads of the female express an idea of duality. (1.2E) 4. These figurines were found while excavating graves. Inside the graves, the Tlatilco figurines were found in large quantities, suggesting a religious significance to them. (1.2B) 5. The Tlatilco Female Figurine and others like it were made exclusively by hand, without the use of molds. They were made by pinching clay and shaping it by hand. The details were created by a sharp instrument that cut linear markings into the wet clay. (1.2D)

House in New Castle County Delaware, U.S. Robert Venturi, John Rauch, and Denise Scott Brown (architects). 1978-1983 C.E. Wood frame and stucco

1. The Venturi Scott Brown firm was more interested in Mannerist and Baroque architecture and also in "pop" architecture that sprouted up as consumerism arose in the 50s and 60s; Venturi and Scott Brown wrote a treatise on architecture called "Learning from Las Vegas" and celebrated what they called the "decorated sheds" of vernacular architecture. 2. In this house, designed for a family of three, the architects accommodated the wife's avocations as a musician with a music room with multiple instruments but also created large windows towards the adjoining woods for the husband, a bird-watcher. The house celebrates the individual and quirky in these choices rather than the universal and timeless. Venturi had earlier argued that modern architecture had run its course and that it was time for a style that would be more contradictory and messy but also more alive. 3. Venturi's firm played with historical styles, including classicism, and purposefully included contradictory or overtly false elements. Many of his house's elements are nominally classical, but they are also patently fake and whimsical. The decoration is clearly decoration, not structural, and often looks flat and created with woodshop tools—the folksy, silly effect the firm was aiming for. 4. The overtly false elements include the fact that the columns don't line up with the house and just sort of run off on the right side of the front. A drain pipe runs down one of columns and is meant to be obvious. Very animated and flat style. He builds classical elements with modern elements and modern materials.

Electronic Superhighway Nam June Paik. 1995 C.E. Mixed-media installation (49-channel closedcircuit video installation, neon, steel, and electronic components).

1. The artist is Korean-born and lived in New York City. The neon lighting outlines the 50 states (Alaska and Hawaii are on the side walls). 2. Each state has a separate video feed and there is a total of 313 monitors. A camera is turned on the spectator and its TV feed appears in the monitors for New York State and it turns the spectator into a participant in artwork. 3. The artist was intrigued by maps and travel. The neon outlines symbolize multicolored maps of each state. Also had a fascination with the interstate highway system so the neon symbolizes motel and restaurant signs. 4. The piece allows us to understand and communicate with each other across traditional boundaries. It also poses questions about how technology is impacting our culture.

The Valley of Mexico from the Hillside of Santa Isabel José María Velasco. 1882 C.E. Oil on canvas

1. The artist is primarily an academic landscape painter and specialized in broad panoramas of the Valley of Mexico. He rejected the realist landscapes of Courbet and admired the romantic landscapes of Turner. 2. The background is the receding waters of Lake Texcoco and Mexico City. The hill is important because that is where the Virgin of Guadalupe appeared to Juan Diego. A lot of the brushstrokes were done by memory. 3. It can be viewed as a re-interpretation of a German subject. The artist explored the relationship between human figures and the scenery they inhabit. The two figures at the bottom are wearing clothes that relate to scenery. 4. It overall represents an important period in the development of Mexico's identity and the history of Mexico's art. It serves to glorify Mexico's countryside.

'Ahu 'ula (feather cape) Hawaiian. Late 18th century C.E. Feathers and fiber

1. The cape was made for male nobility to be worn in ceremonies, and the feathers come from the 'i'iwi bird which only has two feathers of that color on it, which makes this cape very difficult to make and thus very rare. 2. They were believed to provide spiritual protection to the cheif, and were only given as a very high honor. 3. People who wore this cape were revered as "gods among men", and the longer the cape was it means they had more birds which means they were worth more and had a higher rank. 4. Red represented nobility and the red feathers were more common than the yellow feathers.

Great Hall of Bulls Lascaux, France. Paleolithic Europe. 15000-13000 B.C.E. Rock Painting

1. The caves in which the cave paintings were painted in were not actually where the people lived because they led migratory lifestyles following animal herds. They would communicate through paintings because there was no writing. 2. These cave paintings could be interpreted as giving the people "hunting magic" that would provide them with a successful hunt. 3. Some believe they tell stories about certain hunts and give advice/tips. Others believe that the paintings are animal worship or shamanism. 4. The paintings were painted in dark caves using lamps, charcoal, iron ores, plants, colors made with animal fat. They also overlapped each other because different accounts were added.

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

1. The central doorway was emphasized by column groupings, a tympana, and pediment. 2. The interior is unlike most churches as it has no aisles. This leads us to believe that it was meant for grand ceremonies as the principal church of the Jesuit order. 3. The Triumph of the Name of Jesus is a fresco on the ceiling in the main nave of Il Gesù. 4. The monogram of Jesus' "IHS" is illuminated by a bright gold color, and the figures are shown tumbling away from the nave. 5. The fresco appears to be 3D as some figures were carved into the stucco and painted while others were painted with expert shading.

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

1. The chapel had a rectangular shape and was attached to the church of Santa Croce. 2. There are two barrel vaults, a type of vault with a continuous arched surface that resembles the inside of a barrel or tunnel. The chapel also has a small dome crossing over the two barrel vaults. 3. The chapel has a "restrained sense of color," meaning the colors used aren't vibrant but instead can be described as "muted." The chapel has glazed terra-cotta tiles. 4. The Pazzi Chapel was a chapter house, or a meeting place, for the Franciscan monks.

Chartres Cathedral Chartres, France. Gothic Europe. Orignal construction. c. 1145-1115 C.E.; reconstructed c. 1194-1220 C.E. Limestone, stained glass

1. The church was associated with the Virgin Mary. A relic of the tunic of the Virgin Mary was gifted to the church. This tunic was believed to be what she wore when she gave birth to Christ. It was thought to have healing and protecting powers which drew many visitors. 2. The church was burned to the ground, however the tunic remained unharmed. This was a sign to the people to build a new church. Only the Westwork of the previous church survived. 3. The new church was built on the foundation of the previous church. It's design sought to create heaven on earth. The interior is dark, however light from the stained glass windows shines through and reflects off the walls. The light is supposed to represent divinity and is considered to be the least material of god's earthly creations. 4. The gothic elements of the design include ribbed vaults, pointed arches, and flying buttresses.

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

1. The city of Calais wanted a sculpture to commemorate the heroism of the Burghers (fathers of the city) who offered their lives to the English king to save the city from being sacked during the 100-year war. The English king wanted the six men to only wear tattered sackcloth. They were also bringing the king the key to their city. Enduring Understanding 4-3. 2. Rodin shows the six men on their way to surrender to the king. Many found it strange that he decided not to depict them as they were released, but under the threat of death. Also, Rodin placed the sculpture at eye level, not raised on a pedestal as was typical for heroic monuments. The city of Calais was not pleased with the outcome because they wanted a single heroic figure. Essential Knowledge 4-3b. 3. The men look fragile from far away, they are weak and emaciated from the walk and ready to be killed. The central figure, Eustache de Saint- Pierre has a noose around his neck as if he is ready for his execution. Enduring Understanding 4-1. 4. The details of the figures are reduced to emphasize the overall impression, the clothing of the men is not ornate, there is no background or props with the men to contribute to the story. Each of the figures has a different emotion, fearful, resigned, and others look forlorn. Rodin sculpted each of the men individually and then combined the figures in a way he felt best conveyed the emotions at this point in their story. Enduring Understanding 4-3.

City of Cusco, including O0rikancha (Inka main temple), Santo Domingo (Spanish colonial convent), and Walls at Saqsa Waman (Sacsayhuaman) Central highlands, Peru. Inka. c. 1440 C.E.; convent added 1550-1650 C.E. Andesite

1. The city of Cusco was the capital of "The Land of the Four Gates". It was believed to be the center of existence and its layout was a map of the Incan empire. (5.3A) 2. The city was divided into two sections based on classes. The upper class, known as the Hanan, and the lower class, the Harin, were separated inside the city. (5.3B) 3. The people who lived in Cusco included rulers and nobles. In addition, young cloistered women also lived in Cusco in order to weave and make beer. Boys and young men were brought to the capital to be educated. (5.3B) 4. The Wall of the Golden Enclosure was the most important place in the Incan Empire, and was in the city of Cusco. The exterior was gold, and was built using ashlar masonry. It was dedicated to the worship of the sun. (5.3C)

Frontispiece of the Codex Mendoza Viceroyalty of New Spain. c. 1541-1542 C.E. Ink and color on paper

1. The codex was commissioned by the first viceroy of New Spain, Antonio de Mendoza, in order to record information about the Aztec empire. It contained information about the lords of Tenochtitlan, the tribute paid to the Aztecs, and an account of regular life, and was originally intended for the Spanish king (though it never made it to him) 2. The frontispiece of the codex describes the organization and foundation of the Aztec capital, Tenochtitlan. The image shows how the city was divided into four sections by canals (these four parts reflected the four cardinal directions). 3. The central image of the frontispiece is an eagle on a cactus in a lake, which relates to the narrative surrounding the capital's establishment. According to Aztec myth, their patron deity, Huitzilopochtli (Hummingbird Left), told the Aztecs' ancestors to look for a place where they saw an eagle atop a cactus growing from a rock on which to settle. They observed the sign in the middle of Lake Texcoco, and so established their capital on an island in the lake. 4. There are other symbols on the frontispiece, such as a war shield, indicating the Mexica did not settle peacefully in the Valley of Mexico. The structure above the eagle likely symbolizes a temple, possibly the Templo Mayor, or the Aztec's main temple. To the right of the eagle is a skull rack (tzompantli), another structure found near the Templo Mayor. Different types of plants such as maize dot the city's four quadrants, referring to the agricultural fertility associated with the city. 5. Ten men are also depicted on the frontispiece, and they are believed to be the people who led the Aztecs to this island location. One man seated to the left of the eagle has gray skin, as well as a different hairstyle and red mark around his ear. These traits identify him as a priest . Below the diagram of the city are two scenes of military conquest which use hierarchy of scale to emphasize the Aztec's military dominance.

Carson, Pirie, Scott and Company Building Chicago, Illinios, U.S. Louis Sullivan (architect). 1899-1903 C.E. Iron, steel, glass, and terra cotta

1. The design of the Carson Pirie Scott Building facilitates its purpose as a department store. Its horizontal emphasis symbolizes the continuous flow of floor space. The store windows were as large as they could be to admit light and display store products. Sullivan's motto was that "form follows function." 2. This building shows the influence of Art Nouveau in its decorative touches. The addition of cast iron decorative elements helped turn the store from a place to buy things into a beautiful place to buy beautiful things. 3. The support for the building does not come from the outside which is a development in architecture. This non-supportive exterior is decorated with terra-cotta tiles. Similar ornamental decoration was also arranged around the elevator, lobby areas, and hallways.

Dome of the Rock Jerusalem. Islamic, Umayyad. 691-629 C.E., with multiple renovations. Stone masonry and wooden roof decorated with glazed ceramic tile, mosaics, and gilt aluminum and bronze dome

1. The dome of the rock sits atop the highest point in Jerusalem, and is one of the earliest symbols of the power of Islam; however, the dome of the rock is not a mosque and it's original function is still debated. 2. This was once the holiest site for followers at Muhammad as the surrounding areas were at war and the Umayyad empire didn't have control over the Kaaba. 3. The dome sits over a large rock (hence, dome of the rock) which is where Isaac is said to have been prepared to sacrifice his son Ismael in the biblical story. It is also said to commemorate Muhammad's night journey where from the rock he went to heaven to meet prophets, experience hell, and even see God. 4. There are 12 columns in the octagonal space and there are breathtaking mosaics lining the wall. They contain no human figures or animals and are popular over the whole Byzantine empire.

Bayeux Tapestry Romanesque Europe. c. 1066-1080 C.E. Embroidery on linen

1. The embroidery was commissioned by Bishop Odo, the half-brother of William the Conqueror. It tells the story in Latin of the Battle of Hastings along with William's conquest of England. Essential Knowledge 3-2c. 2. The story is bordered with designs that comment on the main scenes, and others that show scenes of every day life. These upper and lower registers contain fanciful beasts. Essential Knowledge 3-2d. 3. The Bayeux Tapestry has a neutral background and flat figures that are not shown with shadows. There is little evidence of perspective, and color is used in a non-natural manner. Essential Knowledge 3-2c. 4. The narrative tradition goes back to the Column of Trajan. The tapestry has 75 scenes and contains 600 people. Its long plot contributes to the great physical length of the tapestry, 230 feet. Essential Knowledge 3-1c.

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

1. The entire village complex served as a royal residence for the King and also housed many of his subjects. The circular wall and enclosed space were used as a political center by the kings. Elites lived inside the enclosure. Conical tower was built to worship the creator god, Mwari. 2. This site was a prosperous trading center and royal complex. Glass beads, iron wire, axe heads, chisels, and seashells were traded. Another use for this site was to perform rituals which can be inferred from the soapstone bird carvings. 3. It was small so that only the elites could live inside. This shows how Great Zimbabwe was divided into classes, rulers, cattle owners, and poor. The conical tower is also representative of grain silos which symbolizes royal control of the food, wealth, and power. 4. The builders also incorporated symbols and visual elements that help us understand the work better. Mwari, the creator god is the god of the rain and earth so the tower affirms the power of the rulers who enter because they are associated with the creator god. The tower was built from granite blocks from exposed rocks of the area around the site. The choice to use granite instead of mud brick implies permanence.

Still Life in Studio Louis-Jacques Mandé Daguerre. 1837 C.E. Daguerreotype.

1. This photograph was inspired by painted still-lives and tries to prove that photography can be a legitimate form of art. 2. There is a variety of textures used to display the range the camera can capture. It is a new art form inspired by old art forms. 3. The daguerreotypes have a shiny surface with great detail. It is the French first version of photography. 4. It was taken by Louis Daguerre who the style of photography is named after and invented by.

Reliquary figure (byeri) Fang peoples (southern Cameroon). c. 19th to 20th century C.E. Wood The Fang figure, a masterpiece by a known artist or workshop, has primarily been reduced to a series of basic shapes—cylinders and circles.

1. The figure was created to place it on top of a cylinder-like container made of bark. This container held skulls and bones of important clan leaders, similar to a reliquary. The Reliquary figure is guarding the cylinder. Essential Knowledge 6-2a. 2. It was created to honor clan heads, special warriors, craftsmen, women who had given birth many times, or people of other important or high status. The surface of the reliquary figure was rubbed with oils in a ritual to add luster and protect it against bugs. Essential Knowledge 6-2c. 3. The Fang people placed high values on tranquility, introspection, and vitality. These characteristics are prevalent in the qualities of the figure, as it looks calm and contemplative. The figure was believed to protect from evil and bring good luck. Essential Knowledge 6-2b. 4. The abstraction seen in the body and face of the figure attracted early 20th century artists. The figure has an elongated torso, rounded head, and disproportionate body parts. The African style influenced many artists in Europe. Essential Knowledge 6-4c. 5. The belly button and genitals are emphasized, displaying the life of the figure, which contrasts the use of the figure to guard the dead. The reliquary figure also is in a prayerful stance and looks somber, emphasizing death. Enduring Understanding 6-2.

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

1. The golden stool is said to have been made in the heavens. It is a wooden stool covered in gold, and it is far more important than the king itself. It sits on it's own stool and is a symbol of royalty. It is reserved to only royal use. 2. Gold was prominent in the Ashanti culture, and it was measured using brass weights. The weights were made into figurines and small sculptures. 3. There are also gold weights that often depict the king wearing sandals with an umbrella which connect them to heaven. Stools were given to children when they came of age and was a very symbolic thing within the Ashanti culture, and each person had their own stool that they would flip over when they weren't sitting in, which is why the stool is placed in it's side. It is known as the stool of the Ashanti nation. 4. The British tried to hunt down the golden stool, and the people of Ghana were truly offended because not even the King of Ghana could sit on the stool, in fact the stool sat on it's own stool. It was hidden for years while a mother gathered soldiers to fight the British.

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

1. The image seems both abstract and realistic at the same time. Its background> subtle grid of gold leaf everything with an ethereal glow. The stream's swelling metallic curls and spirals are a make-believe of flowing water, and its sharply tapered serpentine contour lines angle the picture plane in an unnatural upward tilt. 2. Kôrin depicted only the lower parts of the trees, as if viewed from very near: the tree with red blossoms thrusts upward from the ground and out of sight; the white pushes leftward out of view and then, two slender branches appear to spring back diagonally downward from the top corner and jab upward 3.Meaning: The stream symbolizes the rhythmical flow of water 4. Context: Edo period>application of tarashikomi, a technique in which colors are blended by dripping one over another that is still wet, which is used here to depict the tree trunks.

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

1. The images on the figure are representative of spirits that are believed to be housed in the figure. 2. These spirits can be called upon through the figure to do harm or good in the form of blessings, giving life, or giving death. 3. The aforementioned spirits could be called upon by adding or removing nails from the figure in order to induce the blessing or curses associated with the figure. 4. A cavity in the power figure was thought to be the soul and as such medical properties were often inserted into this cavity in order to help heal someone.

Annunciation Triptych Workshop of Robert Campin. 1427-1432 C.E. Oil on wood

1. The increasingly wealthy middle class of Northern Europe began using their wealth to commission paintings like this one. Earlier, it was mostly royalty/religious figures who commissioned paintings. 2. The scene takes place in a house which is a contemporary (for the time) environment. It actually includes the patrons, located outside the house and dressed as a monk and nun, in order to bring them closer to God. 3. Unlike Italian Renaissance art, Northern Renaissance art like this piece is characterized by close attention to detail/texture, less focus on accurate perspective, and use of oil (which allows for richer, deeper colors). 4. The painting is full of religious symbolism and imagery, such as the tiny figure holding a cross coming in through the mirror and the pew Mary is sitting on.

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

1. The man and woman were influenced by classical sculpture. Adam looks similar to sculptures of the Greek god Apollo and Eve looks like Venus. Enduring Understanding 3-4 2. Adam and Even shown in the image represent the ideal image of humans before the Fall of Man. The image was created during the time of religious and political turmoil of the Reformation. Essential Knowledge 3-5a. 3. The four animals represent four humors, cat = anger, rabbit = energetic, elk = sad, ox = lethargic. The engraving shows that the four humors were kept in balance before the Fall of Man. Enduring Understanding 3-5. 4. There are a lot of details and symbols in the engraving, showing the Northern European devotion to detailed paintings. The mouse represents Satan, and the parrot above Adam is a symbol of cleverness. Essential Knowledge 3-5a.

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

1. The people native to the Pacific Northwest, western Canada, and Alaska wore the mask. Essential Knowledge 5-1a. 2. It was worn during a ritual performance. In the performance, the wearer would open and close the transformation mask with its strings. Typically a dancer would wear it with a long cedar bark costume in front of a fire at a potlatch. Essential Knowledge 5-5c. 3. The mask is formed to look like a bird on the exterior and opens to reveal a human face on the inside. The native religion believed the masks revealed the faces of the ancestors, and told stories of animals changing into mythical beings or shape shifting. Essential Knowledge 5-5c. 4. The creation of the mask was made easier by the inventions and tools brought to the Native Americans by Europeans. These tools included nails, hammers, saws, and other wood working tools. Essential Knowledge 5-5e.

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

1. The mosque's location is unique as it is in the center of the old city, and shares walls with other buildings. Due to its size and numerous entrances, it formed a pedestrian hub, connecting the many paths crisscrossing the city. The mosque facilitated public mobility and commercial activity and served as more than a place for prayer alone. 2. The core of the structure is from Seljuk Turks in the 11th century, and later chnages/additions were made during Il-Khanid, Timurid, Safavid, and Qajar rule. Under the reign of Malik Shah I, the mosque grew to its current four-iwan design (an iwan is a vaulted space that opens on one side to a courtyard). 3. The interior is decorated with geometric designs in stucco and sumptuous tile-work which contrast the earthy tones of the exterior. 4. When Shah Abbas I, a Safavid dynasty ruler, moved the capital of his empire from Qazvin to Isfahan in the late 16th century, he created a new imperial and mercantile center. The link amongst political, commercial, social, and religious activities is clear in the layout of Isfahan's covered bazaar, which connects the Safavid center to the Great Mosque.

Sarcophagus of the Spouses Etruscan. c. 520 B.C.E. Terracotta

1. The outside is a portrait of the married couple, whose ashes were placed inside. The couple has a symbolic relationship; the man has a protective arm around the woman, while the woman is seen feeding the man. This reflects the high standing women had in Etruscan society. Essential Knowledge 2-5a 2. Although the Etruscan's have many influences from the Greeks, the joint sarcophagus is unique to Etruscan burial because the Greeks were buried individually, separate from their partners. Tombs were also not apparent in burials of Greeks either. Enduring Understanding 2-4 3. The bodies of the figures are placed at an angle where their legs are forced into an unrealistic L-turn. The bodies have broad shoulders but are shown with little anatomical modeling, as well as emaciated hands. Essential Knowledge 2-4c 4. The couple is seen reclining. There is an ancient tradition of reclining while eating, and their sarcophagus represents a banquet couch, which the couple rests on. Enduring Understanding 2-4

Venus of Urbino Titan. c. 1538 C.E. Oil on canvas

1. The painting acquired the title later in life, and it is unclear whether it was really intended to be Venus in the beginning or if the title protected the work from be indecent. Gazing upon Venus was allowed as she was a symbol of beauty. 2. He experimented with glazing (thin layers of oil paint on top of itself) and color to enhance the sensuality of the work and the body of Venus. There is said to be about 10 layers of almost transparent paint stacked on itself to get the rich color. 3. This is one of the first reclining nudes which will be repeated throughout history. Her anatomy isn't entirely correct, she has tiny feet and an elongated torso. This tradition is also carried out later. 4. The female nude is started as a genre in the renaissance. The dog in the back of the work is to symbolize loyalty.

Slave Ship Joseph Mallord William Turner. 1840 C.E. Oil on canvas

1. The painting appears to be a beautiful landscape featuring a subset until the viewer looks closer to see the shackled foot above water tinged with blood and then it becomes clear that the ship in the background is a slave ship stuck in the midst of a typhoon. 2. The painting is based on a poem about real life events: ship captains would throw slaves overboard during storms to collect insurance for their lost property afterward. This also happened if slaves became deathly ill while en route 3. There is an evident juxtaposition between the beauty and power of nature and the cruelty of throwing people overboard for money within the context of the much greater human sin of slavery. 4. One interpretation of the juxtaposition is that the typhoon is a form of divine retribution for slavery. Also could be revealing nature's indifference to human endeavors: the same typhoon drowning the ship is also drowning the slaves.

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

1. The painting is part of a series which documents the migration of African Americans from the agricultural South to the industrial North during the 19th and 20th centuries. This migration was caused by both racism and discrimination in the South and the need for labor in the North. 2. The paintings' titles narrate the story of the migration. Panel 49 is called "They also found discrimination in the North although it was much different from that which they had known in the South." 3. the painting uses bold, flat color and lack of linear perspective to emphasize the subject matter. The flat colors and minimalist style make the division between white and black obvious, while the lack of traditional perspective gives the viewer a birds eye view of the entire scene. 4. The white figures are the only ones with faces, while the African Americans are given personality through the shape/position of their bodies.

Palette of King Narmer Pre-dynastic Egypt. c. 3000-2920 B.C.E Greywacke

1. The palette depicts King Narmer as he is uniting Upper and Lower Egypt. His name appears on both sides of the palette and is so valuable that it has never been permitted to leave the country (2-3) 2. On the front of the palette, Narmer is shown wearing the crown of Lower Egypt (red crown) and looking at the dead bodies of his enemies. In the center there are lions with elongated necks which symbolize unification (would have held the makeup). At the bottom of the front side there is a bull knocking down a fortress. This symbolizes Narmer killing his enemies. (2-3B) 3. On the back of the palette is Narmer wearing bowling-pin shaped crown of Upper Egypt (white crown). The king's protector, Horus, is also pictured holding a rope and a papyrus plant around a man's head. These are symbols of Lower Egypt. (2-2A) 4. The palette was used to prepare eye makeup which was used to protects their eyes from the sun. It was probably commemorative or ceremonial. (2-2) 1. This palette is divided into registers, to divide the subject into different scenes and show the importance of certain components of the scene. The pharaoh is shown much larger than all other figures, and represented in composite view. This method of portraying bodies was meant to give the viewer the most information possible about the subject, and was also based in the idea that you had to represent all parts of a figure for the person to be complete in the next world. (2-2.a, 2-3) 2. The pharaoh is much larger than all other figures and is also shown in an idealized form with broad shoulders, small hips and waist, and a muscular form. His enemies are shown trampled under his feet or beheaded. On the top of this piece there is a cartouche, or a place to put the pharaoh's god name after his death. (2-3.b) 3. This piece was made to celebrate the success of the pharaoh in uniting upper and lower Egypt into one kingdom. Cats with long necks that bend like serpents represent the union of Egypt as one of the animals wears the crown of upper Egypt and the other one of lower Egypt. The pharaoh wears a crown combining the two styles. (2-1) 4. The goddess mother of the pharaohs is present to show the divinity of the pharaoh. The god Horus- ruler of the earth, is also present to demonstrate that order on earth, or ma'at, is brought by the pharaoh's divinity and his connection to Horus. (2-2)

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

1. The real name of the Colosseum is the Flavian Amphitheater, named after the Emperor Flavian NO, HIS NAME WAS VESPASIAN, AND HIS FAMILY NAME WAS FLAVIUS, who converted the area into a public space from the previous emperor's private lake. It gained the name Colosseum because of its massive size. Essential Knowledge 2-4c 2. Romans were able to build the large structure through use of a concrete core, brick casting, and travertine facing. Also there was interplay of barrel vaults, groin vaults and arches. Essential Knowledge 2-4c 3. The façade contains multiple types of columns from different cultures and time periods. The first story is Tuscan, second floor Ionic, third floor Corinthian, and the top a flattened Corinthian. Each floor was thought of as lighter than the order below. Enduring Understanding 2-4 4. Later in time, especially in the Middle Ages, much of the marble was pulled off the Colosseum and used in other buildings. Enduring Understanding 2-4 5. The area was meant for entertainment, especially wild and dangerous spectacles. Often there were animal hunts and fights, gladiator battles, and naval battles. Enduring Understanding 2-4

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

1. The romans are the good guys and the bad guys are the goths, the romans are portrayed as noble, stern, and serious which is to show importance of battle, heroic, and idealized while their enemies look barbaric, ugly, concerned, and in fear. 2. There is no room to move with dense carpet of figures, there is 2 to 3 layers of figures. As your eyes move down the figures get smaller so that we have a different perspective called organizing perspective. 3. In the center is the obvious hero on his horse opening up his arms. He is calm and composed like a good leader. He doesn't have a helmet which shows he is invincible, all powerful, and needs no protection. THAT IS BECAUSE HE HAS THE SYMBOL OF MITHRAS ON HIS FOREHEAD--THE PERSIAN GOD FOLLOWED BY MANY SOLDIERS AND THE MAIN RIVAL AMONG MYSTERY CULTS TO CHRIST. Light and dark variations animate the surface. 4.Someone wealthy and powerful owned the sarcophagus because it took a very long time to carve with a very skilled carver. The surface mirrors the chaos of the empire at the time after Augustus LONG AFTER...ALMOST 200 YEARS LATER...which was very unstable so the surface shows chaos which can be linked to the instability of the empire. Turning away from Greek high classical art and becomes less concerned with individuality and the elegance of the human body.

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

1. The sculpture is an interpretation of Saint Teresa's diary in which she tells of her visions of God, many involving an angel descending with an arrow and plunging it into Teresa. Essential Knowledge 3-4a. 2. It was carved from a single block of marble. The marble of the sculpture is handled in a tactile way that reveals different textures. The skin of Saint Teresa is glossy, feathers are rougher, the drapery is fluid, and clouds are rough. Essential Knowledge 3-4b. 3. Natural light falls on the sculpture. The figures in the sculpture seem to float, and the rays of God's light illuminate the scene from behind. Essential Knowledge 3-4a. 4. Saint Teresa poses as if she is sexually exhausted, similar to the feeling of spiritual ecstasy she described in her diaries. Her pose makes the statue scandalous. Enduring Understanding 3-4. 5. The patrons of the sculpture were the Cornano family. They were able to sit near the sculpture on theater boxes to look at and comment on it. Essential Knowledge 3-4c.

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

1. The sculpture was originally placed on the Yale University campus and appeared, uninvited, during the 1969 student protests against the Vietnam War. It overlooked the office of Yale's president and a prominent World War I memorial. It was intended to claim a visible space for the anti-war movement while also making fun of the solemnity of the plaza. 2. The original base was made of plywood and the tip of the lipstick could be inflated and deflated. 3. The original remained in the Plaza for ten months before it was removed in order to remake it in metal. The new sculpture was placed in a less-prominent spot on Yale's campus where it remains today. 3. The artist combined the feminine product with the masculinity of the machinery of war. He critiqued the hyper-masculine rhetoric of the military and the blatant consumerism of the U.S.This juxtaposition implied that the U.S. obsession with beauty and consumption both fueled and distracted from the ongoing violence in Vietnam.

Statue of Votive figures from the Square Temple at Eshnunna Sumerian. c. 2700 B.C.E. Gypsum inland with shell and black limestone

1. The statues were found beneath the floor of a Sumerian temple, the Square Temple at Eshnunna, modern Tell Asmar, Iraq. Essential Knowledge 2-1a 2. The statues of votive figures are of different heights, denoting hierarchy of scale. The tallest and largest figure held the highest importance. Essential Knowledge 2-2a. 3. Votive figures represent mortals, placed in a temple and praying (possibly to the god Abu), and stood continually in prayer attentive to god in place of people of elite class. Inscribed on the back is "It offers prayers". Enduring Understanding 2-1 4. The bodies of the figures are stylized, with their pinkies in a spiral, chin a wedge shape, and ear a double volute. Essential Knowledge 2-2a 5. The male figures have a bare upper chest, wear a skirt from the waist down, have a flowing beard in rippling patterns, and wear a belt. The females are shown with their dress draped over one shoulder. Priest figures are also represented with female robes. Essential Knowledge 2-1a.

Anthropomorphic stele Arabian Peninsula. Fourth millennium B.C.E. Sandstone.

1. The stele was found in Saudi Arabia, an area with extensive trade routes, and is one of the earliest works from Arabia. 2. It is thought to be associated with religious or burial practices, and was probably used as a grave marker. 3. Anthropomorphic is a term to describe something that resembles a human. This figure is abstract, but clearly human. The broad shoulders suggest strength, and the rectangular figure signifies that this was is a man. 4. It was created by carving sandstone with a harder type of rock.

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

1. The temple is a Hindu temple and has all the elements, like a porch, mandapa, antarala, and garbhagria. It has two rows of sculpture on the outside, some of which depict erotic scenes. 2. The top of the doorway has seven panels all dedicated to the God Vishnu. Even inside their are four sculptures dedicated to Vishnu. A row of sculpted elephants peek out from the base as if they are holding up the building. 3. The main sculpture of Vishnu has 3 heads and four arms. The center head is of a human and the two on the side are a boar and a lion. 4. The temple is equally as tall as it is long and is placed on a platform. The shape of the temple reflects the appearance of the mountains.

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

1. The three great pyramids were grave sites for three rulers (Khufu, Menkaure, Kharfe) with mortuary temples attached for offerings to the deceased pharaohs. The pyramid was considered a place of regeneration and honor for the ruler. 2. The pyramids are guarded by a great sphinx which has a heard of a human and body of a lion. It is carved in situ from a huge rock to symbolize the sun god. Cats are also royal animals in Egypt which is why it is in front of royalty. 3. They were made of limestone and all the pyramids tips (ben-bens) were solar reference to the sun god. The sun rays were a ramp to climb to the sky. UNCLEAR... 4. Khufu's pyramid was the largest and he had a ton of boats in his tomb so he could transport to places. (THE JOURNEY OF THE AFTERLIFE WAS SEEN AS A JOURNEY ACROSS THE NILE.) Kharfe's pyramid was the middle size and the great sphinx was directly outside of it. Menkaure's pyramid is the smallest of the three and the sculpture of King Menkaure and his queen is found inside.

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

1. The two figures represented are not distinct. Little of the human form is actually seen, only 2 heads, 4 hands, and two feet. The bodies are suggested as being under the patterned area. 2. The male figure is shown with under a pattern of large rectangular boxes. The woman is suggested under a pattern of circular forms. 3. The closeness and indistinctness of the forms is meant to suggest an all-consuming love, as well as passion and eroticism. 4. The bodies are shown in an indeterminate location against a flattened background. The flattening and intricate patterns, along with the use of gold leaf is reminiscent of Byzantine mosaics.

The Crossing Bill Viola. 1996 C.E. Video/sound installation

1. The work is an eleven-minute video that was created using advanced media technologies. It was set on a continuous loop on a freestanding double-sided projection screen. The artist agued that video installations are total environments and an art form. EK 10-1b. 2. On one side of the screen a figure approaches in extremely slow motion from a distance and slowly catches on fire. The flame starts at his feet and grows quickly to engulf the man's whole body. The fire roars, but when it stops the man is gone. Fire represents destruction and contrasts the other side of the screen. ED 10-2. 3.Water replaces fire on the other channel of the video installation. Instead of catching on fire, a stream of water is poured on the figure. The water turns into a storm, covering the man, and similar to the fire when the storm passes the man is gone. ED 10-2. 4. The elements of fire and water covering the man evoke spiritual traditions from eastern and western cultures such as Zen Buddhism, Islamic Sufism, and Christian mysticism. Water is often associated with purification, and fire with destruction. EK 10-1c.

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

1. The work is signed as by "R. Mutt," a pun on both a manufacturer of plumbing (Mott Iron Works) and a comic strip character (Mutt of "Mutt and Jeff"). 2. Once the object is removed from its original, useful context, Duchamp would claim the artist owns it conceptually. He even named if for the opposite of its original use. 3. "Fountain" is among the original gestures that led to conceptual art, which was based on the idea that art exists in the artist's mind, and is made valuable by her thoughts, not by the creation of a tangible work. 4. Duchamp became one of the most influential figures in 20th Century art history, leading artists to reevaluate what art could be about or what it ought to be made of. He was also a leading exponent of modern art when he fled the Nazis in the 30s and moved to New York City.

The Palace of Versailles Versailles, France. Loius Le Vau and Jules Hardouin-Mansart (architects). Begun 1669 C.E. Masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture); gardens

1. The work was designed for Louis XIV at Versailles as a way to consolidate his power by forcing the French nobility off their estates to live there at least half the year. The lavish lifestyle the king lived there was meant to bankrupt the nobility who tried to emulate it in order to maintain their status, putting them at the mercy of the king's patronage. (3-5C) 2. The palace itself was designed in a grand classical style, with Doric entablatures and columns and severe symmetry, to emphasize the rationality, order and imperial power that Louis brought to France, rivaling that of Roman emperors. Art in the palace followed the model of Le Brun in emphasizing classical yet dramatic and allegorical works that forced the viewer to encounter the power and glory of Louis as a demi-god-like Sun King. Le Brun also founded the French Academy of Arts under Louis to centralize artistic production and promote the king's classical aesthetic; it became the dominant art academy of Europe. (3-4; 3-4B) 3. The main space in the palace was the Hall of Mirrors, with the Salon of Peace for domestic affairs and the Salon of War for foreign policy at each end. Besides being heavily gilded, the decoration features ceiling paintings by Le Brun allegorically celebrating Louis' achievements and large windows facing the garden with large mirrors on the opposite wall. The mirrors reflected light off all the other surfaces, emphasizing the radiance of Louis' reign as the Sun King, the king around whom all other beings and bodies orbited. (3-4, 3-4C) 4. The gardens nearby the palace were designed in elaborate patterns of geometric symmetry by Le Notre to emphasize Louis's control even over the elements of nature. Orange trees and other plantings from distant lands spoke to the king's control of a vast colonial empire in N. America and elsewhere, which helped finance the creation of the complex. (3-4C, 3-3B) 5. While the landscape relaxed into a more picturesque and irregular pattern further from the palace (and the water features there were only turned on when the king processed through), artificial grottoes depicting Louis as Apollo the classical sun god confronted inhabitants who wandered the grounds, and all avenues eventually converged back in the palace on Louis bedroom, where each day the public ceremonies of his ritually rising and going to sleep attested to his central importance. (3-4, 3-4B)

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

1. The work was made after the murder of Karl Liebknecht. He was a leader of the Communist Spartacus League in Germany after the First World War. This group became the German Communist Party. Liebknecht was assassinated during an uprising in 1919. Essential Knowledge 4-1a. 2. Themes of women grieving over the dead are apparent, similar to images of Mary mourning Christ. The Christian iconography of lamentation magnifies Liebknecht by relating his death to the death of Jesus. Essential Knowledge 4-1b. 3. The artist's own son died in World War I, leading her to become a socialist. She did not completely agree with the Communist ideas, but she recognized the loss of hope that came from losing a loved one in war. She leaves out all political references in the work. Enduring Understanding 4-2. 4. Kollwitz uses woodcut, an older medium that allows less realism to be shown. She also chose to make the image black and white and remove all color in order to magnify the grief in the image. All of the focus of the work is on the grief of the living. Essential Knowledge 4-2c.

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

1. There are more than 15,000 rock paintings and engravings in Tassili. The art depicts herds of cattle and large wild animals such as giraffe and elephant, as well as human activities such as hunting and dancing. (1-2B) 2. Although the styles and subjects of north African rock art vary, the images usually depict both wild and domestic animals and human figures who are adorned with recognizable clothes and weapons. (1-2E) 3. Composite view of the body. The dots may reflect body paint applied for ritual. The entire site was most likely painted by different groups of people over time. (1-2B) 4. The area was once grasslands but climate change turned it into a desert. (1-1A)

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

1. There was an older temple to Athena in that same area that was destroyed when the Persians invaded. The Persians destroyed and burned down the temple and the Athenians took a vow to never rebuild it but a generation later they decided to rebuild the Athenian temple. The Delian League, a tax money fund, may have been what paid for it. It was a sacred area that was dedicated to Athena. Eventually housed the city-state tax money, storehouse, and treasury, full of valuable things and functioned as a symbol of the city's wealth and power and point of awe. 2. Mathematics and building skills and search for perfect harmony and balance were all important to the Greeks so the Parthenon demonstrates all these things. Its architectural perfection is an illusion based on subtle distortions that correct the imperfections of human sight. For example, the columns bulge out fractions of an inch towards the center in order to create the illusion of a perfectly straight column. The Parthenon is a doric temple with ionic elements. There are massive column outside with shallow, broad flutes going directly down and a simple little flair at the top and four ionic columns in the west end of the temple. The triglyphs and metopes were covered in sculptures depicting stories or Greeks battling against enemies. There was a frieze inside the porch depicting a procession of the people of Athens towards the Parthenon (a historical representation rather than mythological or religious) that ran along the outside of the Temple which was an ionic feature. (2-4c, 2-5b) 3. There are a series of Nikes in the Temple of Athena Nike, the most famous sculpture is Nike Adjusting her Sandal. The sculpture shows her possibly taking her sandal off as she is in a sacred space and she is depicted with eroticism through her clothes and the way that they drape her body which was a big deal. The emphasis on drapery was a stylistically very much a part of the Classical period. There was also an emphasis on her body and form seeming natural, relaxed, and imbalanced. (2-4b, 2-5b) 4. The Acropolis represents the birth of democracy as there was a shift in government in the 5th century that made it easier for the Greek people to participate in their government. Many more governmental buildings are based upon the outward architecture of the Parthenon to embody that same sense of democracy and its roots. (2-4d)

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

1. These bags were based on bags carried by European soldiers that were armed with rifles and they were used to store ammo. They were often large in size and decorated with colorful beads and ribbons and were also worn across the body. 2. They were most commonly worn by men although women created them. They initially didn't have pockets and complemented ceremonial outfits. People dressed themselves in a rainbow of colors and patterns. They produced using trade cloth like cotton or wood. 3. They were decorated with seed beads, porcupine quills, silk ribbons, and fringe. The seed beads were tiny glass beads from European traders and the porcupine quills were softened and dyed and then woven into the surface of objects. The fringe offered more colors and texture. 4. The designs on the bags were abstracted and symmetrical. The contrasting colors represent sky and underworld realms. It was done in a prairie style because the seed beads were in floral patterns.

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

1. They were found in the Mausoleum of the first Quin emperor of China. He aimed to conquer both life and death. He was known for being a "military genius" and for his methods of massacre and destruction. 2. He wanted an underground army to protect him in the afterlife which was parallel to his existence in this world. Precious gemstones were used to represent the stars, the sun, and the moon. Lots of wealth can be seen in the tomb because of gold, silver, and jade. 3. It united China after warring states and created the Qin Dynasty. Each soldier has a unique face and clothing which shows high craftsmanship. Their frames were constructed using an assembly production system which paved the way for mass production and commerce. 4. The artisans that worked on the tomb were locked in it forever so they would not disclose the fact that there were a ton of jewels inside of it. The emperor started the construction when he was only 13.

Temple of Minerva and sculpture of Apollo Master sculptor Vulca. c. 510-500 B.C.E. Original temple of wood, mud brick, or tufa; terra cotta sculpture

1. This Etruscan temple was made out of mud brick with a stone foundation, and the modified doric columns were made out of wood. These materials were less permanent than the materials used by Greek and Roman societies and therefore this structure is no longer in existence. (2-5) 2. Clay statues were displayed on the roof of the temple, portraying a scene of the god Apollo struggling with Heracles for a tripod. These figures are meant to be representative of ideal humans, and are designed to be viewed from a distance. The figures have archaic smiles, and use drapery in contrast to Greek figures which were often nude. (2-4.c) 3. Figures on the roof of the temple are comparable to Greek kouros statues in some ways but show distinct aspects of Etruscan art. None of the figures are nude on the Etruscan temple, but some scholars believe Kouros statues were meant to be depictions of the god Apollo, and the Etruscan art on the roof of this temple depicts Apollo. The Etruscan statues are less realistic due to their placement on a temple roof, and are relatively flat because they were generally only viewed from a frontal perspective. (2-4) 4. This temple differs from Greek temple composition in several ways, including the fact that it has a colonnade only on the front, has exposed beams, and has a much smaller staircase which is also only in the front of the temple. Overall the structure is not as impressive or imposing as Greek or Roman temples. There is a front porch on the temple, and the interior sanctuaries are dedicated to Zeus, Athena, and Hera. (2-4)

Bushel with ibex motifs Susan, Iran. 4200-3500 B.C.E. Painted terra cotta.

1. This beaker was discovered under a temple mound. It is considered prehistoric (before the rise of Mesopotamian city-states) and many like it were found buried in cemeteries along the fertile river valley in Susa. 2. This beaker is decorated with numerous animal forms such as a mountain goat, dogs, and birds. The geometric patterns that adorn the clay are stylized and very detailed. Included is a "stitching" pattern whose significance is unknown. 3. There are no records of written language or belief system, perhaps these figures are symbols for fertility which would have been greatly important to the people of this time. 4. Although some scholars argue this was made on a small wheel, most agree that it is in fact made and painted by hand. The careful attention to detail and geometric elements of the figures embody the shape of the pot as seen in the mountain goat's round horns and the elongation of the dogs and birds above.

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

1. This building is noteworthy largely for the irregularity and complexity of its design. It was built by Frank Lloyd Wright to be in harmony with the nature surrounding the building, most notably a waterfall. The cantilevered porches extend over said waterfall. 2. Inside, the living room has a glass curtain wall for three of the room's four sides. This was done so that the woods could be better embraced. The floor of the living room is made out of stone from the area, as are the surrounding walls of the house. 3. Wright's rejects the belief that architecture should only be done in historical styles. He believed that architecture should be in harmony with its surroundings.

Preying Mantra Wangechi Mutu. 2006 C.E. Mixed media on Mylar

1. This collage features a grotesque looking women as she reclines on a blanket that resembles the traditional African Kuba cloth. One tree is seen in the foreground of the piece while another can be seen behind the woman figure. The woman's legs are tightly crossed and sharply bent in such a way that she resembles a preying mantas. Her right arm is propped up on a tree as her right hand roots itself in her cropped hair. The face of the women is disturbing with its contrasting sections and lack of symmetry. A bright green snake places itself on her left hand as its body weaves through her purple fingers. The purple patterned body of the woman contrasts sharply with the geometric patterned blanket. 2. Materials & Technique: Both the figure and the setting of the piece are a collage. Incorporated the images and messages of mass media. The work is formally described as mixed media on Mylar. 3.The woman featured in the art work reclines with her legs tightly squeezed and her knees sharply bent and she resembles a preying mantas. The preying mantas is a carnivorous insect that is able to camouflage to match its environment. This camouflage ability of the mantas can be seen in the women who chooses to blend in with neither the background nor the prominent Kuba blanket. This third identity that the woman chooses to take on speaks to the idea of hybridity. The blanket is a clear reference to the African cultures as it is an example of a traditional African cloth. The snake's connection to the woman further suggests the work's link to the Christian origin story. The protagonist takes on the role of Eve and thus asserts herself as both a creator and a destroyer. Mutu also attempts to confront the viewer with the stereotypes of African Women. She makes the central figure grotesque, sexual, and deformed to draw upon western stereotypes of the average African women. 4. The suggestion of hybridity and the presentation of stereotypes of African women is a reaction to the violent struggle for independence both for the country and the female sex. The use of collage is also significant in that it was used to emphasize the idea of community and African traditions.

A Book from the sky Xu Bing. Beijing, China. 1987-1991 C.E. Mixed-media installation

1. This installation piece consists of 400 handmade books on the floor and fifty painted scrolls that hang from the ceiling. 2. The printing on the books and scrolls were made using traditional Chinese methods. The majority of the characters are made up by Xu Bing. 2. Xu Bing is a Chinese artist who now lives in the US. He fell out of favor with the Chinese Communist government because they felt that it was "bourgeois liberation" and that the nonsense script actually was encoded information that sought to encourage subversion.

Akhenaten, Nefertiti, and Three Daughters New Kingdom (Amarna), 18th Dynasty. c. 1353-1335 B.C.E. Limestone.

1. This is a (once) painted limestone relief showing Akhenaton, Nefertiti, and their three daughters. Nefertiti's throne has symbols of Upper and Lower Egypt. The carved sun represents the god Aton. (2-1a) 2. Akhenaton changed the state religion from worship of Amun to Aton. The society is now monotheistic, and the art changed to reflect this shift. (2-3a) 3. The shift in state religion created more artist experimentation. Akhenaton and his family are represented in a new canon, characterized by low hanging bellies, slack jaws, smoother curved surfaces, thin arms, epicene bodies and heavy lidded eyes. (2-1a) 4. The royal family has a private relationship with the god Aton, giving them the power. The priests now had no political power. (2-3b)

The Swing (after Fragonard) Yinka Shonibare. Sheffield. 2001 C.E. Mixed-media installation

1. This is a 3D recreation of Fragonard's Rococo painting called The Swing. While this work features a similar female figure on the swing, surrounded by vegetation, with her shoe flying off, there are many notable visual differences. The figure is headless which is thought to be a reference to the use of the guillotine during the Reign of Terror in 1790's. 2. Yinka Shonibare is a British born Nigerian who was aware of how the ideas of access, nationalism, and belonging were rooted in European history (especially in European history with colonies). This work highlights the increasing divide between classes and the terror ad paranoia of global politics since 9/11. 3. Outfit of the female figure follows the traditional 18th century French aristocratic style, but is has been made of brightly patterned fabrics. 4. These cloths are 'African' Dutch wax fabrics. They are based on motifs of Indonesian batiks and were made in England and Holland in the 19th cent. They did not sell well in South Asian, so the Dutch brought the textiles to West Africa where they were adopted and integrated into the culture. This cloth is a symbol of the effects of European imperialism

Temple of Amun-re and Hypostyle Hall Karnark, near Luxor, Egypt. New Kingdom, 18th and 19th Dynasties. Temple: c. 1550 B.C.E.; hall: c. 1250 B.C.E. Cut sandstone and mud brick.

1. This is a massive temple complex that was the principal religious center of the god Amun-Re in Thebes during the New Kingdom. It held not only the main precinct to the god Amun-Re, but also the precincts of the gods Mut and Montu. (2-2b) 2. One of the greatest architectural marvels is the hypostyle hall. Like most of the temple decoration, the hall would have been brightly painted. With the center of the hall taller than the spaces on either side, the Egyptians allowed for clerestory lighting. (2-3a) 3. Not many ancient Egyptians would have had access to this hall. One would enter the complex through a massive sloped pylon gateway into a peristyle courtyard. The further into the hypostyle hall, the more restricted the access became. (2-3b) 4. The columns in the hall are large, and tightly packed together, admitting little light into the sanctuary. They are elaborately painted and carved in sunken relief. The tallest columns have papyrus capitals and have a clerestory to allow some light and air into the darkest parts of the temple. (2-3a)

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

1. This represents the ideal view of the Roman emperor. It was used as propaganda and was supposed to communicate Augustus's power and ideology. He shows himself as a military victor and a supporter of Roman religion. (2-4C) 2. The statue stands in a contrapposto pose and he is wearing military regalia. His right arm is outstretched which symbolizes that he is addressing his troops. It has a big similarity to 'Doryphorus'. (2-4C) 3. At his right is a figure of cupid riding a dolphin. The dolphin symbolizes Augustus's victory over Mark Antony and Cleopatra which allowed him to become the sole ruler. Cupid symbolizes the fact that Augustus is a descendant of gods. Cupid is the son of Venus and Augustus's father claimed to be a descendant of Venus. (2-5B) 4. The breastplate that the stature is wearing also has a lot of symbolism. Two of the figures are a Roman and a Parthian. The Parthian is returning military standards. This is a reference to a victory of Augustus. On the side there are female personifications of of countries conquered by Augustus. (2-4C)

Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preparation for Passover) Late medieval Spain. c. 1320 C.E. Illuminated manuscript (pigment and gold leaf on vellum)

1. This is an example of medieval Jewish art. At this time, Jewish people were still producing religiously inspired art that also drew influence from the Greco-Roman world and the region's pagan art. At the time of this book's creation, wealthy Jewish patrons would often commission art similarly to Christian elites. (1-4 B). 2. This book tells the story of the book of exodus when the Jewish people fled from Egypt. The book's content meant that it was meant to be read during a Passover ceder meal. (1-4 B). 3. The word Haggadah translates to narration which relates to the book's religious story telling content. The purpose of the book was to fulfill the Jewish requirement to retell the story of the freeing from the slavery of the Egyptians. These books telling this story were mostly kept in the home and as such were more lavish than those in the synagogue. (2-1) 4. The style is French Gothic in the way that it uses space, style of architecture, figure modeling, and general expressions suggest that this book was illustrated by a Christian artist and then a Jewish scribe added the text to the manuscript. The use of a Jewish scribe is reflected in the fact that the book was meant to be read from right to left as most Hebrew texts were. (1-3)

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

1. This painting depicts 3 men, who are brothers, saluting towards 3 swords held up by their father while women behind him grieve. The story comes from a Roman legend where there is a conflict between the Romans and a group from Alba. They elected reps to settle their dispute in combat and the Horatii brothers were selected. This is their oath to protect Rome. 2. It is a very organized painting and may have been set in a Roman atrium. There are 3 arches in the back that keep all the attention focused on the foreground (3 men framed by first arch, father by central arch, and women by the third arch). The males in the painting are very tense and geometric while the women are curved and flowing. 3. This painting is an example of Neoclassicism because it tells a story from a Classical world and there are dramatic gestures of the males like oath taking. There is also not an illusionistic extension of space because everything is pushed to the foregrounds. 4. It is said to be a personal sacrifice because of the oath. The source for the scene is from the play 'Les Horaces' and it is interpreted in the context of the French Revolution. It might be read as a painting to rally republicans.

Hunters in the Snow Pieters Bruegel the Elder. 1565 C.E. Oil on woods

1. This painting exemplifies the common motif of landscapes in Northern European painting. However, this exact landscape does not exist, it is a painting of several landscapes put together. Another Northern European characteristic is that it has a high horizon line. 2. Has a somber mood because the hunters are trudging through the snow, the dogs heads are hung as though they were unsuccessful in their hunt. However, it also shows the different activities of winter, no one is static. There is lots of life even in the animals and the dynamic shape of the landscape. 3. This shows the shift in subjects from the upper class to everyday people-- the figures are peasants. 4. The painting was commissioned as part of a series of panels to represent the different seasons, which was one of the first times in history that this was represented in a large scale. Before, the comparison between the seasons or ideas was only shown in books or smaller-scale commissions.

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

1. This painting is a product of the Enlightenment. With Voltaire, Hogarth furthered the concept of satire-- here, he is mocking the aristocratic class. He is making fun of a married couple who clearly did not marry out of love-- the woman married the husband for status, the man married his wife for her money. The husband has been out all night drinking and cheating on his wife, which the viewer knows because there is a bonnet hanging out of his coat pocket and he looks hung over. The wife's lover has just left, she is still excited from her night with him. The steward is sick of working with these ridiculous people, who have yet to pay several bills. 2. Ironically, the painting over the mantle is of cupid, the god of love, and the paintings hanging in the other room of religious and holy figures juxtapose the couples' infidelity. The bust on the mantle has a broken nose, which symbolizes the broken morals and practices of the aristocratic class. 3. The widespread use of prints allowed Hogarth to first paint his paintings, then print several copies of them so they would reach lots of viewers. 4. At this time in England, the industrial revolution was starting, which produced a larger middle class of people who were now able to purchase art.

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

1. This palace was a fort built by the last Muslim dynasty in Spain, the Nasrid Dynasty. 2. They covered every open space with design, no matter the size or shape. Decoration was very important to the structure, even some of the arches were fake and were only there for the purpose of decoration. 3. There are many poems that decorate the walls, along with the repeated phrase "God is the only victor". 4. The Alhambra is located at a point where they are able to see over the whole city. It was added to the center of the city and became a military fortress because of the unique ability to see over all of the city.

Rebellious Silence, from the Women of Allah series Shirin Neshat (artist); photo by Cynthia Preston. 1994 C.E. Ink on photograph.

1. This photograph examines the complexities of the Western representation of Muslim women, and the more intimate subject of personal religious conviction. Rebellious silence also looks at the changing cultural landscape in the Middle East. 2. The central figure is bisected by a vertical seam created by the barrel of a rifle. These two sides represent the contradictory binaries of tradition and modernity, east and west, and beauty and violence. 3. The objects in the photograph have double meanings. The veil, to Westerners, is a symbol of oppression. Shrin Neshat sees the veil as a protection of women's bodies from the sexualizing male gaze. The gaze can be interpreted as sexual, sinful, and shameful, but also as powerful. The gun represents the word "shoot" because cameras were used to objectify women. It also stands for religious martyrdoms. 4. The text on the woman's face is a conceptual poetry narrative of Iranian women. To a Westerner, the text may be perceived as Islamic and be an excerpt from the Qur'an. In actuality, the text is in Farsi, and speaks about feminism from the viewpoints of women.

Screen with the Siege of Belgrade and hunting scene Circle of the González Family. c. 1697-1701 C.E. Tempera and resin on wood, shell inlay

1. This screen was commissioned by Jose Sarmiento de Valladares who was the viceroy of New Spain. He displayed this screen in his home at the Viceregal Palace in Mexico City to help create smaller rooms and more intimate settings or be an impressive decorative feature to a larger room. 2. This is the only artwork that combines biombos and enconchados. The screen illustrates two scenes. One is a hunting scene and the other is a war scene. Both show Hapsburg power. 3. The hunting scene was more suitable for smaller and more intimate occasions, esp. small receptions. The war scene had greater political importance than the hunting scene so it was used for a grander room with more political importance. The war scene depicted the Great Turkish War which was contemporary when the screen was made.

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

1. This sculpture depicts King Menkaure with a woman who might either be his queen or his mother. The woman is depicted in a protective pose, with her hand on the king's arm. She is also shown as having power, as seen through her stepping forward with her left foot along with Menkaure as well as the fact that she is almost the same height, once again indicating her powerful role in the court. (2-1, 2-3B) 2. The statue was originally made in order to embody King Menkaure's ka when he died, a practice that was extremely common in Egypt at this time. This would give his soul a place to inhabit once he entered the afterlife. (2-2, 2-3A) 3. The sculpture was made out of greywacke, a very hard and difficult stone to work with, especially considering the limited technology of the time. The fact that it was made out of greywacke emphasizes its importance to King Menkaure and the Egyptian people. (2-3) 4. The statue was created during the Middle Kingdom NO, THE OLD KINGDOM! THIS IS ONE OF THE THREE PHARAOHS AT GIZA! period of Egypt and shows many similarities to previous ka statues for Egyptian kings, particularly that of Khalu. Both were made of greywacke and depicted similar poses. (2-4A)

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

1. This site is a Mayan center, and has many elaborate decorations. The Lintels found over the doorways gave Yaxchilan it's fame. There are many lintels all dedicated to Bird Jaguar IV who constructed and renovated much of the site. 2. Many of the lintels feature human sacrifice which was a Mayan ritual and a huge part of their warfare. 3. One of the most famous lintels on the site is of Bird Jaguar IV and his wife Lady k'abal Xook are preforming the ceremony of bloodletting in which she pulls a thorn rope through her tongue. This was performed by royal women, and the pierced tongue is meant to help with ritual communication with the gods. 4. The site is from 725 CE but was only rediscovered in the 19th century as it was lost in a dense forest for so many years. The lintels and glyphs were only translated in 1960.

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

1. This statue has its name because it was found on the island in the north of the Aegean which is called Samothrace. It was found in a sanctuary in the harbor that actually faces the predominant wind that blows off the coast, which seems to be enlivening her drapery. It was probably built to commemorate a navel victory in 190 BCE. (2-4a) 2. She is the goddess of victory and a messenger goddess who spreads the news of victory. (2-5b) 3. This image has an enormous impact on Western art because of the lack of reserved, high classical style. There is voluptuousness and a windswept energy that is full of motion and emotion. This is what the Hellenistic style looked like. She moves in several directions at the same time, is grounded by her legs but strides forward, and her torso lifts up. There is dramatic twist and contrapposto of the torso. (2-4b & 2-4d) 4. The statue is a reminder of the sculptures from the Parthenon frieze, but instead of the quiet, relaxed attitude of the gods on Mount Olympus, there is energy to natural forces that the goddess is responding to. The wet drapery look imitates the water playing on the wet body and shows evidence of invisible wind on her body. (2-4c)

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

1. This statue is called "Spear Bearer" (Greek: Doryphoros) because of the empty hand which in Greek times was carrying a spear. He is a young Greek athlete. He has a closed stance and contrapposto. His left arm and right leg are relaxed and his right arm and left leg are tense. The style of Contrapposto is defined in this piece, because of its ultimate proportions of the human figure. 2. After the Peloponnesian War, sculpters started to turn away from idealistic figures and more to humanized statues. Gods were portrayed extremely detailed and like humans. The fourth century opened up the expressions of emotions through sensuous and languorous statues as well as heads that are as small as 1/8th of the body. He is perfectly proportioned showing the Greek canon for the body. An example of heroic nudity (male nudity being seen as positive/ pride in nudity, so that viewers can admire the perfection). YOU ARE NOT DISCUSSING THE ESSENTIAL FACT HERE, THAT THIS WORK IS A CANON BASED ON MATHEMATICAL PROPORTIONS. 3. Specific to Doryphoros, he has a blocklike solidity, broad shoulders, thick torso, and a muscular body. He was thought to have been placed in a gym in sparta for soldiers as the ultimate human form. It portrays one who is both a warrior and an athlete. He is so great that he turns his eyes away from you, although you admire him. He does not recognize the admiration. He is young, muscular, and well-toned, showing the Greek ideal. 4. Part of the reason that this one statue is so popular and celebrated, is because a majority of the sculptures from the fourth century were made of bronze. After the fall of the Greek empire, this stature and many other bronze statues like it, were melted down for metal. However, this is marble copy of the bronze original survived. 5. This statue was found in Pompeii near what was a fitness center for Roman men. The statue served for inspiration- the ideal towards which to work for.

The code of Hammurabi Babylon (modern Iran). Susain. c. 1792-1750 B.C.E. Basalt.

1. This stele shows the king of Mesopotamia, Hammurabi, being given a rope, a rod of kingship, and a ring (tools for which to measure law) by the sun god, Shamesh. Shamesh is the figure seated and Hammurabi is standing to the left. 2. The stele contains 300 laws written in the Akkadian language (accessible language) below the bas-relief of Hammurabi and Shamesh, as well as Hammurabi's right to be kind and an ode to his glories. It also is one of the earliest examples of codified presumption of innocence and the need to provide evidence. The relief was carved into basalt, as stone from volcanic ash that is incredibly hard. 3. These codes of law are significant because they are one of the earliest codes of law ever written. 4. This stele was used to show the divine approval given to Hammurabi by Shamesh which adds to the authority of Hammurabi and by extent his laws. This stele would have been posted somewhere in Babylon so that it's citizens would know the code of law (an example of religion being used to justify and support the rule of the leader).

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

1. This style of vases usually is associated with Chinese culture. This particular style was created during the reign of Mongolian monarchs. 2. They are created using Kaolin clay. The production of porcelain was monitored by the king, and outsiders could not easily learn how to make it. The clay and glaze was fired at high temperatures (1500 degrees) 3. The mongol empire allowed for the Silk Road trade which allowed for the creation of porcelain. 4. A majority of these vases were used for export or sold in local markets. These particular vases are based on bronze vases that were used in rituals. Dragon, phoenix, and floral motifs are incorporated into the design.

Spaniard and Indian Produce a Mestizo Attributed to Juan Rodríguez Juárez. c. 1715 C.E. Oil on canvas

1. This was a panel from the first known series of casta paintings which illustrated the Spanish social hierarchy of those with European ancestry at the top. 2. In casta paintings, those with Spanish blood are seen wearing lavish costumes but Africans and Indians are still rendered with respect. 3. Some African or Indian figures are painted with Southern European features that include slim noses, curly hair, and almond-shaped eyes. 4. These kinds of paintings were commissioned by Spanish colonists and sent to the New World to show how the social hierarchy/caste system works.

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

1. This was sent to Spain by Hernan Cortez when he conquered the Aztecs. 2. The feathers are male queztal tail feathers, and males usually only have 2-3 feathers, so these feathers were plucked from many different birds. This bird was found in Central America, so it shows how there was trade going on between the Aztecs and Central Americans. All the goods would be taken to the capital, Tenochtitlan. 3. This headdress would've been worn in a dance by the ruler. 4. The people who made these headdresses lived in a special part of the capital and were called the amanteca. They were highly regarded and even after Cortez conquered the Aztecs they were so amazed that they encouraged them to continue in this practice, just with different subject matter.

The Virgin of Guadalupe Miguel González. c. 1698 C.E. Based on original Virgin of Gaudalupe. Basilica of Guadalupe, Mexico City. 16th century C.E. Oil on canvas on wood, inlaid with mother-of-pearl

1. This work is a replica. There is mother of pearl that is lain into the wood to reflect the divine. She is cloaked in the sun to reflect the image from revelation, 2. The story is that she appears to Juan Diego and tells him to make her a shrine atop the hill. The Bishop didn't believe him until an image was made on his cloak. This story confirmed the correctness of changing the religions of the area to Christianity. 3. Mary has darker skin and becomes an indigenous version of the virgin Mary. She becomes a major symbol of Mexico. 4. The four corners depict four stories related with the virgin of Guadeloupe to remind the people why the shrine is built where it is.

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

1. This work is an example of Picasso's "African" or "photo-cubist phase," which he focused on after being inspired by what he saw as the primitive energy and force of a show of African masks. 2. Picasso was also influenced by Cezanne and hist treatment of space. At the time, Cezanne was still alive and continuing to develop his style of constructing figures and space from shifting points of view through face-like patches of paint. 3. The figures confront the viewer as customers in the work, as the word "demoiselles" is a euphemism for prostitutes. 4. This work displays multiple points of view and various associations with objects and areas being bound together. The cubist technique makes the space seem threatening and weapon-like.

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

1. This work signals the return of the nude sculpture in the round figure, and because it was the first such work like this in over a thousand years, it is one of the most important works in the history of western art. 2. It was originally placed on top of a pedestal in the center of the courtyard in the Palazzo Medici, so the viewer would be looking up at it from below 3. David is shown at a triumphal moment within the biblical storyline of his battle with the Philistine, Goliath. According to the account, after David struck Goliath with the stone from his slingshot, he cut off his head with Goliath's sword. 4. Renaissance sculpture, given its Judaeo-Christian subject matter modeled on a classical sculptural type.

Isenheim altarpiece Matthias Grünewald. c. 1512-1516 C.E. Oil on wood

1. This work was in a chapel in a hospital run by monks in Germany because people in this hospital suffered from skin infections called "St. Antony's Fire" and so the people could relate and identify with the work because they were in so much pain and delusion. This also explains the presence of St. Anthony on the first and third views. 2. This was an example of typical late Gothic works that are realistic but have exaggerated drapery and gold everywhere. It is a sculpted wooden altar which was popular in Germany at the time Graphic suffering is represented throughout and relates with the suffering patients in the hospital. 3. The work has three views, Jesus' crucifixion and death which was the most relatable to the patients because it was very gruesome and awful. The second view was Jesus rising from the dead which shows Jesus' wounds but he can't feel them and that shows the patients suffering won't be felt in the next world. The third view shows symbols of the disease with oozing boils, withered arms, and distended stomachs. Also in the third view are gothic statues of saints which are typical, ornate, and realistic. 4. The Northern European elements to this work are oil paint, shading, personal devotion, gothic style architecture is portrayed, linear perspective, and Mary wearing nuns clothes again relates her to us and the human world.

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

1. This work was made with by Lucas Cranach the Elder with the supervision, consultation, and approval of Martin Luther. 2. The influence of the Protestant Reformation and Protestantism itself is apparent in this woodcut. Protestantism believes that the faithful can achieve salvation only by God's grace and that spiritual guidance should come from the Bible. 3. The left panel depicts the Last Judgement. Moses stands in the bottom-left of the panel holding the 10 Commandments. This was intended to communicate to the viewer that the old tradition is now not enough to grant salvation meaning that the Old Law, Catholicism, and simply living a good life will not lead to salvation. People are poked, prodded, and chased into the flames on the far left side of the panel that represents Hell. 4. The right panel shows salvation. Jesus is on the cross and his blood bathes the figure who is saved. This shows the Protestant belief that only faith in Christ can lead to salvation.

Last judgement of Hu-Nefer, from his tomb New Kingdom, 19th Dynasty. c. 1,275 B.C.E. Painted papyrus scroll

1. This work was originally found in the tomb of Hu-Nefer. Hu-Nefer was a scribe, and would have been considered high status. 2. The illustration comes from the Book of the Dead, which is a collection of spells, prayers, and charms. 3. The scroll shows Anubis, the jackal headed god, leading Hu-Nefer to his judgment. Anubis weighs Hu-Nefer's heart on a scale against the feather of truth, while Thoth, the god of scribes, records the results. A creature that is part crocodile, leopard and hippo sits ready to devour Hu-Nefer's heart if it is not pure. Hu-Nefer's heart is true, and Horus, the falcon headed god, presents him to Osiris, the judge and god of the underworld. 4. The scroll is made of papyrus, which is a paper-like substance that grows in the Nile Delta. 5. If his heart was not proven true, he would have been devoured by the devourer, and would not continue into the Afterlife, but since his heart is true, he is led into the Afterlife to be closer with the gods. These scrolls were made to prefigure their ascension into the Afterlife in order to influence the gods.

The Oxbow Thomas Cole. 1836 C.E. Oil on canvas

1. Thomas Cole, the artist, was the founder of the Hudson River School. This art movement was heavily influenced by romanticism and works in this movement were mainly of the Hudson River Valley, although later artists affiliated with the school expanded to places like New England, South America, the Maritimes, and the American West. 2. This painting is of an actual view in Massachusetts. The landscape is divided into two parts. The left side shows a Romantic landscape with a dense forest, wildness, storms, broken trees, and the "sublime." The right side shows a Classical landscape with cultivated fields, lightness, and boats on the river. 3. This painting can be interpreted in many ways. Cole created the work in response to British criticism of the American landscape (claimed that it had been destroyed by industry). However, it can also be seen as the eternal struggle between wilderness and civilization. This work can also be seen as being a proponent of Manifest Destiny.

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

1. Unlike PAGAN Roman mosaics, which are made out of rock, ROMAN Christian mosaics are often of gold or precious materials and faced with glass. The catacombs beneath Rome have 4 million dead and extend about 100 miles. This particular catacomb contains the tomb of seven popes and many early Christians martyrs. 2. The Greek Chapel is named for two Greek inscriptions painted on the right of the niche. The three niches are for the sarcophagi. It is decorated with paintings in the Pompeian style, which consisted of sketchy painterly brush strokes. 3. The orants figures were part of a fresco which was located over the tomb niche set over an arched wall in the cemetery of a family vault. The figure is compact and the dark shape, sets a sharp contrast with the light background. Other notable aspects include tensing angular contours, emphatic gestures and the fact that the figures stand with their arms outstretched in prayer. 4. The Good Shepherd fresco is a restrained portrait of Christ as a shepherd. This is a pastoral motif in ancient art that can be traced back to the Greeks. The symbolism of the Good Shepherd is that Christ rescues the individual sinners in his flock that go astray, and that he cares for everyone who wants to be a part of his flock.

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

1. Van Eyck was one of the most famous Flemish painters. He was known for his perfected perspective techniques. 2. This painting is full of symbolism, which was common in the Northern European Renaissance. The symbols lead us to believe that this painting is about a wedding-- the dog represents fidelity, because Fido is a dog and dogs are faithful. Also, the shoes are taken off, which indicates that they are standing on holy ground. The candle is burning which symbolizes the first night of a wedding, but also could symbolize the presence of God in holy matrimony. This painting also shows how paintings were now being commissioned for private devotion and, in Northern Europe, to be hung around the house. (3-4C) 3. More characteristics of Northern Renaissance art include oil paint, which allowed the artist to use rich colors and many, many shades of dark/light. Also, the artist could portray in great detail different textures and shadows with oil paint. (3-4A) 4. New techniques allowed the viewer to feel as though they were present there in the painting. The perspective makes the painting appear as though it were going back into the wall it would be hung upon. Also, in the mirror the viewer can see two figures, so they may understand that the people are viewing the subjects from a specific stance. (3-4A)

Women Holding a Balance Johnnes Vermer. c. 1664 C.E. Oil on canvas

1. Viewers get the chance to look into a private world which looks normal but seems to hide many symbols. The figures seem unaware of the viewers presence. It is a picture of stillness and timelessness. These are all typical characteristics of Dutch Baroque art which often portrayed a landscape, portrait, or genre scene while featuring symbolism. 2. This painting shows a woman holding a balance with nothing in it but pearls and coins on the table so she might be weighing her belongings. Behind her is a painting of the Last Judgement and her head divides the dammed and the blessed. This might be showing her turning away from the spiritual world to the material world or finding the balance between the two which was very common in the Baroque time when slightly shifting away from portraying religious scenes. 3. The painting is a reminder of the changes taking place in the 17th century because the painting was for a merchant and not the church as well as the balance between wealth and spirituality instead of just spirituality. 4. The artist also uses light to shadow things and illuminate the woman's face which also shows static frozen qualities and intense quiet. The painting was carefully planned out with colors and the geometric lines focus on a central point, the pivot of the balance.

Röttgen Pietà Late medieval Europe (Germany). c. 1300-1325 C.E. Painted wood

1. When looking at the Rottgen Pieta you are meant to feel something like terror or distaste. It is meant to intrigue you because that is what Gothic art does. This is very different from previous representations of Christ because in the past he was portrayed as divine and never suffering. 2. This representation of Christ was a shift into showing Jesus suffer the way humans suffer, to make him more like us. Francis of Assisi stressed Jesus' humanity and poverty, like us. Several faith writers talked about Mary holding her dead son and then artists started to catch on. 3. It emphasizes that God understands how we feel and how hard the pain is of being a human. In the Rottgen Pieta you can see that is skin is taut around his ribs to show he led a life of hunger and suffering, like a human. 4. Mary is also traditionally shown as pretty, happy, grateful, wise and older but in Pietas she is shown as grieving and obviously upset about her only sons crucifixion and death which shows her humanity as well. 5. All pietas were devotional images that were intended for contemplation and prayer. Meant to give humans a more personal connection to God because Mary and Jesus are human-like.

Camelid Sacrum in the same of a canine, Tequixquiac, Mexico, 14,000-7,000 BCE, Sacrum bone ]

1. While the artist of this work did not have the means to change very much about the bone, they did model their design off of a dog, something that was common in their environment. (1-2F) 2. The sacrum bone was very symbolic and important in many cultures, as it was thought to hold up the spine, thereby connecting the brain in the head to the second brain. The second brain was located at the bottom of the spine and was thought to be important in the afterlife. (1-1B) 3. The time period of the creation of the mask is important because it is around the time that humans began to domesticate dogs. Animism, the idea that all natural objects have souls, became more popular as domesticated animals became more common, and this mask would have related to that idea. (1-2F) 4. While the exact function is not known, it is believed that the mask was used during ceremonial rituals. This is because the mask looks like a face, perhaps relating to animism, and seems to serve no other practical function. (1-2C, 1-3A)

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

1. Work was painted at the height of the Cultural Revolution, when fine art was condemned as feudal or bourgeois; artists had to serve the Communist Part and, above all, the dominant figure of Mao Ze-Dong. 900,000,000 images generated and spread across China to emphasize his heroism. 2. Depicts Mao going to Anyuan to support workers in a strike there, an event which brought him great support from ordinary people. Artist contributed image anonymously, without recompense to aid the party. 3. Socialist Realism became the dominant style of Communist art first in Russian in the late 30s and 40s and then elsewhere; rejection of traditional Chinese media as feudal and elitist; rejection of modernism as bourgeois individualist and too difficult to use to convey clear messages. 4. Socialist art went away and went back to realism and propaganda (looks really tall and in charge , towering over the landscape)

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

1. Would have been worn by men in a dance to honor young women to celebrate their fertility and vitality. 2. The Chokwe peoples were matriarchal society; a family's line was passed down through the mother. 3. The mask is an idealized woman, with a slim nose, small mouth, and round face. The eyes show that the woman is calm, she already knows who surrounds her. Her lips are closed because she doesn't need to speak, she deserves respect so she doesn't need to ask for it. 4. The woman is worthy of respect and has power because she has gone through the honorable process of giving birth.

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

1. is the mosaic of the Emperor Justinian and his court in the sanctuary of the church of San Vitale in Ravenna, Italy. 2. A major theme of this mosaic program is the authority of the emperor in the Christian plan of history. 3. The mosaic program can also be seen to give visual testament to the two major ambitions of Justinian's reign: as heir to the tradition of Roman Emperors, Justinian sought to restore the territorial boundaries of the Empire. 4. As the Christian Emperor, he saw himself as the defender of the faith, and head of the religion. He is depicted celebrating the Eucharist.

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

1.Persia was the largest empire the world had seen up to this time. As the first great empire it need an appropriate capital as a grand stage to impress people at home and dignitaries abroad. Persepolis included a massive columned hall used for receptions by the Kings called the Apadana. The audience hall itself is hypostyle in its plan. The audience hall called the Apadana had 36 columns covered by a wooden roof. The audience hall held thousands of people and was used by the kings receptions. Two monumental stairways were adorned with reliefs of the New Year's festival and a procession of representatives of 23 subject nations. 2. The column capitals assumed the form of either twin-headed bulls, eagles or lions, all animals represented royal authority and kingship. The columns had a bell shaped base that is an introverted lotus blossom. Many cultures (i.e, Greeks, Egyptians, Babylonians) are seen to have contributed to the building 3. The monumental stairways that approach the Apadana were adorned with registers of relief sculptures. The north and east stairways are decorated. The theme of that program us one that pays tribute to the Persian king himself as it depicts representatives of 23 subject nations bearing gifts to the king. 4. The walls of the spaces and stairs leading up to the reception hall were carved with hundreds of figures. The registers of relief sculpture depicted representatives of the 23 subject nations of the Perisan empire bringing valuable gifts as tribute to the king. The sculptures form a processional scene, leading scholars to conclude that the reliefs sculpture capture the scene of actual, annual tribute processions perhaps on the Persian New Year that took place at Persepolis. The two sets of stairway reliefs mirror and complement each other. Each program has a central scene of the enthroned king flanked by his attendants and guards. In the reliefs noblemen wearing elite outfits and military appeal are present. The relief program of the Apadana serve to reinforce and underscore the power of the Persian king and the breadth of his dominion.

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

1.The composition of this piece feels very severe and simple with its sue of right-angled geometric figures and primary colors. The tiles make no reference no anything man made or from nature and as such as abstract in its purest form. 2. The colors that are used are of a single tone and lack any shading or variation. 3. The severity of the piece is played by with its asymmetrical nature and lack of any clear patterns. 4. This is an example of Destijl movement which was popular post-World War I and is characterized by abstract themes. They are painted on white cavases with black perpendicular non-diagonal lines separating the different sections.

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

1.The name implies that it is dedicated to all of the gods (which it was) as there were alcoves to seven of the gods in the rotunda of the temple. (1-4 B) 2. The space is a mix of circular and square motifs witH the square panels of the floor and ceiling coffers contrasting with the roundness of the overall architecture. (1-4 A) 3. The ceiling of the temple was filled with square coffers that may have once help bronze rosettes that were meant to represent stars and simulate the feeling of the heavens via the sky. ( 3-2) 4. The central oculus of the dome is 27 feet across and allows for ventilation and the creation of a moving circle that moves around the structure during the course of the day. This feature further references the connection of the structure to the heavens and the gods. (3-2) 5. The structure was made possible via the Roman invention of concrete. The concrete was heavier towards the bottom of the dome to support the structure and lighter towards the top to allow the height of the dome. This was done by mixing in different materials into the overall concrete mixture. The weight is pressed into the ground via columns that support the structure's weight. (1-2 A)

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

1.The site was very close to an important branch of the Silk road which made the site an ideal location for merchants who practiced Buddhism to stop during their journeys. Buddhism spread so vastly because you didn't need to be in one place to worship because sites like this were all around which allowed Buddhists to practice their religion always. 2.The bottom of the Buddha the Buddha's feet were carved in round which allowed the worshipers in interact with the sculpture and walk around it (circumambulate). The design of the Buddha's was influenced by India, Central Asia, and some ancient Greek art like flowy robes and curly hair. 3. Each Buddha represents something: smaller Buddha represents Sakyamuni, the historical Buddha and the larger Buddha represents Vairocana, universal Buddha. The Buddha's also were originally painted and covered in gold. 4. The Taliban forces were ordered to destroy the Buddha's in 2001 and they succeeded so only the outlines remain. The direction to destroy the Buddha images was motivated, in part, by the Taliban's extreme iconoclastic campaign as well as their disdain for western interest and funding that had gone to protecting the images while there was an intense and growing need for humanitarian aid in the region.

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

166. Black-on-black ceramic vessel. Maria Martínez and Julian Martínez, Tewa, Puebloan, San Ildefonso Pueblo, New Mexico. c. mid-20th century C.E. Blackware ceramic. • Maria and Julian Martínez, the makers of the black-on-black ceramic vases, took their native designs and pots and sold them to people who were not native to their specific culture; people who admired them solely from their beauty. • Maria Martínez was not just invested in her own company, but also signed her name on other's works so that they would sell for more, which shows the responsibility she took for her community and the natives around her. • Although the approach to making her art was very traditional, Maria used modern based art and combined ancestral forms to make this native art well known. • The symbols that were used were native and old, but they were placed in a new context of modern art.

Merovingian looped fibulae Early medieval Europe. Mid-sixth century C.E. Silver gilt worked in filigree, with inlays of garnets and other stones.

A fibula is a pin or brooch used to fasten garments and to show the status of the wearer. They were made popular by Roman military campaigns. They have a cross and a fish on them, alluding to Christianity. Animal imagery was common. COMMON TO WHOM? WHY? Warriors would wear them to keep their cloaks on, while others would wear it to show status. Cloisonne and chasing techniques were important to the Frankish people.

Stadia II Julie Mehretu. New York. 2004 C.E. Ink and acrylic on canvas

Anna1. This artwork was put in the headquarters of a financial institution that spiraled out of control in 2008. 2. Mehretu uses the dynaism found in communist art and is satirizing the ideal form of abstract art of the communists, showing the chaos of the world. The circular structure makes it seem as though the world is spiraling out of control. 3. The bold colors that encompass the figure are supposed to represent all the different flags of various countries around the world. The figure is supposed to allude to a stadium, which is also a large target for bombings. The smoke/grey stuff at the bottom of the figure shows how stadiums are targets for terrorists. 4. This artwork was made by projecting a digitally designed image onto a canvas and Mehretu painted over it. The black lines represent architectural blueprints.

Old Man's Cloth El Anatsui. Southern Nigeria. 2003 C.E. Aluminum and copper wire

Devon 1. Old Man's Cloth hangs like a large tapestry but it is really made out of many smaller pieces of metal arranged together. The metal pieces catch the light from every angle when hanging up on the wall. It is constructed from flattened liquor bottles that were collected from a beach by the artist's home in South Nigeria. The medium causes many question to arise such as; 2D or 3D? Fine art or craft? Sculpture or not? The artist purposefully expands the way art can be used. 2. The meaning of the work has to do with the liquor bottles and caps he used to make it, their association with history. The caps signify an undesirable history of trade between Africa and Europe because alcohol was one of the main exchanges made. The gold colors recall the colonial past of his home because it was previously ruled by the British who called it the Gold Coast. The design is meant to remind people about the Atlantic waters which were used for slave trade. 3. Anatsui was part of a movement called "Sankofa" which was invested in reclaiming African culture and traditions. He combined this idea with the new modern ideas he had gotten from his education in Europe. His works were abstract but rich with symbolism and meaning. 4. So, African or contemporary? Most take him as a contemporary artist but he also had lots of influence of African art. He is an artist who unifies the two and allows for people to see the relationship between the West and Global South.

Stonehenge Wiltshire, U.K. Neolithic Europe. c. 2500-1600 B.C.E. Sandstone

Experts describe the site as a very accurate solar calendar. One bluestone placed outside of the circle is said to be where the sun rose on the summer solstice if one were standing in the center of the henge. Its creation was a great feat; the stones weigh up to 50 tons. Also could've been used for ceremonies for rituals, but during the second phase of its construction, WHEN THE MEGALITHIC TRILITHONS AND HENGE WERE ERECTED, it was used for burial.

Shibboleth Doris Salcedo. Turbine Hall, London. 2007-2008 C.E. Installation

Molly 1. There is a giant purposeful crack in the floor with chain link fence stuck inside. In order to see the fence or the oppression one must actually look for it, it doesn't slap you in the face although the crack does. 2. Shibboleth the phrase was used by the army to discipher whether a person was foreign or not. If they were able to say the challenging word accent free then they were known to be locals, so it reinforces the idea of a "foreign person" entering. 3. The crack is in the main entrance of the museum in the part of the museum that you dont have to pay to see. Everyone is invited and welcome to see this work.

Kui Hua Zi (Sunflower Seeds) Ai Weiwei. 2010-2011 C.E. Sculpted and painted porcelain.

Sam Price 1. Kui Hua Zi is comprised of 100 million tiny handmade and hand painted porcelain sunflower seeds. Together, they all originally weighed 150 tons. A community of 1,600+ artisans made the individual seeds. 2. The first reason for the depiction of sunflower seeds is the artist's memory. The artist, Ai Weiwei recalls sunflower seeds in his memory as a sign of camaraderie during difficult times. He remember that even the poorest of his friends in China would share the seeds among themselves. 3. The second reason is that a lot of communist propaganda in China would depict Mao Zedong as the sun and the citizens are sunflowers that had no choice but to turn towards the sun in order to live. 4. The material of the sunflower seeds, porcelain, is symbolic of the imperial culture of China. Porcelain was an extremely important export for China. This connects to a long history of porcelain crafts in China. 5. The many seeds represent the uniformity of cheap and fast labor that has allowed China to be present in the modern global economy. They reject the negative "Made in China" stereotype, by each being individual despite looking similar. Kui Hua Zi asks us to examine how consumption of foreign-made goods affect the lives of others across the globe.

Darkytown Rebellion Kara Walker. 2001 C.E. Cut paper and projection on wall.

Sara S 1. The artist uses the tradition of silhouette making in black to represent characters in intense moments. From far away these silhouettes do not appear to be graphic, but upon close inspection images of a young slave girl being forced to preform sexual actions for a much older man, a master cutting off the leg of a slave boy, a confederate solider sucking a woman's breast, and others are clear. 2. Kara Walker draws the outlines of her silhouettes with a greasy white pencil or a soft pastel crayon on large pieces of black paper. Then she sticks the silhouettes to the gallery wall with wax, and uses an overhead projector to display colored lights onto the walls, ceiling and floor around her cutouts. 3. The artist is an African American woman, and through her work she explores the treatment of her people in the antebellum South. She based her silhouettes on stories from history. Walker uses monochrome silhouettes because the viewer is unable to automatically tell which race the character is, and forces them to look for racist symbols. 4.Viewers are able to interact with the work by walking around it or through the light. Also viewers are connected to the piece because we are a part of the history of the piece.

MAXXI National Museum of XXI Century Arts Rome, Italy. Zaha Hadid (architect). 2009 C.E. Glass, steel, and cement.

Tess 1. The architect is Iraqi-born but British based. Hadid draws inspiration from modernism and constructivism. The concrete walls are very fluid, with no divisions or interruptions. Black staircases move like ribbons throughout the interior. 2. The exterior is an almost unbroken slab of grey concrete in rectangular curved, smooth forms and also has rows of metallic columns. The interior has concrete curved walls, suspended black staircases, an open glass ceiling that lets in lots of light, and thin concrete ceiling beams. 3. The museum is seen as the object of art and there is no boundary between the museum itself and the art displayed within. The museum was designed to embody the chaotic fluidity to modern life. 4. Hadid built a very modern building in the middle of very old buildings. This is Italy's first museum of modern art. She is known as the queen of contemporary, iconic architecture.

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

The Cong represents power, our relationship with nature, the spiritual world, or what happens after death. Congs were considered a luxury good for the rich, and found next to their graves. The circle center represents the afterlife. The Cong has half human/half animal figure located on it, on the side created out of circles and lines connected together. Carved by rubbing course sand against the Jade.

Great Altar of Zeus and Athens at Pergamon Asia Minor (represents-day Turkey) Hellenistic Greek. c. 175 B.C.E. Marble

The gigantomachy was supposed to represent the Pergamene victory over the guals. GAULS! There was a deliberation connections made to Athens because they had already gloriously defeated the Persians and the Parthenon was already a highly regarded monument. The frieze of Athena battling Alkynoeos is a reference to the Athena from the east pediment of the Parthenon and Zeus is a reference to Poseidon from the west pediment. The gigantomachy shows that the Greeks had fear, but they could overcome chaos. The battle represented the victory of Greek culture over the unknown, chaotic forces of nature and the military victory over cultures that they thought were chaotic and didn't understand. HOW DOES THE ALTAR ITSELF REFLECT HELLENISTIC INNOVATIONS IN ARCHITECTURE? AND HOW DOES THIS WORK FIT INTO ITS ORIGINAL ARCHITECTURAL CONTEXT? IT IS PART OF THE PERGAMESE ACROPOLIS, CLOSE TO A PALACE, THEATER, TEMPLE....

Tutankhamun's Tomb, intermost coffin. New Kingdom, 18th Dynasty. c. 1,323 B.C.E. Gold with inlay of enamel and semiprecious stones.

The innermost coffin is painted to look like King Tut in god form. Gods were though to have skin of gold, bones of silver, and hair of lapis lazuli. The crook and flail that he holds are the symbols of the king's right to rule. The goddesses Nekhbet (vulture) and Wadjet (cobra) are inlaid with semiprecious stones, along with Isi and Nephthys. PUT THIS WORK IN CONTEXT AS A WORK THAT CAME AFTER THE AMARNA PERIOD. WHAT IS NOTABLE ABOUT IT HISTORICALLY? YOU COULD ADD MORE NOTES.

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

• Commissioned by the royal family of Spain, the new member of the court and nobility, Velázquez, depicts a painting within a painting which is surrounded by the ruling family. • The artist uses rough brushstrokes, a new innovation of the time that inspires generations of artists, to create an illusion of immediacy that shows a more instantly realistic depiction. • The mirror in the background is an image of the king and queen, and through the use of shading to draw attention to the foreground lies the princess of Spain and the rest of the royal family. • (Essential Knowledge 3-2C) These Medieval two-dimensional works of art are characterized by avoidance of naturalism, primarily religious or courtly subject matter, which is seen in this work.

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

• Considered to be the most iconic work of Japanese art, Under the Wave off Kanagawa is seen as a great business investment in that it is easily mass-produced, sold at cheap prices, and depicts a sacred mountain to the Japanese that many admire. • Although at first glance the work looks very Japanese, additionally, it is inspired by the linear perspective used in Dutch art and the European influence through the use of Prussian blue. • The work primarily plays with the perspective to make Japan's biggest mountain appears as a small triangular mound within the wave. • The work was created at a time when Japanese trade was heavily restricted, but it is seen as an inspirational work for many artists working in Europe later in the 19th century.

Y no hai remedio, fromo Los Desastres de la Guerra, plate 15 Francisco de Goya. 1810-1823 C.E. (publised 1863) Etching, drypoint, burin, and burnishing

• Goya, an anti-war supporter, a pro-intellectual, a deaf and isolated man, was considered the first modern artist who was told to depict the Spanish generals against the Napoleonic France in secret. • Etching, which was an early form of art, was about a series of executions, agony, and how war brings out the ultimate worst in people; almost as if it creates a monster. • This contemporary piece that shows France killing the Spanish in a way similar to Jesus on the Cross, and the work was to show how awful the French were; a propaganda work. • The raw emotion is seen through the etching and the rough brushstrokes.

Pure Land Mariko Mori. Tokyo, Japan. 1998. C.E. Color photograph on glass

• Mariko Mori is set apart from other contemporary media artists because she created a Japanese traditional iconography and blended it with innovative three-dimensional cinematography resulted in a watershed moment for the artist, which is seen in this work. • Using traditional aspects like the landscape, lotus flower, depiction of the Dead Sea and combining them with the modern three-dimensional and digital modern display is what makes this work unique. • The depiction of prosperity and happiness that includes the universal mind, also known as Nirvana, results in a spiritual transformation. • The aliens, which represent a power greater than humans, lotus flower, and the presence of Nirvana shows the connection to Buddhism and the modern world.

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

• Taught by the famous painter and sculptor, Michelangelo, Raphael soon mastered the skill of expressing people's twisting, turning bodies and balancing between figure's builds. • Within the rooms of the Vatican, Raphael's wall was to represent Philosophy, so he painted all important figures of the mind; those who were abstract thinkers and practical thinkers, such as Pluto and Aristotle. • (Essential Knowledge 3-1C) Early European artists were heavily influenced by earlier and contemporary cultures, such as the Greeks and Romans, seen in the architecture and way of depicting figures in the fresco. • The innovations seen in the fresco included the use of linear perspective and mathematical perspective.

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

• The rock-cut façades of the monuments of Petra include many tombs in the landscape, which led people to Petra as a large necropolis. • Petra was once a well-developed metropolis, Hellenistic city. • The Hellenistic and Near Earn architecture seen reflects diverse and different cultures with which the Nabateans traded and interacted with, and thus, the thriving city of trade and commerce that it once was. • There were also Egyptian and Greek goddesses that reflected its artistic traditions.

Horn Players Jean-Michel Basquiat. 1983 C.E. Acrylic and oil paintstick on three canvas panels

• This African-Caribbean Graffiti artist saw himself as on oral story-teller, which is seen in this work. • The work is split into 3 parts, like a triptych which is seen mostly in religion, where different musicians are depicted in an idolized way. • There are different elements such as cubism, use of bold colors to evoke an exaggerated effect, and simple words, shapes, and simple object to complete the piece. • The artists idolizes the jazz artists by referring and depicting them as the modern 'saints' of music.

Gold and jade crown Three Kingdoms Period, Silla Kingdom, Korea. Fifth to sixth century C.E. Metalwork

• Worn by the royalty in the Korean Silla Kingdom, it was initially found in a tomb which refers to its importance in the culture. • Rituals part of the Shamanic, the crown shows cultures coming together of the mainland tribes in China, who were well-known for gold. • The crown shows the idea behind the Buddhist sacred tree with items hanging from it. • It is a Shamanic crown in which the kings wears it for crossing over o the Afterlife so he can communicate with the dead.