Samantha Kramer AP 250

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

- Commissioned by a Yoruba ruler/king (in Nigerian area) and carved by renowned sculptor Olowe of Ise - Central one of three veranda posts created by Olowe of Ise for the exterior of the Yoruba palace of Ikere (see picture) - Used to hold up the veranda of the palace (roofed courtyard) - King seated on the throne while senior wife stands behind; the wife's scale and pose show her importance in supporting and protecting the king and kingdom - Harmony in the composition (parallel lines such as her chin and the bird of the king's crown) show their intimate relationship - Overall emphasizes the power of the royal couple

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

- Great Mosque - Who originally used this and for what purposes? ○ Erected in the 13th century by King Koi Konboro (Djenne's 26th ruler and 1st Muslim king) decided to use local materials and traditional design techniques to build a place of Muslim worship in town ○ It became one of the most important buildings in town primarily because it became a political symbol for local residents and for colonial powers like the French who took control of Mali in 1892 ○ Became the epicenter of the religious and cultural life of Mali and the community of Djenne - How is this work's design practically and symbolically important to its function or meaning? ○ Some of the earliest European writings on the 1st mosque came from the French explorer Rene Caillie who wrote in detail about the structure in his travelogue, Journal of a Voyage to Timbuktu and Djenne. ○ The second mosque was built between 1834 and 1836 and replaced the original and damaged building that Caillie wrote about ○ Today the mosque is seen in rectilinear plan and is partly enclosed by an exterior wall ○ Earthen roof covers the building, which is supported by monumental pillars ○ The roof has several holes covered by terra-cotta lids, which provide its interior spaces with fresh air during the hottest days. ○ The façade includes 3 minarets and a series of engaged columns that together create a rhythmic effect ○ At the top of the pillars are conical extensions with ostrich eggs placed at the very top-- symbol of fertility and purity in the Malian region ○ Timber beams throughout the exterior are both decorative and structural § These elements also function as scaffolding for the re-plastering of the mosque during the annual festival of Crepissage. ○ The present building includes several innovations such as a special court reserved for women and a principal entrance with earthen pillars: that signal the graves of 2 local religious leaders Kristina: - Great Mosque - What elements of the structure's visual design or construction need further context to fully understand their meaning? ○ Constructed almost entirely from sun-dried bricks coated with clay § This is the largest surviving example of a distinctive style of African architecture ○ The architect of the new mosque used traditional materials (including palm-trunk inserts that bristle from the façade), the overall design is associated with the neo-Sudanese style which was promoted by the french in order to give their properties a more uniformed look ○ Climate (long hot and dry stretches followed by heavy rainfall) is hard on the mud-brick materials § Every year since it was built it has required a mud replastering, which the citizens of the town use as a festival - Has the work's meaning or function changed over time? How? ○ Between 800 and 1250CE it was a center of commerce, learning, and Islam. Soon became one of the most important buildings in the town because it was a political symbol for local residents and for colonial powers Over time, it has become to center of cultural and religious life of Mali, and for the community of Djenné

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)

- Has colossal sculpture of seated image of the Vairocana Buddah (copper and bronze, 250 tons, 30 meters tall) - Nio guardian statues (wood, at entrance) - Great South Gate (2 stories same size, 3 sets of doors) - Seven external bays on façade - Largest wooden building in the world - Design is Zen philosophy - original complex had two 100-meter-high pagodas, tallest buildings in the world at the - wood with ceramic tile roofing - Made of wood to harmonize with its natural environment - Floors raised to reduce humidity- air circulates under the building - rear support pillars (have holes through the bottom)-popular belief that if one is successful in squeezing through one of these "healing pillars," he or she is guaranteed a place in Heaven (intermingling of Buddhism and politics in early Japan) - Temple and Buddha statue razed during military unrest -Location on eastern edge of the city of Nara, Japan - Todaiji constructed in 752 as head temple of all provincial Buddhist temples of Japan. -Tiled roof and bracketing- imported features from Korea and China

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

- Ink on silk hanging scroll - Thickening and thinning contour strokes, texture dots, ink wash - Strong and sharp brush strokes make up the tree trunks - Detailed brushwork in the foliage/ silhouetted trees as well -Gaps between the distances act as breaks in views - Chinese painters used landscape as a subject for painting, instead of just a background -Mountains were viewed as sacred, the abode for immortals -Thick vegetation grows at the top of the steep cliffs -Three distances are shown in perspective -The mountain/cliff is so huge, that the big boulders and trees look comparatively tiny -Yin: feminine, dark, receptive, yielding, negative, and weak. Yang: masculine, bright, assertive, creative, positive, and strong (seen as an integral part of natural order)Two men lead some donkeys carrying firewood and a temple are tucked into the trees

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

Appeared on the campus of Yale University amidst the 1969 student protests against the Vietnam War Originally placed in the Beinecke Plaza, where it overlooked the school president's office 24 ft high sculpture that he made with architecture students at Yale They made the base of plywood, and the red vinyl tip of the lipstick could be comically inflated and deflated Sculpture served as a stage and backdrop for several student protests The original remained in Beinecke Plaza for ten months before Oldenburg removed it in order to remake it in metal to be a lasting sculpture Oldenburg combined the highly "feminine" product with the "masculine" machinery of war Critiqued both the hyper-masculine rhetoric of the military and the consumerism of the United States The large lipstick tube is bullet-like, making the beauty product seem masculine or even violent This implied that the U.S. obsession with beauty and consumption both fueled and distracted from the ongoing violence in Vietnam

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

Architectural Design • Neoclassical: clever revisions of classical principles from Greek and Roman architecture • Symmetrical interior design: rectangular rooms, rooms mirroring each other on different sides of building, • Octagonal dome • Brick building, stucco applied to trim to give the effect of marble • Tall French doors and windows, circulated hot air • Very narrow spiral stair cases, beds in alcoves or walls between rooms Relation to previous art history • Inspired by Palladian villas in Italy and Roman ruins in France • based in part on the Hôtel de Salm (1782-87) in Paris • Greek and Roman columns , with their appropriate capitals, appeared on the façade of the house • Pediments crown windows • Classical Revival • Related works: • Donatello, David • Alberti, Palazzo Rucellai

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

Atmospheric Made buy pouring paint onto the canvas when it was wet which causes the melding colors Frankenthaler would lift and tilt the canvas to that the paint would flow across the surface Frankenthaler was inspired by Jackson Pollock Frankenthaler inspired other painters to use this method for a more fluit expression of color Helen Frankenthaler painted The Bay when she was already a well-regarded artist This painting was chosen as one of the painting for the American pavilion of the 1966 Venice Biennale

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

- It was the first free-standing nude statue made of bronze since antiquity - More exaggerated contrapposto then Greek/Roman - Life-size ○ Meant for Medici Palace, not public - Body language: ○ Nonchelant ○ Contemplating victory over Goliath as his head lies at David's feet ○ Head is tilted down to show humility ○ David wears a Laurel hat (floppy hat design from Renaissance design) to indicate he was a poet Innovative: - The Christian West didn't celebrate the body, but focused on the soul because the body was seen as a path to corruption ○ Back to Greek and Roman love and respect for the body - Amazing sculpture in ren because the Medieval sculpture looked still, not realistic body proportions, rigid for so long that this was shocking ○ Back to the Contapposto and the movement/life from Greek/Romans - Renaissance statues were attached to buildings mostly ○ This is free-standing and looks as if it could move itself - Renaissance materials were ○ This is like the classical period because it uses bronze and copper - Used this technique in small scale works in Medeval time - Wears boots and a hat- clothes were an innovtion to Greek nude statues - Nude but not sexual • sculpture was really important to the city of Florence -Not exactly sure who commissioned it but likely a Medici - The Medici we usurping this civic symbolism for themselves -Investment of the culture in the story ○ By having it in the Medici courtyard it allowed them to connect the greatness of the city to the greatness of themselves • The statue has an embodiment of the promise of a long rule -David will grow up to become king and the Medici family showed their own rule in the city -David defeats Goliath as an underdog with the help of God which is like the Florentine people who also defeated their enemy Context ○ Violence of Milan VS the culture of Florence • This sculpture embodies the ideals and concerns of the 15th century B. Compare Donatello's work to Michelangelo's "David" in form, materials, meaning and context. (Mia) ○ Michelangelo § Marble

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

- Subject: "La Coiffure"= the hairstyle in French, typically associated with hairstyles worn by wealthy and elite women; ironic considering she is doing her hair without the help of a maid and seems more like a working woman than a rich one - Pictures a woman adjusting her hair, inspired by modern "japonisme", European fascination with Japanese culture in the late 19th century - Muted female body and downward gaze adds to the composition and nods to the modesty of the female subject in Japanese art - Medium: Drypoint etching which reflects the Japanese art of woodblock print; however, used aquatint to create watercolor-like tones - Mary Cassatt would print a certain number of replicas and then destroy the plate so it could not be replicated again - Made her art cheaper and more accessible to the global audience, reflecting the rise of modern technology in trade and travel - Style: Used pastels, invokes impressionism, and like Manet's Olympia, Cassatt's female figure is less sensual and more domestic

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

- Who commissioned this work and for what purpose? ○ The Oba (king) of the Benin empire ○ The plaque originally hung alongside many others on posts inside the Oba's palace § The sequence of plaques is lost since after being held in storage for a long time then finally found by westerners in the 19th century - How is the work used and with what other objects? ○ The plaque was hung alongside others in an order to tell the history of the royal lineage of Benin's Obas, who traced their dynasty all the way back to Oranmiyan ( son was the first Oba of Benin) ○ Used to be placed with many other plaques, but have been lost - What aspects of the work's visual qualities need further context in order fully to understand its meaning or purpose? ○ The rosette shapes that are the background of the plaque § Possibly derived from Christian crosses brought by these European traders, don't know for sure ○ Scholars speculate the plaques were created as a way of reconciling traditional African brass sculptural forms with the illustrated books and prints that may have been in the possession of European travelers. ○ Attendants hold shields above his head, either to protect him from attack or possibly from the hot tropical sun § Would need to know if they were at war at the time this was created

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

- gold, ink, watercolor on paper - small- 18x25.3cm - looks like prayer rug - Farsi script embroidery CONTENT: - gold halo around emperor's head - hierarchy of scale- emperor largest - 4 different ethnicities represented (ex. king of England shown below him) - emperor favors holy men over other kings - other kings don't touch- cultural taboo - angels present- borrowed from European painting - English king, ruler of Ottoman Empire, Sufi Shaikh, artist included - hourglass symbol- cultural borrowing CONTEXT: - 1615 - Abkar, 3rd emperor of Mughal dynasty- no living heir at 28 (consulted Sufi who told him he would have son) PURPOSE: - made to flatter emperor (images of victories) - spiritual vs material endeavors (favored company and gifts of religious man over worldly rulers)

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

- jade: influence of Chinese beliefs in its properties as aid to immortality -Weak crown, mostly likely more for decoration than for physical use -Although their fragile gold construction initially led some to believe that these crowns were made specifically for burial -recent research has revealed that they were also used in ceremonial rites of the Silla royalty during the Three Kingdoms Period (57 B.C.E. - 676 C.E.) -Koreans practiced shamanism, which is a kind of nature worship that requires the expertise of a priest-like figure, or shaman, who intercedes to alleviate problems facing the community -Korea was one of the last stops on the "Silk Road," so the metalworking technique of granulation comes from Rome and North Africa. -Silla kingdom shared shamianic beliefs with the Scythian tribes in Mongolia,: -image of world tree and the antlers (from reindeer) on this crown. -shared with China: tradition of constructing necropolis complexes with burial mound -may have been used in coronation ceremonies, giving ruler access to spiritual world, but was also a grave good

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

- oblique angles - contrasts of near and far - technique reflected lives of lower castes- Ukiyo-e (wood block prints) - influence of Dutch art - massive wave over fishing boats - top of wave look like claws - mountain looks like it's going to be engulfed as well as boat - daily struggle of lives of fishermen - spray from water looks like snow coming down on mountain 0 Chinese tradition of nature's beauty and power - every print of series has different view of mountain - tourism became popular (high demand) -trade restricted PURPOSE: - from series 36 views of mount Fuji by Hokusai - art for all social classes

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

- vivid colors to make him stand out - placed in middle of work - oil painting - color lithograph (color copier)- ubiquitous and cheap - in center of painting, above mountains and everything - poster-like - political message- miner's strike - cultural revolution-not wearing western outfit, but traditional Chinese attire - political message- miner's strike - social realism as a revolutionary leader -artist saw Mau as strong political leader and leader of revolution - Mau is BEGINNING to lead cultural revolution- encouraged people to be in solidarity with poor and punish those who resisted movement - symbol of hope and leadership in social revolution

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

-4 sections: tombs usually in center, but here they were behind - garden in front (waterways and fountains - decorated raised marble cenotaphs side by side -included a main gateway of red sandstone and a square garden divided into quarters by long pools of water -red sandstone mosque and an identical building called a jawab - white marble with semi precious stones - lobed and pointed arches (decoration)- makes the building look light and hollowed out -High caste - This was his favorite - took 20 years to build, 1632 commissioned - Yamuna river southern bank - Islamic content, floral designed - patron: Shah Jahan - final resting place for wife (died giving birth to 14th child - burial place

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

-Alberti constructed the façade of the Palazzo over a period of five years, from 1446-1451 -the home was just one of many important commissions that Alberti completed for the Rucellais—a wealthy merchant family - traditional Florentine palazzi, the façade is divided into three tiers -Alberti divided these with the horizontal entablatures that run across the facade, called "trabeated" architecture -very similar to the Colosseum, which Alberti saw in Rome during his travels in the 1430s -because the Roman amphitheater is also divided into tiers and it uses architectural features for decorative purposes rather than structural support -Columns on the colosseum = facade

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

-Altar of Zeus originally found in Pergamon -Sculpture normally found In the pediments in Greek tradition, is placed in the space below the structure to bring the observer into the work -Columns featured on main structure reflect traditional Greek architecture -Ionic columns frame monument -Sense of drama is characteristic of the Hellenistic era -Full of diagonals -Living drapery also characteristic of Hellenistic era -Like the Parthenon, the Altar of Zeus was constructed on a terrace of the acropolis overlooking the ancient city of Pergamon

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

-American landscape painting from 1906. This work is similar because of how it depicts America's civilization where the left side of the work expresses American nature in its primal state. -It is dark and threatening, with an emphasis on clouds and, as a key motif, the blasted tree, symbol of Nature's power. -On the right which is divided by a diagonal line there is expansive tamed nature featuring sunlight, trees, houses and rolling hills which appeal to the viewer to be nonthreatening. This expresses the moral sentiments of Cole and how he believed the development of America creates opportunities and can be optimistic, but nature is still very powerful and we can't abuse it with development. -use Luminism to emphasize areas of their paintings such as the land of the pioneers. Both artist used techniques, such as hiding their brushstrokes, to make their paintings appear more realistic. - allegorical in how they display the ideas of the pioneers and how they were eager to develop new land in America.

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.

-Amun: principle God in Thebes -Priest lived on site -hypostyle hall: columns, clerestory lighting -New Kingdom -Papyrus

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

-Ethching, looks like a loose and informal sketch -Ethcing is done with wax and needle, acid creates dark and light shadeing -Varnish parts of the plate to make sure parts dont get any darker

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

-Extrememley complax interweaving of figures -Perhaps a copy of a mural made by Philoxenos of Eritrea for King Cassandra -Alternate Theory: Made by Helen of Egypt -Crowded, with nervous excitement -Mosiac/Painting -Darius in center right on chariot; horrified, weakly ceding the victory; his charioteer command the horses to make their escapes

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

-From the book of the dead from New Kingdom -For afterlife and last judgment -Top Panel: convince deities that he has earned a place in the afterlife -Bottom panel: mummification and eternal life -Ritual: heart in pot has to outweigh, feathers = Maat

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

-Hands together in praying position -wide eyes: persuasive, scared -Placed in temples to show permanent prayer to the Gods -Frontal view: The gods are only meant to see the front of the statues the backs are not detailed -Votive figures were not often of specific people, since they symbolized the community in prayer

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

-He converted to Catholicism, explains religious aspects in his paintings -Camera obscura, a series of lenses that project photographic images -Uses oil to capture optical effects -Reflected light, and how it reflects off different things -Allegorical, about balance -Paints loosely and patchy to create photograph like effect -Working with lenses and new technology

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

-In order to achieve immortality, Qin Shihuang built himself a tomb—a vast underground city guarded by a life-size terracotta army including warriors, infantrymen, horses, chariots and all their attendant armor and weaponry. -warriors are part of army meant to substitute for emperor's physical one in next world. -Painted; features individualized, but many body parts regularized for mass molding and firing. -tomb included palace and adjacent ones for the court -the unification of China is the greatest symbol of the Qin dynasty's power and influence -included a series of canals filled with mercury, thought to bring immortality, that mimicked the actual rivers of China in their layout -emperor of Qin (first Chinese emperor)got throne at 13-began building his tomb. -Committed to Legalism: philosophy in which an elaborate law code and harsh punishment sought to curb the natural brutality of humans)-Standardized weights and measures created the Chinese meritocratic bureaucratic system during his reign. -huge numbers of laborers to create tomb-never completed; son lost power after his death because of harsh rule of father.

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

-Mandal Shape: a diagram of the cosmos used for meditation -Buddha: The 2 mile walk throughout the temple grounds was made for visitors to receive enlightenment through Buddhism -The walls of the galleries are adorned with impressive reliefs illustrating the life of Buddha Shakyamuni and the principles of his teaching One of the greatest Buddhist monuments in history -The iconography is intricate and complex: there are many levels about the meaning and Buddhist may be referenced It's supposed to be circumambulated: with a great stupa at the summit -Alligned with the four cardinal points of the compass -The lower story represents the worlds desires and the negative impulses present in society. -The middle section represents how people need to control the negative impulses, and the top is where the physical and worldly desires are left behind -Most likely built during the Sailendra dynasty -In the center of Java -Significant because was the largest Buddhist temple at the time and shows the values and beliefs of Buddhism -Its design relates to Buddhism by the three levels of consciousness

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

-Meant to stand in or above a fountain cascading water around rocks below similar to a figurehead of a boat -Eet drapery looks imitates the water playing on the wet body -Shows evidence of invisible wind on her body -Dramatic twist and contrapassto of the torso -Monumentality of the fire -Her missing right arm may have held something like a victory crown -Probably built to commemorate a naval victory in 190 B.C.E -Nike is a symbol of victory

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

-Named after a triclinium, an ancient Toman dining table, which appear in the fresco -Banqueting couples recline, eating int eh ancient manner -Ancient convention of en painted in darker colors than women -Trees spring up between the main figured snd shubbery grows beneath the reclining couche- perhaps a rural setting -Or a funeral banquet is intended -Dancing figures play musical instruments -Checkerboard pattern may symbolize time

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)

-The Forum of Trajan was the final, and largest, of Rome's complex of so-called "Imperial fora"—dubbed by at least one ancient writer as "a construction unique under the heavens" -Purpose: -multi-level commercial complex was built against the flank of the Quirinal Hill which had to be excavated for the purpose -Market place -function of the markets was mercantile -to hold the hill and make sure nothing slid or collapsed Content: -from the eastern hemicycle of the Forum of Trajan -The ruins of the markets today preserve 170 rooms and the complex covers a space of approximately 110 by 150 meters; its walls stood to 35 meters above the level of the pavement of the Forum of Trajan -The ground floor offices worked by cashiers of the imperial treasury -upper level rooms leased out or used by imperial officials

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

-The Palace of Westminster is the meeting place of the House of Commons and the House of Lords, the two houses of the Parliament of the United Kingdom. -Commonly known as the Houses of Parliament after its occupants, the Palace lies on the north bank of the River Thames in the City of Westminster, in central London. -Because it was originally a royal residence, the Palace included no purpose-built chambers for the two Houses -Important state ceremonies were held in the Painted Chamber which had been originally built in the 13th century as the main bedchamber for King Henry III -The House of Lords originally met in the Queen's Chamber, a modest Medieval hall towards the southern end of the complex, with the adjoining Prince's Chamber used as the robing room for peers and for the monarch during state openings -In 1801 the Upper House moved into the larger White -Sir Charles Barry's collaborative design for the Palace of Westminster uses the Perpendicular Gothic style, which was popular during the 15th century and returned during the Gothic revival of the 19th century. -Westminster Hall, which was built in the 11th century and survived the fire of 1834, was incorporated in Barry's design. Pugin was displeased with the result of the work, especially with the symmetrical layout designed by Barry

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

-The glass windows in a church are Holy Scripture, which expel the wind and the rain, that is, all things hurtful, but transmit the light of the True Sun, that is, God How the Windows Were Made: 1. Master designer draws composition of window on wood, notes all colors to be used; 2. Flat sheets of glass created by glassblowers are cut to size by glaziers, who also create an array of colors by "flashing" (fusing a plate of one color to another); 3. Painters add details, designs in enamel; glass heated to fuse enamel of glass; 4. Pieces leaded together with "cames," strips of led; 5. Armature of iron bands strenthen the leaded design; 6. Design raised into stone tracery that holds it in the walls. Later Gothic statues on the south transept—compare to the older ones on the Royal Portal! -Arches that are pointed that meet at one point -Made possible because they are reinforced allowing the arches to be at different angles and heights because they all meet at the same place -Creates high open celing -bares weight -Big windows that are made possible by pointed arches, allow for high ceilings and more light to fill the chruch -Round Windows called Rose windows -Tall windows called lancet windows -they lift your eyes upward, light emitted through glass windows is mystical -arches hold all the weight -pronounces like shart -Assocsocate with the Virgin Mary -Received Virgin Mary tunic from Constantinople -It is believed that Mary wore this when she gave birth to Chrsit -People would pilgrimage to see these gifts and pay offerings to them -Burned to the ground in 1194, without the shrab people lost protection but they found the tunic unharmed -Mircale! It wa clear the the Virgin wanted to get rid of the church?? -The architect build the church on the old Romaneqsque church grounds -The most unified example og Gothic France -Gothic with a new focus on Geometry -By being in a symetrical space we are closer to God because God is perfcect ! -Kings and Queens of Old Testament by door way on collumns -They have no sense of weight

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

-This statue is known as a korus statue which means young - Some possible purposes of this statue is a grave marker, offering to a God, or a representation of a God -This statue is a grave marker, and therefore is idealized. Even though this grave marker is for a specific individual, probably from a aristocrat family, the figure is a symbol of the young man who died in war. -This work is similar to earlier Egyptian works in content with the archaic smile or smirk that is used to show power, the braided hair and headband, the balance of weight, the locked knees, and the left leg which is a step forward in both era's statues -Contextually, both were made to represent a specific person, but both are idealized. Both were made to honor someone or something. The male is fully nude which different than the Peplos who is fully clothed

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

-Wealthy Egyptians got buried in mastaba's which were in necropolis - a city of dead people The main structure has a chapel in it, where Ka statues go -Found in one of the largest graves in the Royal Cemetery at Ur -lying in the corner of a chamber above a soldier who is believed to have carried it on a long pole as a standard -the royal emblem of a king. -Shell and stone shows the power of this person because very expensive

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

-Zuggart was the base of a temple -Temple's were placed higher above ground so the God's could meet people (high class, priest, and royaly) half way -Ziggurats were conveniently placed so that when visitors came to the city people would see the Temple -This symbolized the power of the temple as it showed the people's connection with the divine

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

-a Roman townhouse (domus) located within the ruined ancient city of Pompeii, Italy. -A volcanic eruption destroyed Pompeii in the year 79 C.E. -Those remains constitute a nearly unparalleled resource for the study of the Roman world. -furnished by the House of the Vettii offers key insights into domestic architecture and interior decoration in the last days of the city of Pompeii. -The house itself is architecturally significant not only because of its size but also because of the indications it gives of important changes that were underway in the design of Roman houses during the third quarter of the first century C.E.

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.

-built to prove worth -Hatesheput the first known female monarch who became regent for young Thutmose III -in the New Kingdom -statues of her kneeling, Sphinx -Hathor, gardens, columns -One of the first ever recorded pictorial documentations of a trade expedition -She and punt are shown as obese

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

-elite centre was a special place of residence for the nobility and of mortuary activities presided over by priests. -Its population almost certainly did not exceed 1,000, and may have been less than half that. Although many of the residents were chiefs, the majority were commoners. Nan Madol served, in part, as a way for the ruling Saudeleur chiefs to organize and control potential rivals by requiring them to live in the city rather than in their home districts, where their activities were difficult to monitor. Madol Powe, the mortuary sector, contains 58 islets in the northeastern area of Nan Madol. Most islets were once occupied by the dwellings of priests. -Some islets served a special purpose: food preparation, canoe construction on Dapahu, and coconut oil preparation on Peinering. -High walls surrounding tombs are located on Peinkitel, Karian, and Lemenkou, but the most prominent is the royal mortuary islet of Nandauwas, where walls 18-25 feet (5.5-7.6 m) high surround a central tomb enclosure within the main courtyard. This was built for the first Saudeleur

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

-hand scroll -ink and color on paper - battle between Taira Kiyomori and Fujiwara Nobuyori. -Designed to be unrolled in sections for close‐up viewing -each individualized by gesture and facial expression from horror to morbid humor, robes, armor, and weaponry easily identifiable according to rank, design, and type. -shows the basic features of this pictorial form: a bird's eye view of action moves right‐to‐left - staccato brushwork on vivid flashes of color capture the drama of the night attack. - flames and clouds of smoke -During the Kamakura Period -from Japan -Primary battle of the 1159 Heiji Rebellion -Attacked that night with about 500 men, they kidnapped both the former and current emperor, and set the palace on fire. - Fujiwara and Minamoto were later killed by Taira Kiyomori. -Records the triumph of how Minamoto assumed power and declared himself shogun, taking power over Japan

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

A bunch of mastaba stacked on eachother basically -"stairway to heaven" -These periods descend from the earlier structure -Bodies were in the middle -Rulers have to live a long time to have a good pyramid -is believed to be the most immense stone sculpture ever made by man (stone, tombs, statues, animal symbolism)

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

Content • Mary's hands are in prayer form • Mary and Jesus look lost in thought • The angels look as if they are kids who were street kids • The drapery of the transparent fabric is a new decorative element brought by Lippi • Bulk and solidity of her body • Playful but somber because Mary knows he going to die • Look like a real women In Florence • Mary's halo has been transformed from gold, full circle into a thin, white light around her had and faintly around Jesus' head -High renaissance -symbol of divinity and holiness • Pearls =incarnation • Landscape looks real not gold • Innovation: -perspective -no gold background -sense of space • Purpose -decorated high class palaces -for private chapels -Medici family was wealthy but no part of the hierarchy

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

Content/Iconography: -The painting depicts the story from the Gospel of Matthew -Caravaggio depicts Matthew the tax collector sitting at a table with four other men. -Jesus Christ and Saint Peter have entered the room, and Jesus is pointing at Matthew. -A beam of light illuminates the faces of the men at the table who are looking at Jesus Christ. Style/Context: -three adjacent Caravaggio canvases in the Contarelli chapel represent a decisive shift from the idealising Mannerism of which d'Arpino was the last major practitioner, to the newer, more naturalistic and subject-oriented art represented by Caravaggio and Annibale Carracci: they were highly influential in their day. -Underlying the shallow stage-like space of the picture is a grid pattern of verticals and horizontals, which knit it together structurally. -The light has been no less carefully manipulated: the visible window covered with oilskin, very likely to provide diffused light in the painter's studio; the upper light, to illuminate Saint Matthew's face and the seated group; and the light behind Christ and Saint Peter, introduced only with them. -It may be that this third source of light is intended as miraculous. Otherwise, why does Saint Peter cast no shadow on the defensive youth facing him

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

Contrapposto Dressed in military garb—soldier, hero of battle, conqueror Breastplate depicts his "divinity", showing gods participating in return of Roman standards from Parthians Cupid at ankle- claims to be descended from Roman goddess of love, Venus (Aphrodite in Greek tradition) Divine figure Breastplate say he's a warrior, judge's robes show him as civic ruler Back not carved (placed against wall) Characteristic of Augustus: hair part over left eye, two locks over right Right hand in orator pose- holding laurel branch (symbol of Roman/Greek peace and victory)? Sword pointing down in left hand? Icon statues placed in village squares to be viewed by people (who rarely if ever saw emperor in person, so this gave them an ideal image of the emperor so they would think that he was youthful and strong- in good hands, proud to be under his rule) -Idealized depiction of the Roman emperor meant to show Augustus as a strong leader who the people would want to follow and trust-- a protector. Context: -The Roman civil war ended in the first century BCE -the Romans having conquered the last of the Hellenistic city states and Octavian (nephew to the assassinated Roman general and dictator Julius Caesar having defeated the allied Roman General Marc Antony and Ptolemaic Queen Cleopatra -Octavian named Augustus and made first emperor by the Roman Senate

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

Commissioner: Wealthy society members. King (fon). Purpose/Use: • This mask was utilized during masquerades. A performer's costume. ○ During the masquerade, the maskers dance barefoot in colorful costumes to a drum and cong. The elephant dance (Tso) is dynamic and it suggest the power of the king. • It was meant to honor the king and bring about social hierarchy. ○ Patterns expressed the society's cosmic and political factions. • This mask was worn by powerful/wealthy members of society. Royal, wealthy title holders, and ranking warriors. ○ Elephants are often associated with political power in the highly hierarchical kingdoms of the Cameroon grasslands. • Worn with a full length tunic, a headdress, and a fly whisk. Context/Background Info: • Tribe: Bamileke Peoples • Location: Grass field region of Cameroon, Central Africa. • Creators: Male artisans • Beliefs: leopards could turn into humans, king has the ability to turn into elephant. Leopard and elephants are metaphors for symbolic impersonation. • Symbolism: ○ Elephant mask signifies kingship and wealth. ○ Beads were both objects and a symbol of wealth. ○ Symbolizes essence and attributes of an elephant and a leopard - strength, memory, intelligence, and endurance. Isosceles triangles represent patterning on the body of a leopard.

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

Design -used in large scale Christina churches Colonade: a long sequence of columns joined by their entablature often free standing Derived: - In the pre-Constantine era, not much distinguished a church from a normal building -Did not want churches to look like pagan -temples because they felt that would be disrespectful -Put a greater emphasis on the interior of the churches because Christianity was viewed as something scared and mysterious that needed initiation before being able to participate -Needed large areas to accommodate large crowds -Churches had to obey how meaningful and important the church was to the roman empire -They decided to create basilicas -These were not the first basilicas created The first basilicas served as meeting places/places to gather Design Elements: -Nave -Aisle -Narthex -Atrium -Bema -apse Purpose: Narthex -Entrance/foyer, preceding the nave Nave Central aisle way -Comes from the Latin word "ship" Aisle -Separated by rows of rustic marble columns Atrium -Used as a courtyard -Surrounded by a colonnaded ambulatory -Usually included a fountain Bema -Raised platform for the alter and where the clergy stood Apse -Where the emperor/priest would preside

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

Elisabeth Louise Vigee-leburn • Became famous and wealthy as Queen Marie-Antoinette's official court painter • Born in paris Self-Portrait • Late example of the Rococo style • Painted in rome • Shows Vigee-LeBrun sitting at her easel slightly off center wearing a dark dress with a red sash and white turban. • In her hand she holds already used brushes and a palette • Appears to be painting her patron, Marie-Antoinette • In her painting entitled, "Marie Antinette en Gaulle, Vigee-Lebrun paints her patron in a simple muslin dress with a straw hat. Controversy arose as critics called it "indecent and unregal." This style however of showing a more natural side of the monarchy and the upper class was later popularized in her wake. Identity as a female artist • Ability to depict subjects in a flattering and elegant style • Accepted into the painters' guild of the Académie de Saint-Luc which increased professional exposure • Soon became popular among French aristocracy -- appreciated her artistic style • Used loose brushwork, 'fresh' and bright colors, depicted her subjects in a flattering manner, posing gracefully and wearing best clothing

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

Korin uses tarashikomi— dropping ink and pigments onto surfaces still wet with previously applied ink— to create a mottling effect on the trees -Stylized, curving shapes on the stream represent water flowing -White and red blossoming plum trees separated by a stream -Korin more concerned about the contrast of the curving stream -separate rooms -pair of folding screens (2 separate screens) background of gold leaf w/ black ink and watercolor - Ogata Korin = patron -wealthy aristocrat who lost fortune because he shared to much gold with lower class peolpe

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

Iconography: The decoration of the room again comments on the action. The picture over the mantelpiece shows Cupid among ruins. Love itself is ruined. In front of it is a classical bust with a broken nose, symbolizing impotence. Content: • Tête à Tête is French for "head-to-head or face-to-face". • The 6 paintings tell a story of an aristocratic family named the Squanderfields, suggesting that they squandered their aristocratic fortune. • The marriage of the Viscount and the merchant's daughter is quickly proving a disaster. • The husband has come home from a night of gambling, drinking, womanizing. ○ The dog is sniffing at, what looks like, a woman's bonnet in his pocket. ○ He exhausted, like he hasn't slept at all. • The wife looks like she's had some fun too, while her husband was gone. ○ Her bodice is undone, she looks flirtatious, perhaps her lover has just left when her husband's come home. ○ She seems to be signaling with a mirror held above her head, maybe to her lover. • The chair is overturned, an instrument on the floor, a music book opened. ○ Implication of lovemaking ○ Music is a symbol of pleasure/sensuality • In the next room there are paintings of saints. ○ Hogarth comments on the immorality of this young couple. ○ There is also an addition: perhaps a painting that the man has brought in, it's partially obscured by a curtain and all that's visible is a nude foot on a bed. • The artist places a third figure on the far left. ○ He's an accountant - he holds receipts and bills. ○ He's thrown his hands up in the air like he's had it, he's quitting because he can't get them to take their finances seriously. • On the mantelpiece are various knick-knacks lined up that looked like they have been recently purchased and look inexpensive and gaudy compared to this aristocratic environment with these oil paintings and gilded frames. Context: • Series was completed in April 1743 • Beginning of the Industrial Revolution • Aristocracy is starting to lose power • Art is made for growing middle class audience instead of for serving the aristocracy • Hogarth targets art towards new middle class that makes fun of the aristocracy • Painted criticizing that modern marriage is arranged for economic benefit rather than out of love Style: • Influences of French contemporary art and Rococo design • Which reflect Hogarth's satirical design which parody tableaux de mode paintings by François de Troy and the still-lives of Jean Baptiste Chardin • Rococo design otherwise known as Late Baroque developed in France in the late 18th century as a reaction against the grandeur and strict regulations of the previous Baroque style • Rococo artists used light colors and asymmetrical designs and had playful and witty themes

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

Likely represent scarification/body decoration Typically scarification found on the temple and forehead suggested that the figure was a title-holding member of the Igbo society This suggests that this figure had a high rank Not a portrait but a symbolic representation of the power and accomplishment of the individual for whom this was made Ikenga = the power of the right hand Personal objects that related to the achievements of the person and often related to the person's occupation Ikenga would have been commissioned by a master carver, the consecrated Placed into a shrine within the owner's home It is a personal spirit of one's human achievements and ability Holds items that help the owner get things done Right hand: a sword (most Ikenga have a sword in their right hand) Expression of power Left hand: this figure holds a human head Expression of his warrior status Rams horns that curl at the top Decorated with abstract forms and detailing on the sides of the horn Pod-shaped forms with dots and lines Emphasizes the strength of the head Symbolizes the powerful nature of the male animal The dots and lines and decorative patterns are also seen on the side of the head and along the body

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

Lukasa: Small enough to hold in the left hand Board is "read" by touching its surface with the right forefinger Carved geometric designs on the back and sides, and complex clusters of beads of various sizes whose Colors have faded over time Board is narrower at the center making it easy to hold Typically arranged with large beads surrounded by smaller beads or a line of beads, the configuration of which dictates certain kinds of information The most important function of the lukasa was to serve as a memory aid that describes the myths surrounding the origins of the Luba empire, including recitation of the names of the royal Luba line Luba Kingdom: The Luba people are one of the Bantu peoples of Central Africa and the largest ethnic group in the Democratic Republic of the Congo Very powerful and influential presence from the sixteenth to the early twentieth centuries in central Africa The Luba had access to a wealth of natural resources including gold, ivory, and copper- also produced and traded a variety of goods such as pottery and wooden sculpture Their art highlights the roles that objects played in granting the holders the authority of kingship and royal power

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

Purpose and Meaning -Is an artistic rendition of the Last Supper -Meant to remind viewers of two events: the denial of betrayal and the Passover Seder The expressions are da Vinci's interpretation of the mood -Each Apostle can be identified by his own reaction to Jesus' words -The bread and wine are being transubstantiated by Jesus Innovation -Brunelleschi invented linear perspective -All perspectival lines are not composed parallel to the plane -Appear to converge at a single point -Single vanish point -Vanish point: the spot on the horizon line to which the receding parallel lines diminish -Used to create more realistic paintings and a stronger sense of realism Context of Leonardo -Became the model "Renaissance man" -Unrivaled painter -Talented Architect -Engineer -Cartographer (a person who draws or produces maps) -Scientist (specifically biology and physics)

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

Significance: -important because it's a fresco cycle, a serious of frescos that are all tied together by a story Context: -built in early 14th century for Scrovegni family -Banker who was enmorausly wealthy -To buy god's good will -Built big fancy palace and church for his family -he wanted a break from the church Content: -apse and tombs cut into wall -Sargohphgi -metal rods to make barrel vault stronger -Giotto frescos entire surface -Religious scenes: Top level virgin, third level vices and virtues, -painted monochrome so they look sculpted Innovation: -fresco fresh so paint bonds with plaster -first person to paint entire surface -cover entire surfaces with paintings that relate to eachother -made for a capitalist Related: Michel Angelo Sistine Chapel

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

States turned to public art to commemorate the revolution Governor of Virginia asked Thomas Jefferson (who was an American Minister in Paris at the time) to choose an artist to sculpt Washington With a lack of well known artistic talent available in the states, Jefferson turned to the French Jean-Antoine Houdon, chosen by Jefferson, trained at the Academie Royale de Peinture et de Sculpture and was one of the most famous neoclassical sculptors in France At first simply given a drawing of Washington which he was supposed to sculpt from, Houdon was unsatisfied and sailed to meet Washington and see him in person Characteristics of Houdon's work -Idealized, classical bust -Later made more contemporary -Does not reflect neoclassical standards because Washington is not in classical clothing or a toga -Wearing his military uniform instead Subtlety embraces the neoclassical aesthetic -Contrapposto stance -Very realistic and precise -Motives for portraying Washington this way -Heavily influenced by Washington himself -Wanted to seem more contemporary as opposed to classical/deified -Wanted to portray Washington as a private citizen and a public soldier

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

Style • Not Christian due to nudity • Not contrapposto • The curve the body shoes that Venus has a very flexible structure • This painting is based on the Roman Sculpture of Venus which was a copy of Greek • Being born to the sea • Crisply drawn • All the figures are floating -not like renaissance because those figures have weight these are light • Linear • De-emphasizes deep space which creates a sense of pattern and beauty • May be about beauty in neo-platanic sense which depicts beauty as physical and sensual Life size in the round nude figure NOT SEEN IN THE MIDDLE AGES especially of a biblical figure

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

l African: Nkisi n'kondi-Mangaaka l Made late nineteenth century l Materials: wood, metal (iron), resin, ceramic, plant fiber, textile, pigment l From Republic of Congo or Cabinda, Angola, Chiloango River region l Made by Kongo peoples, Yombe group l Height: 46.5 inches, Width: 19.5 inches, Diameter: 15.5 inches l Currently in Metropolitan Museum of Art l Power figures ubiquitous genre in African art · Spirits embedded, housed in figure · Kongo sculptors, ritual specialists make figures l Spirits called upon to bless or harm others · Also cause death, give life l Nails pounded in figure l To make figure move, nails and blades inserted or removed l Medical properties inserted in body cavity · Thought to be person's life, soul · By "healing" statue, heals person's life, soul l Alert pose l Similar to Rottgen Pietà, Transformation Mask, Nio Guardian Figures All wood sculptures

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

l Complex, enigmatic composition · Enigmatic: difficult to interpret or understand; mysterious l Raises questions about reality and illusion · Creates uncertain relationship between viewer and figures depicted l Large room in Royal Alcazar of Madrid l Presents several figures of Spanish court, captured like snapshot · Some figures look out of canvas toward viewer, other figures interact among selves l Young Infanta Margaret Theresa surrounded by entourage of maids of honor, chaperone, bodyguard, two dwarfs, dog l Behind figures, Velázquez portrays self working at large canvas · Velázquez looks outwards, beyond pictorial space to where viewer of painting would stand l In background, mirror reflects upper body of king and queen · King and queen appear placed outside picture space in position similar to viewer · Scholars speculated image of king and queen as reflection from painting Velázquez working on l Recognized as one of most important paintings in Western art history l 1656 painting l Painted four years before Velázquez's death l Meant to be Velázquez's masterwork l Velázquez was painter at Hapsburg court l Patron: King Phillip IV · Official painter for palace

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

l Iconography: the visual images and symbols used in a work of art or the study or interpretation of these · Heroic gestures · Demonstrative spiraling figures · Inspired by Titian and Caravaggio · Full-fleshed women · Historical painting allegorically retells life of Marie de' Medici, Queen of France, wife of Henry IV l Allegory: a story, poem, or picture that can be interpreted to reveal a hidden meaning, typically a moral or political one · Splendid costumes suggest theatrical production · Allegories assist in telling story and mix freely with historical people · Henry IV smitten by portrait of intended · Portrait held by Cupid and Hymen · Jupiter and Juno look down from below ○ Express support l Commissioned by Marie de Medici, widow of Henry IV of France l Meant to be displayed in Luxembourg Palace, Paris l 1622: Negotiated terms of contract between Rubens and Medici · Project to be completed in two years around time of Medici's daughter, Henrietta Maria's, wedding

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

• Context ○ Spanish colony, Mexico part of Viceroyalty of Spain ○ Japanese objects come from Mexico from the Philippines ○ Expensive work of art, owned by Viceroy of Spain, Jose Sarmineto ○ Mexico was a center of trade, Items traded from Asia and Europe • Materials ○ Biombo enconchado: screen with shell inlay ○ Oil paint, Red color comes from colonies in Mexico • Style ○ Spanish Colonial, Flemish, and Dutch ○ Biombo: spabish folding screen ○ Inspired by Japanese folding screen and Lacquerware box (black) ○ Hunting scene inspired by tapestry made in France ○ Possible through printing process, aloud the scene to be transported to Mexico • Subject: Battle of Belgrade, 1688, and Hunting Scene ○ Battle of Belgrade Scene: betweem the Hasburg empire (Spanish empire) and the Turks ○ Intended for people coming and visiting the viceroy ○ Expression of political power ○ Hunting Scene: focuses on landscape elements, dimension Intended to be viewed by Women

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

• Context: Colonial period, Creolization of the Cult of the Virgen de Guadalupe. With Juan Diego seeing the Virgin it verified the "new normal" of Christianity being superior to the indigenous religion. The Spanish would use images like these to convert the indigenous people to Christianity (Asian inspiration). At the beginning of 17th century, New Spain and Japan attempted to form a trade alliance however it was thwarted and soon importation of Japanese good decreased by the second half of the 17th century. This is one of the reason behind the creation of enconchado technique(to fulfil the local demands of Asian inspired goods), which consists tiny fragments of mother-of-pearl onto a wooden support or a canvas. The virgin of Guadalupe is the patron saint of Mexico. In the lower left corner, she is shown appearing to a young Mexican boy to show her as humble. This piece is typical of colonial art because it lacks bright colors and is not as dramatic as European Baroque. It even looks similar to Byzantine art because of its flatness and shell-inlay. ○ Meaning: symbol of purity. floral motifs underscore biblical reference to to "women of the apocalypse" in book of Revelation. Confirmed the correctness of replacing the indigenous religions with Christianity. Unlike in the original painting, an eagle is beneath the feet of the subject instead of an angel which symbolizes creolization of the cult of Virgin of Guadalupe. Gonzalez's own cultural adaptation of the original piece shows the sense of local identity as evidenced by the four roundels surrounding the subject. PATRON SAINT OF MEXICO. She's shrouded in sunlight, she has stars on her cloak - this is imagery that comes from the book of Revelation talking about the women of the apocalypse who was similarly shrouded in the sun and had stars around her head, which here, have been placed onto her cloak. Use: Replica of the original miraculous image.

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

• Context: Sor Juana was arranged to marry the Viceroy of Spain but she did not marry him and became a nun instead. Left first covenant and joined Jeronymite order to host intellectual gatherings and live a comfortable life. She sadly had to eventually give up her rights. ○ Meaning: The artist wants to show the Nun as an intellectual and very prominent figure. statement of her status as an intellectual. ○ Interpretation: Juana is positioned the way she is to portray her status as an intellect. Miguel depicted this Nun as a very intellectual prominent figure. Portraiture. The nun is surrounded by books and instruments of learning. She is wearing a typical nun outfit with a monja (nun's badge) and she's holding a rosary. The rosary and the books show two contrasting subjects. Miguel Cabrera is trying to justify a balance between intellect and religion, they are both equally important. The red in the back represents her high class status. Function: show women gaining more influence and being more independent even in a conservative time like this.

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)

• Eadfrith made this with other monks • In Linsidarne a island west of Northumberland • Materials: -Ink is made of soot -On Vellum -Goose feather quills -bound in leather -Tempera, water color used by painters at this time • Took 6 years to make • Purpose -devotion to God -For St. Cuthbert • Carpet page -Purpose: patterns for meditation and contemplation • Begging page -Purpose: the big highly decorated letter tells us the begging to show the begging • Style: Hiberno Saxon Style -style came from these people coming together and borrowing ideas -Distinctive features include that it is not abstract, realistic, INTERLACE STYLE -This work was moved because England was conquered by Normans, this book is in Latin the vernacular, there was enlgish written between the lines -First Gospel to be translated into Anglo-Saxon enlgish, 1st translated bible

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

• Clasp or button • Fibulae were essentially pins to hold tunics together, and were spread all over Western Europe by Roman military campaigns • Luxury goods, grave goods, Germanic elite were buried with their best items for the next world • Fibulae or "Merovingian" the dynasty of Kings at this time, was a Frankish item • Technic: wire work Lots of emphasize on pattern, no emphasis on realistic figural images everything is stylized

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

style: Renaissance Patron: Pope Julius II Purpose -Show old philosophers and scientists to be placed in the library of Pope Julius II Context -Humanism directly resulted in this piece -as well as the Pope's own desire to show his humanist ideals -Humanism made is acceptable to return to the old philosophies of the Greeks and study their principles -commissioned by Pope Julius II because he viewed himself as an emperor rather than a pope -wanted to bring Rome back to its former glory, such as during the days of the Romans -Leonardo Da Vinci, Michelangelo, and Raphael all appear, in addition to Plato, Aristotle, and Euclid

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

• Combination of unlike objects ○ Fur-covered teacup, saucer, spoon § Meant to be punny silverware § Fur of Chinese gazelle ○ Assemblage • Erotic overtones • Combined female and genteel objects vs. masculinity of sculpture done with hard surfaces in great scale and made vertical • Chosen by visitors of Surrealist show in New York as quintessential Surrealist work of art ○ Surrealism: 20th-century avant-garde movement in art and literature ○ Sought to release creative potential of unconscious mind ○ Irrational juxtaposition of images ○ Women largely regarded as subjects and muses of men dominating Surrealism • André Breton requested her to make a piece for Surrealist exhibition • Fame came to Oppenheim young ○ 22 when produced work ○ Inhibited growth as artist • Found objects • Cup 4 3/8" (10.9 cm) in diameter; saucer 9 3/8" (23.7 cm) in diameter; spoon 8" (20.2 cm) long, overall height 2 7/8" (7.3 cm) • Made in Paris

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

• Study of Nature and Human body: There is an interest in returning to classical ideals in the 15th century, with a greater emphasis on formal education and artistic training -two human figures appear nude, their bodies are frontal, stand in a classical contrapposto from the Italian Renaissance -The poses of the two human figures are to show off his knowledge of classical proportions -Artistic training is enhanced by the birth of academies -influenced by "The Apollo Belvedere" and "Medici Venus" both are classical statues - • Movable type -invented by Johann Gutenbergs -mass produced books -looked cheap and artificial, available to anyone Vs. • Engraving -Allowed paintings to be mass produced -Fame spread more quickly • Oil Painting -produces rich color, accurately imitate tones and hues -Preserves well in wet climates, unlike fresco and tempera -Not quick to dry • Northern European -Prosperity was found in Flanders with commercial and mercantile interests -Conflict between iconoclasm of Protestant and Catholic images -influenced by International Gothic Painting featuring thin and graceful figures, Gold, interior view of buildings elaborate frames that much painting -High horizons, enabling a large area of canvas to be filled with detail -Devotion to detailed paintings • Not a narrative but advertisement as artists • Thousands of lines that go in to one area

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 watt represents the height of Khmer power and influence -Largest temple complex at the site of Angkor -It was originally dedicated to the Hindu god Vishnu then it was later changed to a place dedicated to Buddhist worship -The king who built the temple, King Suryavarman, killed his uncle in battle in order to seize the throne -He continued the tradition of building a temple complex distinct from the ones of his royal predecessors. -Likely the Suryvarman's chief priest had a big part in the construction of the temple. Unlike other temples, Angkor Wat faces West because Vishnu rules over the western quadrant of the compass -Entire complex symbolizes the Hindu beliefs -Moat represents the mythical oceans surrounding the earth -Concentric galleries represent the mountain ranges that surround mount Meru, which was the home of the gods Towers represent the mountain's peaks The kings of Angkor adopted beliefs from Hinduism and Buddhism -These were temples to resemble the sacred mountain home of the Gods -Stood at the heart of the capital -Calculated to approximate the plan of the universe as understood in Hindu and Buddhism views -5 vast central towers -Over the gate are 4 faces looking in the the biome temple -Bodhisattva of compassion called Avalokitesvara -216 faces total- 54 towers -The 4 faces represent the 4 immeasurable -Loving-Kindness -Compassion -Empathetic joy -Equanimity -These qualities are important to all human beings, especially leaders

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

-At the entrance of a Kingdom to scare or warn visitors and at the same time protecting the Kingdom -human face with an animal body shows divinity -Large relief sculpture which once was painted -Frontal and side view -the long beard seen on this carving is also seen on statues of many high class people or royalty

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

-At the top of the Acropolis, place of public discourse and the heart of Athenian Democracy -Ostracism: Voters scratched or painted the name of someone who was the most dangerous to the state -Started out as a place to market, for buying and selling -Stoa: Business, politics, civics taken place here Plaza surrounded by important buildings: Tholos, stoas, bouleuterion -Setting of the Panathenaic Festival, ceremonies and parades to honor Athena

Grave stele of Hegeso Attributed to Kallimachos. c. 410 B.C.E. Marble and paint

-Attribute to the sculptor Kallimachos -In Geometric period, Greeks used kraters to mark graves -Archaic Greeks used Kouroi or stelae, classical work -Erected in Dipyon cemetery in Athens -Genre Scene: woman examining a piece of jewelry from a jewelry box handed to her -Domestic scene due to women's status in Greece; pediments to the sides to symbolize home -Chair was very precise; foot on footstool so she never touches ground -Despite low relief carving, the drapery is used to indicate her true size; falls in front of chair; veil to right of head; folds of drapery around her leg

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

-Brunelleschi built the Pazzi chapel as a perfect space with harmonious proportions -He could achieve this by focusing primarily on measuring ancient buildings, for instance the Pantheon -used as the chapter house by Santa Croce friars, is proceeded by an atrium, a sort of entrance hall, supported by six Corinthian Columns -The central dome is decorated with round sculptures and the coat of arms of Pazzi Family made of glazed terracotta - act as private chapel in Basilica di Santa Context -This chapel sets the basis for Renaissance architecture because of its repeating patterns and balanced, calm feel -It is a comprised of a balanced ratio of circles and squares, which was carefully calculated by the architect -exterior facade is a combination of a greek temple and a Roman basilica shows more accepting of Antiquity.

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

-Built as a seat for spectacular receptions and festivals -Persian -Columns are shaped and have lotus capitals -Relief sculptures show different delegations from all parts of the empire brining gifts to be stored in the local treasury -Audience hall has an apadana with 36 columns covered by a wooden roof -Stairways adorned with reliefs of the annual festival

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

-Built during the Golden Age of Athens -Phidias was the sculptor -Huge marble temple to the Goddess Athena -Built in 5th century when Athens was one of the most powerful city states -This building symbolizes the birth place of democracy -Greek predilection for algebra and geometry: x=2y +1 -Unusually light interior had two windows in the cella -Ionic Elements in a Doric temple: rea room contains Ionic capitals, frieze on interior is Ionic

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

-Carved limestone statues, stupas, steles - 2300 caves and niches Mile-long steep limestone cliffs w/ 110,000 Buddhist stone statues, 60 stupas (hemisphere-like structures that contain Buddhist objects) and 2,800 inscriptions in steles. - The Bei Wei caves at Longmen (include Buyang and Binyang caves) have complex iconography intricately crafted into hard stone. - Buddha images (clothed in the costume of Chinese scholar, with drapery on flattened figure)give example of Longmen style ( in contrast to blockier Yungang style --Northern Wei sculpture) - myriad of carvings painted blue, red, ochre, and gold (most of paint faded). - across from entry is a pentad of five figures (most significant devotional grouping) - The central Buddha, seated on a lion throne, is generally identified as Shakyamuni (the historical Buddha) two bodhisattvas and two disciples—Ananda and Kasyapa - Buddha's monastic robe appears tucked under him . Folds cover front of throne. (linear and abstract motifs typical in mature Northern Wei style) flattened, elongated bodies of the - - Longmen bodhisattvas hidden under pleated, flaring skirts. - bodhisattvas have scarves, jewelry, and crowns w/ floral designs. ( gentle, smiling faces- rectangular and long) - Low relief carving on walls, ceiling, and floor. - Finely chiseled haloes in background of images; halo of main Buddha connects with lotus carving in middle of ceiling (celestial deities flutter down from the heavens with scarves) - In past- 2 relief carvings of imperial processions flanked doorway of cave entrance. Central Binyang Cave : - 508 CE - Commissioned by Emperor Xuan Wu in memory of his father Gold paint is present as royal color - Folds in clothing are representative of the dynastic style Fengxian Temple - High relief statues - Vairocana Buddha which is 55 feet Represents the primordial/infinite Buddha Kanjing Temple

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

-Contrappasto: Balance of weight suggests movement; balanced body pose; left leg lets balance of weight on ball of foot -counterpose: an asymmetrical arrangement of the human figure in which the line of the arms and shoulders contrasts with while balancing those of the hips and legs -Greek art became the rage when Roman generals began conquering Greek cities (beginning in 211 B.C.E.) -This work impressed the Roman elite that studios were set up to meet the growing demand for copies destined for the villas of wealthy Romans. -The Doryphoros was one of the most sought after, and most copied, Greek sculptures.

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

-New christian converts were raised on previous ideals, they saw old traditions and experiences and wanted to continue this in their religious experience -There was a change in burian practices (went from cremation to burrying) -Outside city walls, adjacent to major roads, -Romans buit catacombs into the ground -Wealthy romans had sarcophagi or marble tombs carved for their burial -Christians wanted this too so Christian catacombs were often dug adjacent from non-Christian tombs - sarcophagi with Christian imagery were supposedly popular with the richer Christians - At first, Christianity was an underground religion in Roman empire [had to hide to escape persecution in the 1st- 3rd centuries, but converts still grew and eventually became the majority]. - Christians were martyred, they were mostly poor- society's underclass - Most often depicted stories from the New Testament: The Annunciation, The Visitation, Christmas OR the Nativity, Adoration of the Magi - Jesus always maintains a position of dominance/centrality, but surrounded by people (of Old or New Testament events) - Theme of salvation- shown in symbolism - The status of Christianity was not very high. The Romans did not understand their religion, and so many things were mistaken. Because of this, Nero killed all of the Christians in Rome, and persecuted others. -The Christians gained status when Constantine converted to Christianity, and later made it the official religion of the Roman Empire. -In the Catacomb of Priscilla, in Rome, there are many fresco paintings done on the walls and ceiling. -Madonna and Child -One of the very first depictions of this scene that would be captured by many many artist over the centuries -The Good Shepherd: this is done on the ceiling, and depicts Christ as a young man with a goat on each side and a goat on his shoulders. This references that Jesus will watch over and take care of his followers, as a good shepherd would care for his flock. -Contrapposto is evident -Fairly symmetrical (trees on either side too) -Abraham and Isaac depiction -Shows Abraham leading his son to be sacrificed -In later Christian art, Abraham is shown about to kill Isaac, but he is being stopped by an angel or God -Breaking of the bread -At first looks like the last supper because that is an image that we are used to - Has bread and fish, so it also alludes to the miracle that Jesus performed

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

-New technology: Riffle -Angel -Gold on clothes shows influence from Bolivian culture -Emphasis on pattern, which was the focus of incan art, indigenous tradition -Influenced by European art, like weird Renaissance artists -Based on Mannerism, because everything is exaggerated, long, and elegant -

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

-Offering to temple in honor of general recently made a god -They were made for the altar of a Daoist temple -tall and archetype -Porcelain is luxurious, reputation comes from trade because peolpe from other countries didn't have procelain untill Silk Route -Covered w/ motifs -big serpentine dragon -vine with flowers (also above dragon motif and at very top) -Neck divided into 2 parts: bottom has phoenix and top has leaves with inscriptions -Handles are elephants -Porcelain made from pure kind of clay -Porcelain is white, but blue is from mineral cobalt from Iran -Cobalt painted onto porcelain, then clear glaze then fired at high temp.- becomes like glass -Result of global Mongol empire and interaction of china and Iran -Blue and white motif based on materials from Iran as well as local markets in Iran -Trade flourished between China and the Middle East and cobalt, used to create the blue effect, came from the other side of the empire in Iran -Blue and white china typically attributed to Ming dynasty (later), but this shows it in Yuan dynasty before the Ming -The inscription shows that blue-and-white porcelain production was already well-established at Jingdezhen by 1351 -Yuan Dynasty rulers created the Fouliang Porcelain Bureau to oversee porcelain production on a vast scale for export

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

-One side is Apollo and Artemis killing Niobid's children -Niobid bragged about her children to Leto, so Leto's children (Artemis and Apollo) kill Niobid's children -The other side is Hercules and Athena to his left. It could be a sculpture of Hercules, and warriors are coming to as him for protection before they go into battle -Red figure vase -Covered everything with slip except what they wanted to show up -Details are painted in with a liquefied slip -Symposium: dinner parties, A way for the citizens to have fun but in a structured way; freeborn males were invited -Play games of skill, oratory

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

-Peplos Kore is a statue that is meant to be either for offering to a Goddess or it is the Goddess herself. -The name Peplos Kore is not the name of the Goddess, it is a name that comes from what she is wearing "peplos" and "kore" for the type of statue. -The position of the arms suggest that she could have been holding something like a bow and arrow, meaning that she is Artemis or Athena. -This statue also features the archaic smile symbolizing power and a sense of knowing or that the person is better than others. -This work reflects Greek culture because it focuses on a Greek goddess. -This can be indebted to earlier works such as statues found in temples that were made to honor or as an offering for Gods and Goddesses. This work focuses on femininity in the power of the Goddesses. -This kore is different than the male korus because she is fully clothed unlike the man who is fully nude

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

-Pharaoh that wanted to have unique art to distinguish rule -more natural and realist -wollen dropping bellies -informal -figures are more fluid -composite view of body still -sunken relief stele -the mood is informal and anecdotal -a couple and their relationship with them and their children -symbolizes love and domesticity

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

-Rare Hellenistic bronze -May have been [art of a group, or perhaps a single sculpture with a head tuned to face an unseen opponent -Older man, past his time -smashes nose, defeated look -Cauliflower ears -Nude Fighter; hands wrapped in leather bands -Blood dripping -Lots of emotion

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

-Service of religion -Spiritual experience for devotee enhanced by meditation that was inspired by works of art and architecture -Intended to be moveable: explains its moderate size and sizeable circular base (lifting and putting onto a shoulder) -Was taken out of its original context: not sure where this particular sculpture was venerated -Combines expressive qualities of stone temple carvings with iconography -From the 11th century and onwards, Hindu devotees carried these statues in processional parades and priests would follow chanting prayers and giving blessings. -This image of the god Shiva is taken from the ancient Indian manual of visual depiction, the Shilpa Shastras (The Science or Rules of Sculpture), which included an exact group of measurements and shapes for the limbs and proportions of the divine figure -Chola period - metalwork -Shiva exemplifies perfect physical features as he is frozen in the moment of his dance -endless creation -The ring of fire shows how the universe continues -In his upper right hand he holds the damaru; the drum whose beats syncopate the act of creation and the passage of time. -His lower right hand with his palm raised and facing the viewer is lifted in the gesture of the abhaya mudra, which says, "Be not afraid, for those who follow the path of righteousness will have my blessing." Shiva's lower left hand stretches diagonally across his chest with his palm facing down towards his lifted left foot, which represents spiritual grace and fulfillment through meditation. -In his upper left hand he holds the agni, the flame of destruction that decimates all that the sound of the damaru has drummed into existence. -Shiva's right foot stands on the huddled dwarf, the demon Apasmara, the embodiment of ignorance. -Shiva's hair, the long hair of the yogi, flows out across the space within the halo of fire that creates the universe. -Throughout the process of chaos and renewal, Shiva's face remains calm -Meant to be a portable statue, which is the reason for its moderate size and sizeable circular base, that was carried in processional parades.

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

-Shows a couple having a banquet for all eternity -The banquet on the walls would be happening in the afterlife -the art depicts what those who have passed will be doing in the afterlife -Life picks up where it left off in the afterlife; is very similar to their actual life on earth -Had many funerary practices -Had a banquet with the dead -Sarcophagus would be present at this banquet -They feared that if the dead were neglected, they would become evil, so they built elaborate tombs for them -Could have items from past life in their tombs to take into the afterlife with them; similar to Egyptian tombs

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

-Southern half: -Palace compounds -Meridian Gate (main entrance) -Hall of Supreme Harmony -In the shape of Kun -Wooden structures -Yellow glazed tiles for the roofs -White marble terraces -Themes: Order,Protection,Status and power -Foreign visitors had to enter through smaller entrances in the gates Each building based on treatise on Architectural Methods or State Building Standards (Yingzao fashi) Divided public and social spheres The 3 palaces are for the Emperor and Empress -Heavenly Purity -Earthly Tranquility -Hall of Celestial and Terrestrial Union East and West were reserved for the retired emperor and empress dowager Meridian Gate -South end -Main entrance Buddhist and Daoist temples Inner Golden Water River -Cleansing

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

-Structure is built from local sandstone, alluding to the rock-cut nature of earlier Hindu temples. -Patron was Yashovarman, a king of the Chandella Dynasty that took power in this region and made the city its capitol just before commissioning this temple. The central image here replaced an earlier, metal image from the previous overlords that the Chandella kings overcame. Religious architecture here takes on a political meaning, as the new kings built to legitimate their reign. -The sculptors they patronized also depicted events from their reign on the lowest level of the plinth or base worshippers would circle. -Basic structure and use: worshippers circumambulate the two levels of the base before entering the temple, where each mandapa has a central image and sculpture around its perimeter that can be studied and venerated. -The tallest tower, or sikarha, covers the garba griha, the main sanctuary or "womb" chamber, which is in complete darkness but includes a corridor for circumambulating the cult image. -Temple to Shiva as Mahadeva: lord of universe, destroyer and creator in his male and female aspects. -Mithunas represent both fertility and transcendence of this world. -Idealization based on a vital, dynamic but somewhat inhuman canon: elements of the body compared by scholars to plants, trees, flowers, etc. -Three bend pose key: divine dynamism and flexibility.

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

-Stupas on burial mounds-contain relics of Buddha -"stupa" is Sanskrit for heap -structure as a whole represents the Buddha in seated meditation. -the domed shape of the stupa came to represent a person seated in meditation much as the Buddha was when he achieved Enlightenment and knowledge of the Four Noble Truths -Before images of the human Buddha were created, reliefs often depicted practitioners demonstrating devotion to a stupa. -images of elephants kneeling to Buddha. - lintels have "jatakas" (scenes from the life of Buddha) -Purpose: One of Ashoka's goals was to provide new converts with the tools to help with their new faith -no images of Buddha but symbols like a footprint or an empty throne. - Early in the development of Theraveda Buddhism, it was considered inappropriate to show the Buddha as an image. -Sanchi was birthplace of wife of Ashoka- emperor who converted to Buddhism and expanded its influence in India

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

-Temple made of mud brick and wood -Steps in front direct attention to the deep porch; entrances emphasized -influences of Greek architecture in the columns and capitals; column are unfitted, made of wood -Etruscan variation on Greek capitals, called the Tuscan order -Thee doors represent three gods; division of interior into three spaces

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

-low relief -King at foot of God (shamash) -stele with legal code -King was nearly equal to a God -Black stone -The God would be taller standing up, but in this position they are nearly equal -both have similar attire

Palette of King Narmer 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)

-low relief, hierarchical scale -Unification of Upper and Lower Egypt -Horus as King, Hathor= mother of Pharaoh -Pharaoh brings order/Maat= god of truth -is victorious over enemies/foes

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

-mummification preserves soul for afterlife -built out of solid gold and precious stones Innermost coffin -gold like a god which has skin of gold -divine rule -Death mask -spell 151b -book from the dead path to afterlife

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

-painted silk banner over six feet long, T-shaped banner was on top of the innermost of four nesting coffins -the objects in the son's and wife's tombs were of extraordinary quality and very well preserved. From these objects, we can see that Lady Dai and her son were to spend the afterlife in sumptuous comfort. -Depicts Lady Dai (earliest portrait) flying to heaven with maids in attendance; above her is heaven, w/ Dragon/ man, jade toad, and three-legged crow of the Sun, ( immortal figures of traditional legend; ) -below are the funerary rituals, with ritual vessels and the body. - image is "held" up by figures from the underworld who represent earth and water -Unifying entire composition are dragons threaded through bi-disks, symbols of eternity and the union of earth and heavens -Composition derives from traditional images and objects used for funerary rites, in which the dead's spirit is called back for offerings in the tomb, propitiating their soul, but the spirit is also dispersed to the next world. - to express a wish for immortality and represent the immortal world of a high class woman from the Han Dynasty (wife of a powerful noble, buried in a tomb near him and her children) -possibly a 'name' symbol for the soul to recognize the body; possible aid to the soul in attaining the ideal afterlife.

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

-ready to write down anything -votive -crossed legs meant that he worked sitting -lower than people he was working for -simple -eye as a whole held in the socket by copper clips -sagging anatomy; realistic whereas royalty is idealized -There are lots of seated scribes with the same pose -Egyptian art does this thing where they have a lot of generic art and repeat the same thing over and over

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

-stepping forward -wife, equal in height -idealized -unfinished legs, no detail -the higher the class the more stylized the statue is -The typical depicted form of the Pharaoh and his wife

The Stone Breakers Gustave Courbet. 1849 C.E. (destroyed in 1945). Oil canvas

-two figures labor to break and remove stone from a road that is being built. -age of powerful jackhammers and bulldozers, such work is reserved as punishment for chain-gangs. -Courbet depicts figures who wear ripped and tattered clothing -set against a low hill of the sort common in the rural French town of Ornans, where the artist had been raised and continued to spend a much of his time -wants to show what is "real," and so he has depicted a man that seems too old and a boy that seems still too young for such back-breaking labor -Like the stones themselves, Courbet's brushwork is rough—more so than might be expected during the mid-nineteenth century. -This suggests that the way the artist painted his canvas was in part a conscious rejection of the highly polished, refined Neoclassicist style that still dominated French art in 1848.

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

CONTEXT Baule peoples ( Côte d'Ivoire). Early 20th century C.E. Wood and pigment - The 400,000 Baule who live in central Côte d'Ivoire in West Africa have a rich carving tradition - Many sculpted figures and masks of human form are utilized in personal shrines and in masquerade performances. - This mask was part of a secular masquerade in the village of Kami in the early 1900s HOW IT IS USED Gbagba Masquerade: - a Mblo mask features a masker in a cloth costume conceals his face with a small, wooden mask and dances for an audience accompanied by drummers, singers, dancers, and orators in a series of skits. - In the village of Kami, the Mbloparodies and dances are referred to as Gbagba. - When not in use, the Gbabda masks were kept out of sight so it is unusual that we get to see a mask displayed in this manner. COMMISIONED/PURPOSE Moya Yanso: - this Gbagda mask was meant to honor a respected member of Baule society. - Moya Yanso is the image carved by a well-known Baule artist, Owie Kimou. ○ her stepson who danced this mask in a Gbagda performance - commissioned and originally worn by Kouame Ziarey, Moya Yanso's husband and later his sons. ○ Moya Yanso accompanied the mask in performances throughout her adult life until she was no longer physically able. ○ This portrait mask tradition came to end in the early 1980s with the decline of Gbagba and while entertainment masks continue, they are no longer carved to represent specific individuals. - Idealistic: features, like the six projecting tubular pieces at the crown, are abstract and are not a realistic representation of the woman but rather suggests an idealized inner state of beauty and morality associated with Moya Yanso.

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

CONTEXT: - The French Revolution Style: Rococo - Flagrantly erotic and sensual (enhanced seductiveness) - Playful scenes of love and romance with overt sexual overtones (classic Rococo painting) ○ White silk staking, mischievous facial expression ○ Lover is hidden in the bushes ○ The unsuspecting bishop is pushing her on the swing ○ Lightening = expression of passion ○ Baby statue holds beehive = the stings of love ○ Dog barking in bottom right corner § Dog = fidelity § Ironic § Dog is giving away the secret ○ Statue shushing the secret - Light and airy feel ○ Puffy clouds ○ Light framed figures ○ Weightless in the swing - Figures are clothed in shimmering fabrics - Scene is often park benches, downy meadows, forests, or gardens with rich plant life ○ Oneness with nature - More for private settings - Expression of indulgence and pleasure - Shows aristocracy and ruling class in France - Spontaneous brush strokes - Light palette of pastels ○ Never thick or richly painted Patronage: - The patron is in the lower left corner looking up the skirt of the woman on the swing as she swings flirtatiously, kicking off her shoe at the cupid statue ○ The patron hides in a bower, possibly as a symbol for the secrets he hides

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

Chokwe peoples (Democratic Republic of the Congo). Late 19th to early 20th century C.E. Wood, fiber, pigment, and metal - Made by the Chokwe people in the Democratic Republic of the Congo - Recognize the founding female ancestor of Chokwe lineage - Represents an ideal woman - Made by men, to honor young women who had had successful births ○ Honor given to those women ○ Family line was passed down through the mother - Would have been danced by a male dancer ○ Tight fitting body stocking worn with it ○ Groin area covered with loincloth ○ Wore wooden breasts ○ Dance: walked in graceful, stately way § Chokwe women did dance in a graceful, slow way - Not impersonating a women, only to honor women who had been through childbirth ○ Retain beauty and wisdom - Face: ○ Made of very thin wood that is difficult to carve, Mask is deep red ○ Not speaking, she does not need to, she already deserves honor ○ Very calm and knowing ○ Eyes closed ○ White kaolin around her eyes (clay) § Spiritual ability of second sight, power comes from ability to give birth § Most important part of face ○ Very symmetrical ○ Chin comes to a narrow point ○ Wide forehead ○ Abundance of circles present: earing, eyes, mouth ○ Once repaired so that it could be used more ○ Pounded dots around eyes to accentuate them further, but also could be tattoos that had special meaning ○ Hairstyle: would have been fashionable at the time, very elaborate

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

Comes from a Roman legend involving a conflict between the romans and a rival group from nearby Alba Instead of a war, they elected representative combatants to settle the dispute This painting depicts Horatii (the representative of Rome) taking an oath to defend Rome The women in the background are the wives of the representatives of Rome and Alba Neoclassicism: revival of a classical style or treatment in art Painting tells a story derived from the Classical world that provides an example of virtuous behavior The dramatic, rhetorical gestures of the male figures easily convey the idea of oath-taking The clear, even light makes every aspect of the story legible Instead of creating an illusionistic extension of space into a deep background, David radically cuts off the space with the arches and pushes the action to the foreground in the manner of Roman relief sculpture Classical art presented softly modeled, graceful figures David uses that old approach in the figures of the women, but challenged it as well with the athletic male figures Politics: the painting is typically interpreted in the context of the French Revolution David was directly involved as a revolutionary One might read Oath of the Horatii as a painting designed to rally republicans (those who believed in the ideals of a republic, and not a monarchy, for France) by telling them that their cause will require the dedication and sacrifice of the Horatii

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

Commission • Kuba king Mishe miShyaang was celebrated for his generosity and great number of loyal subjects • Had his own praise song • Commissioned an idealized portrait-statue in his likeness (called an ndop) • Commissioned in 1710 How is the work used and with what other objects • The ndop sculptural record helps to stabilize history that was otherwise passed down orally (which could lead to inaccuracies) • Ndop most revered of all Kuba art forms • Genre of figurative wood sculpture that portrays important Kuba leaders from the eighteenth to twentieth century • Arent meant to be exact likeness, artists who carved the statues were more guided by cultural precedents • All figures have a one-to-three proportion • Emphasizes the head because it was considered to be the seat of intelligence • Made after death of the king Characteristics of this Ndop figure • Cross-legged pose • Peace knife in his left hand • Face seems uninvolved, above mortal affairs • Wearing royal bracelets, arm bands, belts, and headdress

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

Commissioned by ruler, Osei Tutu Said to have fallen from the sky Maintains the story of the creation of the Shanti people Made of wood and covered in gold Gold represent royalty and the gold trade in North Africa So sacred that not even a ruler can sit upon it and it rests upon its own stool The identification of a king lies in the elaborate, heavy bronze figures and sandals Sword bearers symbolize the military strength of the nation A wife or a queen mother is represented in on of the bronze figures The Ashanti people believed that stools would absorbed some of the sitters energy which made it sacred The Golden Stool maintains its purity because no one is allowed to sit on it Displayed on its side because of its weight and sacredness (can't sit on it if it is not upright)

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

Content: - Nude female that is NOT VENUS ○ Odalisque: nude woman in a harem ○ Very sensuous - The anatomy is very inaccurate ○ Extended back/spine ○ Leg is in impossible position with her hips ○ Distorted to make it more elegant - She stares back out at the viewer, but it is not inviting - The fabrics are very tangible and realistic - She almost hits the borders of the canvas, she is very long and tall - Wears an elaborate turban - There is a hookah at her feet - She holds a peacock feathered fan - Jeweled brooch in her hair - Golden bracelets - These things allowed the woman to be viewed by a male audience without just being a nude woman Context: - Originally commissioned for the sister of Napoleon, Queen of Naples - Napoleon had been deposed and the king of Naples was no longer there to receive it - They did not know what a harem really looked like (French fantasy) ○ Harem: the group of women and their enclosed quarters that are forbidden to the man that they are all related to ○ Common in Africa and the Near East, and France had colonies there, so they were showing that they were superior by incorporating this into their culture Materials: Example?/not example?: - He began to stray from traditional Neoclassical subject matter of art that had a moral instruction included - Ingres started to paint a lot of nude women, and this is Romantic subject matter - He still used Neoclassical techniques (extreme linearity and a smooth surface where brushwork is almost invisible), but he painted subject matters that were romantic - Her body is not idealized, and it is very unrealistic (Ingres' teacher would have taught idealization and perfection of the body) What influences?: Jacques Louis David was Ingres' teacher in Neo-Classical style

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

Content: -1st to utilize concrete -A mixture of lime and volcanic rock to form a mortar -Extremely strong bonding abilities -Sustainable and environmentally friendly -80 entrances: Porta Libitina (For the removal of dead) Porta Sanivivaria (For survivors/victors) -Ima Cavea: Nobles class -Media Cavea: Roman citizens -Summa Cavea: Urban poor, foreigners, freed slaves and other slaves Colonnade seating: Women of high rank Context: -Original name: Flavian Amphitheater -Flavian family paid for the building -Would demonstrate the power and wealth of the family -Largest amphitheater in the Roman world -Place where citizens could see ruler in person -The Flavian emperors, as Vespasian and his sons Titus (79-81) and Domitian (81-96) were known, attempted to tone down the excesses of the Roman court, restore Senate authority and promote public welfare -Nero took his own life in 68 CE, his misrule and excesses fueled a series of civil wars -This was thus used as a place for the public to enjoy gladiator fights and other forms of entertainment -Titus officially dedicated the Colosseum in 80 CE with a festival including 100 days of games -Used to win public support and devotion -Built on the site of the lake in the gardens of Nero's palace, which shows the shift of power after Nero's death Desgin: -Center is the arena where gladiators would fight; used sand on the bottom because the sand would absorb blood -Roman numbers over each arch to show people where to sit because seats were according to the status (most important people closest to the arena) -Arches are framed with columns -Bottom story: Tuscanic (similar to Doric, but a local style; Tuscanic columns have a base) -Second story: Ionic -Ionic columns were seen as the most feminine of the columns because they were slender and had volutes, and the women would sit higher in the arena because they had a lower status -Third story: Corinthian (covered with leaves and grass; based on the acanthus plant found in Rome) Top story: bronze shields alternating the windows -Inside the arches on the third and fourth floor there would be statues -Top floor: probably would be bronze shields on top alternating the windows Purpose: Gladiatorial combats, hunts, wild animal fights, mock naval engagements (the arena was flooded with water) put on at great expense

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 by Andre Le Notre.

Content: Building started in1661 allowing Louis (finished 21 years later) 700 rooms, 2,153 windows, and takes up 67,000 square meters of floor space Outside is classical, symmetrical and repetitive Based on simple elements that are directly borrowed from ancient Greek temples When Versailles was being built, this ancient past was seen as the root of the intellectual and aesthetic superiority they believed had descended to the French nation Louis was making a direct link from himself all the way back to the great thinkers and builders of the ancient, classical, past Interior: Many gorgeous rooms, including a Study for Louis XIV's dogs and the Salon of War and the Salon of Peace Center = Louis' bedroom, from which all aspects of the design radiate out like sun rays (#SUNKING) Despite over 700 rooms, very few actively served any purpose Most famous and gorgeous: La Galerie des Glaces (AKA the Hall of Mirrors) During Louis XIV's reign, served mostly as a passageway from his bedroom to the chapel One wall: row of giant windows looking out on the gardens, other: 357 mirrors to catch the sunlight and glory of the Sun King Ceiling: barrel-vaulted, paintings by "Le Brun" celebrating Louis XIV's early reign as a narrative from war (Dutch Wars of 1660's and 1670's) to peace; first time he is portrayed as a person, not a mythological figure

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

Context -Ruysch's career paralleled the growth of the Dutch horticultural industry and the science of botany. -The Netherlands became the largest importers of new and exotic plants and flowers from around the world. -Coveted for their intense and unusually varied colors, tulips were introduced into the Netherlands from Turkey in the late 16th century Content: A successful Dutch still life painting was highly valued for its degree of skillful realism. -Flowers Still Life depicts a profusion of scientifically accurate floral details. Each petal, stem, and leaf is minutely and precisely rendered. -Textures are remarkably realistic, from the delicate paper thin poppy petals to the crinkly, brittle leaves. -Looking closer still, we see that Ruysch has also meticulously depicted tiny insects: a caterpillar crawls on a stem, a bee gathers pollen from the center of a poppy, a white butterfly alights on a marigold. Purpose/Meaning: -common interpretation is to understand them in light of vanitas, a moral message common at the time. -Taken from a passage in the Christian bible, it was a reminder that beauty fades and all living things must die. -While still life paintings celebrated the beauty and luxury of fine food or voluptuous flowers, vanitas was a warning about the fleeting nature of these material things and the shortness of life. -In Flowers Still Life, some flowers wilt and die while insects have eaten holes in the leaves. -Wealthy Dutch consumers were being reminded to not become too attached to their material possessions and worldly pleasures; eternal salvation came only through devotion to God.

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

Context: -American people are born in diverse colors, customs, temperaments and languages -Spaniard and the Indian is born the mestizo, usually humble, quiet and simple -states an inscription on José Joaquín Magón's painting, The Mestizo, made in New Spain (Spanish colonial Mexico) during the second half of the eighteenth century. Content: The painting displays a Spanish father and Indigenous mother with their son, and it belongs to a larger series of works that seek to document the inter-ethnic mixing occurring in New Spain among Europeans, indigenous peoples, Africans, and the existing mixed-race population. Style: This genre of painting, known as pinturas de castas, or caste paintings, attempts to capture reality, yet they are largely fictions Purpose: the casta series progresses and the mixing increases, some of the names used in casta paintings to label people demonstrate social anxiety over inter-ethnic mixing and can often be pejorative.

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

Context: • Yayoi Kusama is a self taught and internationally renowned artist from Tokyo, Japan • She was a foremost innovator of the happenings • Narcissus Garden was shown in the 33rd Venice Biennale in 1996 • It is an installation made up mirrored balls • Art historian Jody Cutler describes Kusama's works saying "narcissism is both the subject and the cause of Kusama's art, or in other words, a conscious artistic element related to content" Content: • 1500 large, mirrored, stainless steel balls • The installation was accompanied by signs that said "Your narcissism fro Sale" and "Narcissus Garden" Innovation and Meaning: • Was meant to involve audience participation • The art was later moved to water to reflect "organically made ever-changing viewpoints" • Critique of the art world and its systems of repetition and merchandising • Viewers look into the stainless steel spheres and see their reflection In the installation that appears in Brazil there is an allusion to the myth of Narcissus who was enchanted by his own image, and this work is made up of hundreds of convex mirrors that distort that viewers image causing the viewer to contemplate him or herself

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

Exterior: - Simple, bronze clad tower- metal and glass - Not regular brown/black, but a subtlety to color in sophisticated way - Rubbed with oil once a year so bronze chemical effects don't take place - Symmetrical, disciplined aesthetic (influenced by Greek sculpture and architecture) ○ Columns look like fluted columns ○ Whole building is up on a platform like the Parthenon - Vertical velocity - I-beams are decoration to give it texture, depth, and a play of light/shadow Interior: - Steel I-beams, unattractive, so they are hidden - Mosaics, marble, granite, exterior reflecting pools - Four elevator banks are wrapped in travertine- Roman travertine - Glass membrane encloses lobby- visually holds the building up Relation to Site: - Seagram was a Canadian liquor company (Largest in the world at that time) ○ They did so well because of the prohibition- they were based in Canada so could smuggle alcohol to Chicago, with their headquarters in New York - Building is set further back on the lot to pay respect to the Racquet and Tennis Club across the street, did not want to overwhelm the Italian Palazzo - Creates a corridor for his building to be viewed ○ Type of social space How were buildings like this influential? - His 1st opportunity to build an office building - He moves to the US and designs the campus of the Armour Institute - Influenced modern art and architecture ○ It is a modern icon of architecture in New York - Modern movement of architecture was looking to balance old and new, this combined that Modern usually wants to strip away the unnecessary and decoration, but Mies allows a limited amount of it

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

It may look conventional and familiar but on closer inspection the exterior is enlivened by a diverse array of mischievous and sometimes perplexing architectural features. -because the owners enjoyed bird watching it may also have doubled as a blind, camouflaging the large windows behind it. -Classical in derivation yet slightly cartoonish, this somewhat awkward assemblage gives the house a simultaneously grand and whimsical appearance -Conspicuously two dimensional Venturi never liked the stylistic term Post Modern -Look like pop up book -Suitable for lots of guest, open, airy

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

Purpose and Patronage: • Where pope's are elective • Art to show Catholic power -Last judgment placed behind the high altar Iconography: • Ceiling of Sistine Chapel comprises of 175 different picture units • 9 paintings down the center of the ceiling from Genesis • Not a single scene from the New Testament, shows power very radical • Not directly christian all classical DELPHIC SYBIL, MICHEALANGELO, 1508-1512, FRESCO, SISTINE CHAPEL, VATICAN • One of five sybils • Head turned, hair like wind from spirit THE FLOOD, C 1508, FRESCO, SISTINE CHAPEL • DEPICTS NOAH AND HIS FAMILY FLEEING THE RISINGFLOOD • REMAINING FIGURES CLING TO THE TOOP OF A MOUNTAI • SYMBOLIZED BAPTISM, WHILE THE ARC SYMBOLIZED THE CHURCH ITSSELF • Renaissance: telling figures from bodies and figures, classical contrapassto, Hellenistic art influence with body dynamic • His figures are always nude, women look like men sometimes • He thought of human form as the ideal form that God created, he got this from Florence and Medici family -the best way to convey important ideas PERSONAL • Known as the master of painting the human form • Included characters called Inferno RELIGIOUS • Commissioned to do the last judgment during Reformation • Includes images of Mary and angels • The souls of those going to hell, shows sins that they believed made u go to hell Culture • Greek mythology -Charon, the one transporting souls to underworld -Minos Reflections • Not bound by a painted border • Portrays an event in the future not the past • Criticized for the nudity of the figures being judged

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

Purpose and function: -Roman temple: designed to worship all of the gods or at least was dedicated to them -also have been a place where the emperor could make public appearances in a setting -reminded onlookers of his divine status, equal with the other gods of the Roman pantheon and his god-like emperor predecessors - Emphasizes Roman power and responsibility - Later converted into a Catholic church by Pope Boniface in 608 CE and dedicated to Mary of the Martyrs (still a church) - Important function: holds three celebrated tombs: Those of the Italian monarchy from 1870-1946 CE and the artist Raphael (1483-1520 CE).

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

Purpose: Strikingly and unflatteringly realistic -Demonstrates old age Idealization: Republicans value virtues like wisdom, determination, and experience -Idealization: symbolizes valor and strength -Romans respect ancestors -Sign of patrician heritage -Realism shows influence of Greek Hellenistic art; late Etruscan art -Bulldog-like tenacity -Features may be exaggerated -Physical traits of portrait meant to convey seriousness of mind (gravitas) and virtue (virtus) of public career by demonstrating way in which subject literally wears marks of endeavors Political Traditions: In early Roman Republic, was effective means of competing in complex socio-political arena -Late Republican politicians without famous ancestors used visage as tactic to lend familial gravitas to families who had none—thus increasing chances of aristocrat's success in politics and business -This characterized the scene at Rome in early days of Roman Republic as reminder that one's public image played major role in what was turbulent in Roman history Funerary Traditions: -Stylistic tendency influenced by tradition of ancestral imagines as well as deep-seated respect for family, tradition, and ancestry Imagine: representation of form of person, such as painting, photograph, or sculpture Imagines essentially death masks of ancestors kept and displayed by family -Aristocratic families used wax masks at subsequent funerals so an actor may portray deceased ancestors in familial parades -Ancestor cult influenced deep connection to family

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

Sande Society, Mende peoples (West African forests of Sierra Leone and (Liberia). 19th to 20th century C.E. Wood, cloth, and fiber • Bundu of Soweii mask • Would have been worn on top of the head • Raffia would have been worn below the mask to hide the face ○ Raffia: the fiber from the raffia leaves which come from palm trees in tropical Africa • The only masquerade tradition where women wore the mask ○ A man would have carved the mask but the ritual was performed by women ○ The ritual would help young girls through their initiation § They would have been taken from their everyday lives and tasks and brought to a secluded place in the forest § They would have been instructed on how to be good wives and mothers from the members of the Sande society □ All girls were initiated into the Sande society • The mask has a beautiful black sheen or shine Smooth and glistening surface which was in contrast with the white chalk the girls had to wear on their face to show their transition from girls to women • The Black shine is ideal • The artist or carver has created an image that suggests an inner quality girls should strive for ○ an ideal that the girls should mimic in their adult life • Small mouth and petite ears. ○ Small mouth shows she should be quiet and not gossip ○ Small ears to not listen to gossip • Downcast eyes ○ Show how she should be reserved • Elaborate hair style ○ Serious face ○ Elaborate hair § Meaning is unknown § As knowledge of the society becomes known, so do the aspects of the mask • Rolls of fat under the chin ○ She has enough body fat to bear children ○ Expected to marry and have children § Ideal ○ Initiation is the only time the girl can have time off and enjoy food § Thought to prepare her for bearing children • Soweii is thought to be a spirit that comes from rivers and lakes • Below the eyes are four lines ○ Scarification marks § The ideal aesthetic for women • The mask is intended to instruct girls how to be proper women through dance. ] ○ The dance teaches about proper womanhood but also the Sande society's belief systems • The mask would have been worn over and over again, but when not worn, it would not have a spiritual presence ○ Housed in an elder woman's home

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

• Figures placed on top of cylinder-like containers made of bark that hold skulls and other bones of important clan leaders • Feet dangling over rim in gesture of protecting contents • Reliquary figure guards the head box against the gaze of women or young boys • Bieri figures are composed of characteristics the Fang people place high value on: tranquility, introspection, vitality • Surfaces were ritually rubbed with oils to add luster and protect against insects • Prominent belly button and genitals emphasize life; the prayerful gesture and somber look emphasize death • Abstraction of human body an attraction for early 20th century artists • Talisman: an object with supernatural properties that protects from evil or brings luck • Reliquary: a container for relics; here usually skull and/or bones of important community members or ancestors together with potent objects and medicine • Fang people nomadic or semi-nomadic; the remains placed in reliquary boxes rather than a more permanent cemetery • Older wise important men of the tribe would maintain them and construct them, consulting them about important decisions to be made • Eyes look down, closed mouth, arms clasped together, powerful musculature; calm and contemplative as well as power and strength • Fang: enlarged head, emphasis on head; tibular nature of limbs and body • Male figure • During initiation, relics removed and placed before initiates while and elder recites clan genealogy; followed by "reanimation of the dead" when figures dance above a screen of raffia; the figures are then presented as symbols of the unity of the clan (initiation a connection to the founding fathers of the clan) • Hairstyle was popular when the sculpture was made: three cress with a kind of duck tail in the back (high status Fang men would wear these at the time) • The purpose of the object was to express certain spiritual ideas: abstraction (use of geometric shapes) : eyes reduced to half-circular shape, cheeks form diagonal lines, limbs cylindrical and rounded • Conceptual piece about idea of a reliquary guardian figure rather than natural human figure • Tension: he is suggesting one approach with honor and respect, but also a power that warns those it is not meant for to not disrupt the contents of the box

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

• Means "the house of stone" • Ruins were once part of the Bantu civilization of the Shona between the 11th and 15th centuries but currently they are spread across nearly 1800 acres of present day southeastern Zimbabwe • Little is known about the Bantu people who built the Great Zimbabwe • Only the elite classes of people were thought to have lived within the Great Zimbabwe ( 200 to 300 members) • Was a royal residence for the king • The Shona tribesmen who lived there grew sorghum, millett and cow peas, and kept cattle and sheep outside their compounds • Great Zimbabwe was the heart of a thriving trading empire - How is this work's design practically and symbolically important to its function and meaning? • Great Zimbabwe is set apart from the other structures located on the Zimbabwe plateau • Its architecture was even attributed to foreign powers by Europeans in the 1800s because of its grandeur • The site is divided up into three main areas: the Hill complex, the Great Enclosure, and the Valley Ruins • The rock that made up Great Zimbabwe's stone walls naturally split into even slabs and portable sizes so it provided a readily available and convenient building source • The walls served as a symbolic show of authority that were designed to preserve the privacy of royal families and set them apart from commoners Ashley: - Great Zimbabwe - What elements of the structure's visual design or construction need further context to fully understand their meaning? ○ Great Enclosure § Only uses curves □ Not straight lines or angles § Similar structure the Hill Ruin □ Possibly used as an overflow area for people in the Hill Ruin area § May have functioned as a site for religious ceremonies ○ The Hill Ruin § Cave that is a sacred site for the Shona people □ Cave was originally for the ruler and his family ○ The Valley Ruins § Hub for commercial exchanges and trading § Objects that have been traced back to China and Southeast Asia have been found there § Other objects from central African kingdoms have also been found ○ The walls of the great enclosures were not used for protection because they have too many gaps in them ○ The structures were made to show the power of the rulers of Zimbabwe ○ Conical Tower § May have been a granary □ Giving grain to others is a symbol of protection - Has this work's meaning or function changed over time? How? ○ Then: § Was a royal residence for the king § A stone civilization § Ritual site § Cemeteries § Useful for passing on messages § Town at the bottom of the hill § Trading stop § Inhabited by the Shona people until 1450s ○ Now: § Monument for the autonomy, and economic power of the Shona § The country was renamed Zimbabwe (formerly known as Cecil Rhodes)

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

• Munch utilized a minimum of forms to achieve maximum expressiveness • Consists of three main areas ○ The bridge, which extends at a steep angle from the middle distance at the left to fill the foreground ○ A landscape of shoreline, lake, and hills ○ The sky, which is made with curving lines in tones of orange, yellow, red, and blue-green • Foreground and background blend into each other ○ Curving lines of the hill ripple into the sky • The human figures are separated from this landscape by the bridge ○ Its strict linearity provides a contrast with the shapes of the landscape and the sky. • The two faceless figures in the background have the same geometric precision as the bridge • In contrast, the lines of the foreground figure's body, hands, and head take up the same curving shapes that of the background landscape ○ The screaming figure is linked to the natural world • Passage from Munch's diary: ""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." ○ Inspiration for the scene ○ Figure on the bridge could be a symbol for Munch himself • The figure on the bridge feels the cry of nature, a sound that is sensed internally rather than heard with the ears • Munch is expressing synesthesia ○ Union of senses ○ Visual depiction of sound and emotion

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

• Oil paint • Treatment of light • Light from window • The first time people think about light and how it falls on things • The guy in the painting is an Italian banker, and his wife -they are wealthy people showing off their wealth • Symbolic luxury items • The rug came from the middle east • Mirrors are really expensive • Fancy clothes, summer but they are wearing fancy winter clothes • Private house • Memorializing a private event Not religious but there are religous symbols like the passion on the mirror or that they aren't wearing shoes

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

• Ready-made sculpture ○ Found object Duchamp deemed art • Entered in unjuried show (Society of Independent Artists, 1917) ○ First exhibition by Society at The Grand Central Palace, New York ○ Work refused by committee § Rules stated all works accepted from artists paying fee • Signed by "artist" R. Mutt ○ Pun on Mutt and Jeff comic strip ○ Pun on Mott Iron Works • Title "Fountain" pun ○ Fountains spout liquid ○ Urinal collects liquid • Added irony ○ Placed upside • Porcelain • Displayed and photographed at Alfred Stieglitz's studio ○ Photo published in Blind Man § Original photo lost • Avant-garde ○ Avant-garde: new and unusual or experimental ideas, especially in arts, or people introducing them

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

• Robert Smithson, Spiral Jetty, 1970, mud, salt crystals, rocks, water coil, Great Salt Lake, Utah • Coil of rock in a part of the Great Salt Lake • Located in an extremely remote and inaccessible area that features abandoned mines and mining equipment ○ The great Salt lake contained a whirlpool that connected it to the Pacific and is represented in the spiral jetty • Upon walking on the jetty, the twisting and curling path changes the participant's view from every angle ○ The shape of the spiral jetty has shown up in petroglyphs throughout the American west • Artist used a tractor with native stone to create the jetty • A jetty is supposed to be a pier in the water ○ Here it is transformed into a curl of rocks sitting silently in a vast empty wilderness • Coil is an image seen in North American earthworks, cf. Serpent Mound, Ohio • Artist like the blood red color of the water dur to the presence of bacteria that lived in the high slat content • By creating a spiral he created times where the land and the water could meet one another • Was meant to be a work of art that changed on natural principles • Intrigued by the idea of how things broke down • Was influenced by Casper David Friedrich who brought on the idea of the overwhelming size and power of nature and the smallness of man • Think about the importance of the vastness of the American nature landscape • By putting art into the world and being influenced by nature allows it to not be conserved and be able to constantly change, just like the environment • Take it outside of the commercial idea, experience of art in the world ○ Time is supposed to change it ○ Not be controlled in a museum • The order of things changing from order, to disorder, to chaos • Makes you think about your life span and the time we have as we see it change • Within the last 10 years it has resurfaced after being submerged for years Smithson had literally made this work for the photograph for Gianfranco Gorgoni

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

• Style: Antique • Abstraction: more of the artist interoperation rather than what actually happened -Proportions aren't accurate • Romans are portrayed as the good guys. • Heroic, they are idealized • Christianity influences -moments of moral decision making -The sculptures get smaller towards the bottom, like we are looking down on them -Romans are smoother, enemies are more rough and more shadows -The man standing in the center has the protection of God, soldier, he has been saved, Roman who is buried • Purpose: Sarcophagus • Opposes traditional cremation • carved in stone and often contains scenes from religious mythology sculpted in high relief on all four sides and even on the lid • sculpture could also include a portrait of heroes and shows victory in general • The attention is put on the interaction of the figures and not necessarily the person in the Sarcophagus • Symbolizes the chaos of the Empire -Instability with Augustus (more 3rd century) -political and historical changes • Sarcophagus: a stone coffin, typically detailed with sculpture or inscription It is displayed above ground but can be buried • Very likely that is a symbol for Roman triumph, painted to draw attention • Romans used to cremate their dead, but then they decided to bury people in a Sarcophagus This Sarcophagus shows the battle the Roman defeating the Goths, one of many sarcophagi Roman battle sarcophagi From Hellenistic representations of the Pergamene victories over the Gauls The battle wraps around both sides of the sarcophagus Later Imperial art moved away from earlier Classical influences, and signals the shift to art of Late Antiquity. Body position is now overlapping and reveals no background