AP Art History // 250 Final Set // EDIT THIS ONE

231. Untitled (#228) (Mattie Wilson)

- Cindy Sherman, 1990, photograph -this image explores the theme of the Old Testament figure Judith decapitating Holofernes -The richness of the costuming and setting acts as a commentary on late-nineteenth-century versions of this subject -Richly decorative drapes hang behind the figure -Judith lacks any emotional attachment to the murder that has taken place -Holofernes appears masklike, alert, and nearly bloodless -New Jersey-born American artist -The artist appears as the photographer, subject, custumer , hairdresser, and makeup artist in each work - Artist reveals the artifice of art by showing the props used in the process -comments on gender, identity, society, and class distinction -Cross-Cultural Comparisons: Jefferson, Monticello; Ringgold, Dancing at the Louvre; Shonibare, The Swing

174 — Portrait Mask (Mblo) [CHARLIE PLESE]

- Early 20th-century C.E. - Wood and pigment - Baule People - Côte d'Ivoire (Ivory Coast) - Oblong face shape is black in color with triangular brown markings - Traces of orange and red paint remain near the lips, eyes, and nose - The nose is long and the mouth is closed - Ears are rounded nubs on either side of the face - There are curved markings around the hairline, possibly representing hair - A crown-like addition is attached to the head - Part of a masquerade called a Gbagbo in the village of Kami in the early 1900s - The mask is an idealized portrait of Moya Yanso — A women known in Kami for her beauty and incredible dancing ability; Mask displays her at her prime - The high forehead and small mouth → convey intelligence and posture - The folds near the mouth → convey age - The brass → would shine in the sunlight to represent health - THEMES: Display History/memory Performance Identity Power and authority Abstraction and idealization → the human body Portraiture - Meant to honor an individual -

179. Reliquary figure (byeri) [CHARLIE PLESE]

- Fang peoples (southern Cameroon) - c. 19th to 20th century CE - Wood - Wooden carved figure - Abstraction - emphasis on the geometric shapes of the object - Emphasis on the idea of a guardian figure, instead of depicting a realistic human figure - This figure is male, but female byeris were sculpted as well - Elongated torso; downcast eyes; closed mouth - Powerful musculature - Guard from evil spirts - The head is symbolic of an infant, while the body represents that of an adult - Highlights continuous cycle of human development - Enlarged head - indicating intelligence - Bulging belly button & high forehead - newborn traits - Infants form link between living & dead - Reflects importance of ancestors - Bulging muscles contrast with a contemplative/serene, expressionless face and a symmetrical pose to highlight characteristics the Fang people valued - THEMES Ancestors Power Afterlife Spirituality Legacy Protection Wisdom Continuousness of development Connection between living and dead Patience & tranquility Status/role in society - Guards the box of relics - Rubbed with oil ot portect it

168 — Great Mosque of Djennè [CHARLIE PLESE]

- Founded c. 1200 C.E.; rebuilt 1906-1907 - The flood plain of the Bani River in Djenné, Mali - Adobe mud brick - Made by hand with a contribution from the whole society — the complex organization of society - Supported by massive pillars - Contains a mihrab (a niche in the wall of a mosque, at the point nearest to Mecca, toward which the congregation faces to pray, AKA a decorative wall for praying) - Sign of the chief's religious devotion to Islam - An epicenter for religious and cultural life - Largest mud-brick structure in the world - Topping the conical pillars are ostrich eggs—Ostrich eggs represent fertility - Stairs symbolize the transition from everyday life of the marketplace to a sacred place - Aspects that are traditional to a mosque — courtyard, hypostyle hall, and minarets - The entire city takes part in the replastering - Beams of palm branches to add strength and unity - Part of the annual festival - Rooftop is held up by massive pillars and several holes of terra cotta lids which allow for ventilation

171 — Ndop (portrait figure) [CHARLIE PLESE]

- Hardwood rubbed with palm oil - Calm, expressionless face reflects dignity and feeling of royal distance - Sits cross-legged on a raised platform - Holds a royal drum and wears a hat (presumably a crown) - Captures the ideal king - Objects like the drum and belt identify an individual king, and the varying geometric motifs and emblem (ibol) distinguish each reign - Captures the king's wealth and royal lineage - Commissioned in 1710 by Kuba King Mishe miShyaang maMbul - Celebrates his generosity and a great number of loyal subjects - The Kuba kingdom - Anthropomorphic figure with an enlarged head, the most important part of the body - Carved out of wood - Polished wood--shiny and reddish - Intricate detailing on the arms, drums, face, and platform - Bold facial features with a strong brow and closed eyes - Record of the King's reign - THEMES: Images of power and authority Life cycles History/Memory The human body - Iconography - IBOL — personal emblem - reveals lineage through visual symbols - example of why African art is an active part fo their life

176 — Ikenga (shrine figure) [CHARLIE PLESE]

- Igbo people - 19th-20th century - Carved wooden sculpture - An 'ikenga' is a carved wooden figure that has a human face and animal attributes (anthropomorphic and zoomorphic). - Masculine sculptural genre - Ikenga are carved with intricate designs all along the main carvings - Celebrates the Igbos belief in the importance of individual achievement - A source of strength and power for the owner - Emphasize the power of the right hand—Right hand usually holds a sword - Can be more realistic depictions or more abstract depictions - Horns symbolize aggressiveness and ambition because they believe that rams fight with the head and the head initiates all good action - Most ikenga hold a sword in their right hand (the one shown does not) - The figure is carved to resemble whoever commissioned the figure to be made - Made by the Igbo people of present-day Nigeria - A personal shrine of his own success - Head and horns = male power, virtility

180 — Veranda post of enthroned king and senior wife (Opo Ugoga) [CHARLIE PLESE]

- Ikere, Ekiti region, Nigeria - Wood and pigment - One of four carved wooden posts, painted with unknown pigment - Veranda post, architectural, structural support for the palace at Ikere - Depicts king seated (focal figure) - Senior wife behind, crowning him, large scale and pose underscore her importance: participating in the coronation and political advisor to the king - Small figures at feet of king represent a junior wife, trickster god Esu playing the flute, and at one point a fan-bearer (now missing) - Emblematic of Olowe of Ise's style; exaggerated proportions, the interrelationship between figures, and open space between them - Technical composition conveys close relationship between King and Queen - Line of queen's jaw continues by bird's tail - The diagonal line of breasts continues in king's jaw and is repeated in his arms -

159. City of Cusco [Kathleen]

- It was the capital, it was an axis mundi—the center of existence—and a reflection of Inca power. Location: Central Highlands, Peru Inka empire -Commissioned by Pachacuti 1440 CE Form: -plan in shape of a cat and at the head is a fortress -intricate stone work -trapezoid shapes -andesite Content: -The city was divided into two sections, hanan (upper or high) and hurin (lower), which paralleled the social organization of Inka society into upper and lower moieties (social divisions). -massive stone walls without using mortar -foundation of city is all that is left today -Qorikancha (central temple dedicated to the Sun God, Inti) walls covered in gold to show the shrines' significance -Saqsa Wayman: forstress that looks down on the city, zig-zagging walls, stones were quarried and hauled with incredible manpower Function: -capital of Incan empire

233. Trade (Mattie Wilson)

- Juane Quick-to-See-Smith, 1992, oil and mixed media -Collage elements and abstract expressionist brushwork -Red Paint symbolizes shedding of Native American blood -Newspapers clippings, images of conquest placed over a large dominant canoe -Artist is a member of the Salish and Kootenai Tribes of the Flathead Nation -Work meant as the Quincentenary Non-Celebration of European occupation of North America (1492-1992) -Array of objects sardonically representing Native Americans culture through the Europeans perspective: sports, small toys, and gadgets> dolls, tomahawks, and arrows -Stresses social issues for natives caused by Europeans: poverty, unemployment, disease, and alcoholism -Cross- Culture COmparisons: Paik, Electronic Superhighway(29.17); Osorio, No Crying Allowed in the Barbershop(29.15); Shonibare, The Swing(After Fragonard)(29.22)

184. Jowo Rinpoche [CHARLIE PLESE]

- Lhasa, Tibet - Yarlung Dynasty - Brought to Tibet in 641 CE - Gilt metals with semi-precious stones, pearls, and paint; various offerings - To act as the Buddha's proxy - Seated with his legs in the lotus position - His left hand is in the mudra (hand gesture) of meditation (dhyana mudra) - His right hand is in the gesture of "calling the earth to witness" - Together, the hand postures signify the moment of the Buddha's enlightenment - Shown in a thin monk's robe When dressed, the jowo shakyamuni is presented with a jeweled crown & robes

172 — Power Figure (Nkisi n'kondi) [CHARLIE PLESE]

- Nkisi n'kondi (Power figure) - Late 19th century CE - Wood and metal - Kongo Peoples - The Democratic Republic of the Congo - Serves as a power figure - Imposing figure (leaning forward, wide stance) signifies strength and importance - Contains many different types of insertions, including nails, pegs, and sticks that each have different meanings (see content) - Sculpted out of wood and includes paint, metal, resin, and ceramic - Small and transportable → only stands a few feet tall - Strong sculptural tradition among these people — Used power figures as reminders of social obligations and enforcers of proper behavior - Brought healing and protection to the community - To symbolize an honoring of contracts and agreements - Serves as a mediator between the ancestral spirit world and the living world - Elongated belly button with cowrie shell (placed on its abdomen) - likely symbols of fertility, a link to their ancestors, and wealth (these shells were widely used as currency in the region) - Wide, staring eyes and imposing stance - to help ensure that no other forces would interfere with the fulfillment of its ritual function (in which the spirit would seek vengeance on the wrongdoer) - THEMES: Objects of power/authority Ritual objects of belief Visual/conceptual Private/public affairs - Maintaining social order in the congo - Resolves arguments

175 — Bundu Mask [CHARLIE PLESE]

- No known artist - 19th to 20th century - Wood, cloth, and fiber - Sande Society - Mende peoples (West African forests of Sierra Leone) - Dark, painted wood material forms a head that resembles a thimble - Part of a public masquerade that celebrates a girl's maturation - Creates an image that young girls should strive for and mimic - Thought to be a spirit - Mask doesn't actually speak, but it silently speaks to young girls about ideals through dance -- spiritual knowledge and how to be a wife - THEMES: Display Performance Identity and maturation Abstraction and idealization Symbolism Gender issues Key theme: Never just decorative — but functional and spiritual - A female mask that is for a woman and performed by women

14. Statues of votive figures

- Statues of votive figures - from the Square Temple at Eshnunna (modern Tell Asmar, Iraq) - c. 2700 B.C.E. - gypsum inlaid with shell and black limestone - Iraq Museum, Baghdad and the University of Chicago, Chicago (Figure 2.2) - Figures are of different heights, denoting hierarchy of scale - Hands are folded in gesture of prayer - Huge eyes in awe, spellbound, perhaps staring at the deity - Men: bare upper chest, skirt from waist down; beard flows in ripple patterns; wear a belt - Women: dress draped over one shoulder - Pinkie in a spiral; chin a wedge shape; ear a double volute - Inscribed on back: "It offers prayers Arms and feet cut away - Figures represent mortals placed in a temple and praying -perhaps to the god Abu - Figures sometimes hold either cups or branches in their hands - Gods and humans physically present in their statues - None have been found in situ but buried in groups under the temple floor - Hundreds of statuettes survive Cross-Cultural Comparisons: Shrine Figures - Female Deity from Nukuoro (Figure 28.2) - Veranda post (Figure 27.14) - Ikenga (shrine figure) (Figure 27.10)

186. Great Mosque (Masjid-e Jameh) [CHARLIE PLESE]

- The mosque is located in Isfahan - Visually embodies the visual tastes and political dynasties of the Persian empire - The mosque is a four-iwan design {Iwan- vaulted, or open space on three sides, last one open} - Made up of a large central courtyard surrounded by a two-story arcade - Brick piers and columns which support the roof system. - Inscriptions on walls - Centrally planned - Makes use of gold and blue - To bring people to prayer away from busy streets - Unite the community (umma) - The mosque's location in the heart of the city makes it a center for gathering and transportation and is therefore much more than a mere space for prayer - Commercial activity - Calligraphy covers the arches and walls representing intellectual beauty. - Has towering minarets for the call to prayer. - Interior is a hypostyle hall - Vaults, some ribbed bring in light and ventilation - Bricks and stucco motifs and tilework adorn the space in addition to calligraphy - Iwan style mosque (a vaulted portal opening onto a courtyard - Extravagant interior - domes have a hypostyle hall

181. Petra, Jordan: Treasury and Great Temple [CHARLIE PLESE]

- The remains of the Great Temple at Petra - Petra is an ancient ruin in Jordan first built upon by the Ptolemaic rulers and later expanded by the Romans - The site was constructed between 400 BCE and 100 CE - Nabateans inhabited this ancient city - The entire city has been carved into the rock face - The style most clearly embodies the Hellenistic style and reflects the influence of Alexandria, the greatest city in the Eastern Mediterranean at this time.

167 — Conical tower and circular wall of Great Zimbabwe {15-7, Walls and tower, Great enclosure} [CHARLIE PLESE]

- c. 1000-1400 CE - Shona people - Southeastern Zimbabwe (Great Zimbabwe) - Coursed granite blocks—no mortar held the blocks together (Ashlar masonry - carefully cut stone walls made without mortar) - The wall is a stone walled structure punctuated with turrets and monoliths - Lots of detail and impressive geometric shapes and patterns - A royal center where kings governed—symbolized their power - The wall separated the commoners from the royal families - The great circular wall was to demonstrate the power and protect the houses and the commercial market that it encased - A site for long-distance trade - The Conical functioned as a granary — a Shona ruler showed their power and wealth by the amount of grain they had. - Also allowed people to have panoramic views of the country to scope out enemies coming. - The great enclosure possibly housed a surplus of population and was used for religious and administrative activities - Also possibly served as a site of some religious rituals - Built around a cave that held religious importance to the Shona people - A soapstone sculpture of a seated bird resting on atop a register of zigzags was discovered within the circular wall—The sculpture is thought to represent the power of the Shona kings - The birds are associated with kings and gods

170 — Sika dwa kofi (Golden Stool) [CHARLIE PLESE]

- c. 1700 CE - Asante People - Gold over wood and cast-gold attachments - Carved using traditional Asante methods - Carved using a single block of wood - Has a crescent-shaped seat that is held off the ground by a flat base - His stool is the divine throne of the Asante People - Bells on this stool warn the king of the danger - The stool is used in celebrations and processions - Nobody is allowed to sit on it so they keep it on its side - It represents the soul and identity of the people, therefore, the Ashanti people would disappear from history without the Golden Stool - Gives meaning and value to the society's existence and a place in history - Gold symbolizes royalty - THEMES: Sacred Objects of Belief Ritualistic Significant materials Status - The divine right to rule - King is between being a god and being a person = represents his inbetween state

131. The Goldfish (kate)

- still-life Function: -relaxation of the viewer, goldfish represent a tranquil state of mind -use of pictorial space Content: -graceful movement of goldfish -view of side and view from top of goldfish shown at the same time -artist: Henri Matisse, 1912 (added down below) - abstract, violent contrasts of color - thinly applied colors; white canvas is seen - maybe influenced by asian art and cultures from N africa - compare to Still Life in a studio by Daguerre - he admired the relaxed and contemplative lifestyle of the morocans, which symbolized a meditative state of mind - broad patches of color anticipate color-field painting later in the century - comparison: Dedication Page of Blanche of Castile and Louis IX

158. Ruler's feather headdress [Kathleen]

-Aztec Time: 1428-1520 CE Form: -featherworking -gold Content: -very hard to get these feathers, they were acquired through the vast Aztec trading network Context: -gift for Motecuhzoma II from the Viceroy of Spain -made by artist who specialized in featherwork

230. Pink Panther (Mattie Wilson)

-Jeff Koons (American) 1988; porcelain - following in the steps of Marcel Duchamp and Andy Warhol (34-42) with his commentary on commodity culture and not manipulating objects - Pink Panther mixes mass culture by intertwining a magazine centerfold nude with a well- known cartoon character -trite and kitschy nature reinforced by naming exhibition the Banality Show - could serve as a symbol for everything wrong with contemporary American Society - Similar to Andy Warhol's Marilyn Diptych because it was a familiar star (after her suicide) and commentary on mass culture

232. Dancing at the Louvre, from the series The French Collection, Part I. (Mattie Wilson)

-use of American slave art form of the quilt - quilts were originally seen as beautiful and useful, works applied to art - Quilting = female art forms -the artist combines oil paint with quilting techniques -not bed quilting -Faith Ringgold,NY born African Artist - The quilt has a narrative element - focus on feminist issues -artist creates works and narratives that may never have really happened but that they would have like to have happened -Character names Willia Marie Simone who takes her friend and 3 kids to the Louvre and dances in front of 3 works by Da Vinci - Story is written in text on the quilt - 1 of a 12 quilt series -Cross- Culture Comparisons: BandolierBag (26.11), Hiapo(28.6), The Bayeux Tapestry(11.7)

6. Anthropomorphic stele

Anthropomorphic stele fourth millennium B.C.E Sandstone Pergamon Museum, Berlin (Figure 1.2) - One of the earliest known works of art from Arabia - Found in an area that had extensive ancient trade routes - Religious or burial purpose - Belted robe from which hangs a double bladed knife or sword - Anthropomorphic: resembling human form, but not in itself human - 60 found - anamorphic male figures - burial Cross-Cultural Comparisons: Anthropomorphic Images - Mutu, Preying Mantra (Figure 29.25) - Female Deity from Nukuoro (Figure 28.2) - Braque, Portuguese (Figure 22.6)

1. Apollo 11 Stones (Jessica)

Apollo 11 Stones 25,500- 25,300 BCE Charcoal on stone Windhoek, Namibia - Early example of human expression and writing - Some of the works of art, found in Wonderwerk Cave in Namibia - Profile of an animal seen in profile, done in charcoal why most descriptive part human part animal - Several stone fragments found - Named after the Apollo 11 moon landing; cave was discovered at the time of the moon landing

147. Marilyn Diptych (34.32) [Kathleen]

Artist: Andy Warhol Time: 1962 Material: Oil on canvas, and silk screen enamel on canvas -Pop art -Photo reproduction -Monumental scale (6 x 9ft) Context: -Aimed at young people -Emphasis on sex, sarcasm, comedy - Made post Monroe's suicide Content: -Marilyn Monroe's image 50 times -Image slowly disappears to the right Function: -Tribute piece -The "mask" of a celebrity -- The garnish colors and the flat application of paint contribute to the image's masklike quality -Illusion of commercial desires -- The repetition of her face reinforces her statues as a consumer product, her glamorous, haunting visage seemingly confronting the viewer endlessly. -Shows what image mass media has given to celebrities such as her -1D of the piece symbol for how she was just a one-dimensional sex symbol

150. Lipstick (Ascending) on Caterpillar Tracks [Kathleen]

Artist: Claes Oldenburg Time: 1969-1974 -Yale University alumni, Put on Yale's campus Form: -Cor-ten steel, aluminum, cast resin -Painted with polyurethane enamel -Enlarged scale (24') - Oldenburg and the architecture students never intended for the original Lipstick (Ascending) on Caterpillar Tracks sculpture to be permanent. They made the base of plywood, and the red vinyl tip of the lipstick could be comically inflated and deflated—although the balloon mechanism didn't always work. -Made permanent in '74 with steel) -Made to be seen as a missile or a tank Content: -Massive lipstick (feminine) -"make love not war" Function: -War protest against Vietnam War -Alludes to military because of the caterpillar tracks -Pop art as seriousness and levity -Public monument -Combined feminine stereotype (makeup) with masculine stereotype (war) -The juxtaposition implied that the U.S. obsession with beauty and consumption both fueled and distracted from the ongoing violence in Vietnam.

149. The Bay [Kathleen]

Artist: Helen Frankenthaler Time: 1963 -Use of acrylic (had just been invented) -Soak-Stain method: pouring wet paint onto a canvas and moving it around -Abstract expressionism -Paint seeps and flows and interacts with the fiber Content: -Its colors ranging from violet to indigo run into one another with a clear zone of navy near the top of the canvas that draw our eyes up to it. -We can almost watch as the blues meld into one another during this early stage giving the image its blurred and smooth finish. -Color as the subject of the painting --ATTRIBUTION:------------------ 34.12 The Bay Side - Helen Frankenthaler - 1967 - Acrylic on canvas ------------------------------------

162. All-T'oqupu Tunic [Kathleen]

Artist: Inka empire Time: 1450-1540 CE Form: -camelid fiber and cotton -squares filled with geometric motifs -no repetitive geometric figures Content: - The All-T'oqapu Tunic is made of dyed camelid wool warp over a cotton weft, a common combination for high-status textiles. -dyes from different regions of the Incan empire Function: -elite men's tunic - Covering a single tunic with a large variety of t'oqapu, as seen in this example, likely makes it a royal tunic, and symbolizes the power of the Inka ruler (the Sapa Inka). Context: - T'oqapu are the square geometric motifs that make up the entirety of this tunic. -foreigners wore black - each square has over 300 wefts ( thread that holds the wrap- the ones that go over and under the weft)

163. Bandolier Bag [Kathleen]

Artist: Lenape Tribe (eastern Delaware) Time: 1850 CE Form: -new art form resulting from trade for beads among Anglo-Americans - often large in size and decorated with a wide array of colorful beads and ribbons. -rounded forms -beadwork - Women typically produced Bandolier Bags using trade cloth, made from cotton or wool. Content -decorations vary based on status - The Prairie Style used colorful glass beads fashioned in floral patterns. Function: -worn primarily for decoration -show social status -worn by men and made by women

146. Seagram Building (34.46) [Kathleen]

Artist: Ludwig Mies Van Der Rohe and Philip Johnson Location: New York Time: 1956-1958 Form: -Steel frame with glass curtain wall -Skyscraper -International style -Bronze veneer - ferroconcrete Content: -38 floors -Designed as a thin shaft, leaving the front quarter of its midtown site an open pedestrian plaza. - Mies van der Rohe's own model for glass skyscrapers had quickly become the norm for postwar commercial high rise buildings. - The whole building was very carefully planned out (for both outside and inside). Function: -Symbol of capitalism and economic power (used expensive material) -Reflection of minimalist movement in painting "less is more" -Balance classical traditions with industrial materials and modern forms Context: -Budhaus ideals: minimalistic, functional, efficient - Less is more - elevator and steel - sleek, no ornamentation, regularity - "skin and bones" (glass and steel)

166. Black on black ceramic vessel [Kathleen]

Artist: Maria and Julian Martinez Location: New Mexico Time: mid-20th century Form: -Blackware ceramic -Coil, not wheel -Contrast of matte black and shiny, polished black finishes -Symmetrical (walls evenly thick) -Surfaces free from imperfections Function: -Food container Content: -Revival of ancient Pueblo pottery and designs -Orgins from 1000 year old tradition in the Southwest Context: -Maria made the pots, Julian painted the pots

151. Spiral Jetty (34.37) [Kathleen]

Artist: Robert Smithson Time: 1970 Material: Black rock, salt crystals, earth, red water (algae) Location: Great Salt Lake, Utah - a monumental spiral curving out from the shoreline and running 1,500 linear feet into the water - arranged in counterclockwise motion Content: - a pathway that goes out in the Great Salt Lake Function: - this work of art is ever-changing because of the water levels - supposed to be a pilgrimage to get there - the art changes on natural principles Context: -site-specific - Terminal basin: no outlet so when water comes in there is no way out.

152. House in New Castle County (34.51) [Kathleen]

Artist: Robert Venturi, John Rauch, Denise Scott Brown Time: 1978-83 Location: Delaware, USA - He fronted the house with an amusingly cut out and asymmetrical parody of a neoclassical portico. - "decorated shed" - Rather than copy a specific style, he borrowed freely, juxtaposing, collaging, and reinterpreting forms from distinct periods and places. Form: - Wood frame - Post-modernist Content: - Rear facade: Flat, classical, cartoony columns - Music room: quirky chandelier, colors, weird vaulting Function: - Show post-modernist ideals - We live in a diverse society, not simple - House designed for a family of three o Wife: musician (all the instruments and music room) o Husband: bird watcher (windows facing the woods) and the curved feature was used as a double blind and shielded the window. - Irony of using classical elements Context: -Post modernism: whimsical, fun, playful "less is a bore"(modernist doesn't embody what the world is really like) - Venturi asserted that the form should be symbolic forms of everyday life should be separate from the function and structure and that decorative and core - heavily influenced by mannerism and baroque architecture - eclecticism - asymmetrical

148. Narcissus Garden [Kathleen]

Artist: Yayoi Kusama -1966 Venice Biennale Public place: lawn outside the Italian Pavilion - The tightly arranged 1,500 shimmering balls constructed an infinite reflective field in which the images of the artist, the visitors, the architecture, and the landscape were repeated, distorted, and projected by the convex mirror surfaces that produced virtual images appearing closer and smaller than reality. Form: -Mirror balls "kinetic carpet" -Temporary installation/ been re-shown several times -Artist part of installation -- She acted as a street peddler --"Your Narcissism for Sale" sign --Sold the balls for $2 each -The artist (Kusama) wearing a gold kimono standing in front, attracting attention to her "otherness" or her Japanese heritage -1500 mass-produced plastic silver globes Function: - Self-promotion of artist -Infinity suggested by endless mirrored images -Critique of commercialism in the art world

154. Mesa Verde Cliff Dwellings [Kathleen]

Artist: pueblo people, descendants are Hopi and Zuni Location: Montezuma, County, Colorado Time: 450-1300 CE - Largest archaeological site in the state Form: -indigenous North America -geometric designs on murals -sandstone - To build these structures, people used stone and mud mortar, along with wooden beams adapted to the natural clefts in the cliff face. - This building technique was a shift from structures built prior to 1000 CE in the Mesa Verde area, which had been made primarily of adobe, a type of brick made of clay, sand and straw or sticks. Content: -living in communities -harmonizes with landscape for functional reasons -summer sun doesn't hit the pueblos, but winter light warms it -painted murals Function: -These structures were mostly residential but some were used for storage and ritual. -A kiva typically had a wood-beamed roof held up by six engaged support columns made of masonry above a shelf-like banquette. -Kiva: communal gathering, ritual purpose for men - Dwellings were accessed via ladder Context: -Anasazi tribe - abandoned around 1300 CE

5. Bushel with ibex motifs

Beaker with ibex motifs 4,200-3,500 B.C.E Terra-cotta Louvre, Paris - Found near a burial site, but not with human remains - Found with hundreds of baskets, bowls, and metallic items - Use of potter's wheel, a technological advance - Thin walls of pot - Frieze of stylized aquatic birds on top; below stylized running dogs with long narrow bodies . - Oversized horns, abstract stylized motif In the middle of the horns is a clan symbol of family ownership - Perhaps the image identifies the deceased as belonging to a particular group or family a Made in Susa, in Southwestern Iran - stylized decoration - shows susa wealth Cross-Cultural Comparisons: - Ceramics Martínez, Black-on-black ceramic vessel - The David Vases - Koons, Pink Panther

3. Camelid sacrum

Camelid sacrum in the shape of a canine 14,000-7,000 B.C.E. bone National Museum of Anthropology, Mexico - From Tequixquiac, Mexico - Bone sculpture from a camel-like animal Sacrum is the triangular bone at the base of a spine - Bone has been worked to create the image of a dog or wolf a - One natural form used to take the shape of another - Carved to represent a mammal's skull - Mesoamerican idea that a sacrum is a "second skull" Found in 1870 Cross- Cultural comparisons: the depiction of animals - Tuffery, Pisupo Lua Afe (Corned Beef 2000) - Muybridge, The Horse in Motion - Cotsiogo (also known as Cadzi Cody), Hide Painting of a Sun Dance

92. Woman Holding a Balance

Context: -artist: Johannes Vermeer -1664 Dutch Baroque - scientific lighting (Abby) Credit Line Johannes Vermeer, 1664 C.E., oil on canvas - very quiet scene of everyday life - part of the upper merchant class - nothing in the scale, it is as if she is waiting or balance to come - indication of material wealth - religious painting is an indication of a lot more than just someone holding a scale - her head divides the blessed and the damned - light from window provides the artist the ability to play with movement and passing of time - painting is something very natural but also planned out by Vermeer - composition control - middle of the painting is the balance(scale) - reminder of the changes taking place in the 17th century - painting for merchant class instead of the church so their is a sense of intimacy

155. Yaxchilan (1) [Kathleen]

FOCUS ON LINTEL 25 (that's the image) - significant Maya center Location: Chipas, Mexico Time: 725 CE Structure 23: Royal Life and Power - Structure 23 is therefore important not only for advertising Shield Jaguar II's power, but also for highlighting the important role of royal women in Maya culture. - most famous lintels are those on Structure 23 (24,25,26) depict different ritual moments in the life of Lady Xook. --ATTRIBUTION: (14.12)------------------- Shield Jaguar and Lady Xoc (Lintel 24, Temple 23) Time: 725 ce Location: Mexico Material: Limestone - On Lintel 24, Lady Xook pulls a thorned cord through her tongue so that she can bleed onto paper that fills a basket on the ground before her. - She is engaged in bloodletting—the ritual shedding of blood. Her husband, Shield Jaguar II, holds a lit torch above her. - The glyphs (writing) on the top note Lady Xook's titles, and mention that the events depicted occurred on 28 October 709 C.E. ----------------------------------------------- Lintel 25&26 - Lintel 25 —from the central doorway—also focuses on a bloodletting ritual carried out by Lady Xook. - The loss of blood and the burning of incense produced hallucinations, which were desired in certain ritual contexts to access other realms. - In this lintel, Lady Xook kneels before a vision serpent, from whose mouth emerges a figure. - Lady Xook holds a bowl in her left hand while she looks up towards the rising serpent. - In addition to her patterned huipil (square-cut blouse), Lady Xook is festooned with a headdress, elaborate bracelets, earrings, and a necklace—likely made of jade. - In the bowl are pieces of paper stained with her blood. She has likely burned the paper to allow the blood to ascend to the gods, and to bring about the vision serpent. - You can see that the figure emerging from the vision serpent's mouth is armed with a shield, spear and a war helmet. He, too, wears an elaborate headdress, a breastplate and ear spools. - A glyphic inscription (oddly, written backwards) in the upper left corner of Lintel 25 notes the date of Shield Jaguar II's ascension to the throne in October 681.

25. Lamassu

Form: - alabaster -limestone Content: -god-like figures -animal body, human head -5 legs Function; -support doorways of Assyrian palaces -intimidate those who enter Context: - from the citadel of Sargon II (modern day Iraq) - 720-705 BCE -Sumerian Lisa's Edit: -Human-headed animal guardian figures -Winged -Five legs: when seen from the front seems to be standing at attention, when seen from side, seems to be walking by you as you walk by it -Meant to ward of enemies both visible and invisible, apotropaic -Has a feeling of harmony and stability -Sargon II founded a capital of Khorsabad, surrounded by a city wall with seven gates -Protective spirits placed at either side of each gate as guardians; also bore the weight of the arches above the gates -Face of the king guardian figures -Writing reinforces the Kings power by damning those who threaten him or the city -Guardian figures found around the world -Masculature of the loins body and the naturalism in the face CROSS-CULTURAL COMPARISONS: HYBRID FIGURES= -Sphinx -Buk Mask -Mutu, Preying Mantra

248. Shibboleth (Mattie Wilson)

Form: - crack in the concrete floor of the Tate Modern Function: - addressing racism in this modern culture -sees what side of the "crack" someone is on (each person takes a side) -addresses social exclusion in society Content: - 548 ft crack Context: - site specific- temporary installation in the Tate Modern (can still see where the crack was now) - "shibboleth" comes from the bible and who ever could say the word correctly was apart of the group and if you couldn't say the word correctly you were not in the group - made by Doris Salcedo (cuban artist) in 2008 { 2007-2008, installation Columbian sculptor, installation that features large crack that begins as a harline then widens to two feet in depth Floor of museum was opened and a cast of Colombian rock faces was inserted stresses ineration between sculpture and spac Shibbolet - word or custom that a person not familiar with a languarge may mispronounce, used to tidentify foreigners or people of another class Shibboleth meant to exclude peojple from joining a group, crack emphasized gap in relationships, reminder of isruption i spaces References racism and colonialsm , keeping people away or separating them Installation now sealed, but exist as a scar, commemorates life of the underclasses Cross Culture COmp: Simthson, Spiral Jetty (22.26); Great Serpent Mound(26.4); Weiwei, Sunflower Seeds(29.27)​ }

48. Catacomb of Priscilla (Jordan)

Form: - excavated tufa and fresco -figures flat and with less detail (roman painting style) -passageways underneath city of Rome, 100 miles long -pendentives with picture Content: -shelves for bodies; wealthier people: sarcophagus -scenes of New and old Testament, uses pagan iconography to tell story (contrapostio, toga, symmetry, young roman male) -curriculum -Good Shepherd Fresco: depicts jesus, pagan, jonah -orants figure: arms stretched out, praying: symbol of church/faith, may have been the burried Function: -tombs of poor and wealthy for 1000s of people -poor people has body one on top of the other -lunettes- semi-circular frames Context: - wealthy woman donated land for her family and other Christians to be buried -3 stories deep -Greek and Latin

142. The Jungle (kate)

Form: - gouache on paper mounted on canvas - surrealism and afro-Cuban elements Function: - large painting made after Wilfredo returned to his homeland of Cuba from Europe - work of art rejects stereotypes bc of the slaves he shows growing sugarcane in the jungle Content: -cluster of faces, limbs, bamboo, and sugar cane - shows slaves growing sugarcane in jungle (which didn't happen) -Santeria: mixes African beliefs and customs with Catholicism -femme cheval: half woman, half horse Context: - Wilfredo Lam, 1943 - made during WWII in Cuba (added down below) - rounded backs, thin arms and legs, pronounced hands and feet - he was interested in Cuba's mixture of Hispanic and african cultures - intended to communicate a psychic state - addresses history of slavery in cuba and is influenced by african sculpture, surrealist and cubist - comparison: Golden Haggadah

56. Great Mosque (Jordan)

Form: - hypostyle mosque -spolia (using roman and Christian pieces from old church it used to be -vossoir: wet stone that holds arches up -grid vaulting -culturally diverse Content: -horseshoe arches with vaults above -mihrab- niche is Qibla wall (mostly decorated in geometry and text) -wooden cieling -mosaics everywhere- byzantine artists from Constantinople -Qibla Wall- direction of where Muslims have to pray in order to pray towards Mecca -Kufic calligraphy -856 columns -no iconography- aniconism- avoidance of imagery, focus on decoratipns, focuses on themes of paradise -early mosques designed after muhhamed s home, hypostle hall, courtyard -horse show arch -moorish portal: arabesque above portal -rib vaulting Function: -1st: Roman temple (Janus) -2nd: Chirstian church -3rd- mosque -now: cathedral Context: -Cordoba, Spain- Umayyad 785-786 CE qibla (wall towards mecca), mihrab (miche as compass point), minarets (towers), ogival arch (curving arch), kufic (type of text), minbar (pulipit). foutain

130. The Portugese (kate)

Form: - monochrome, plain, simplified, cubes -text as art with images -resembling broken glass, fragmented Content: -stenciled text Function: -transitional piece into the new form of Cubism -artist: George Braque, 1911 (added down below) - rejected naturalistic and conventional painting - Analytic cubism: worked in concert with Picasso to develop this style - non portrait of musician rather an exploration of shapes - only realistic parts are stenciled letters and #s - comparison: Court of the gayumars by Muhammed - fragmentation of forms influenced by einstein -

198. Borobudur Temple

Form: - relief sculptures - clockwise up and around Content: -72 stupas, 1460 reliefs, 9 platforms in sets of 3, 504 Buddha statues Function: -built as monument to Buddha -pilgrimage site/shrine -narrative guides you Context: -Buddha- poet, thinker, and architect of this temple -Saliendra dynasty commissioned this (the leaders of maritime power cami's notes vis an- elevates turning clockwise extreme amounts of buddha related statue take you through the journey of buddha (jataka tales) which narrate buddha's teachings con an- religious experience to put viewer in place of one also on a journey supposed to led someone to a higher state of conciousness both literally and metaphorically con+change experiencing the same journey as one's prophet similar to that of Dome of The Rock

58. Church of Sainte-Foy (Jordan)

Form: - romanesque style -symbolic Latin cross plan -vaulting, groin vaults -spolia -archivolts: bands that go around tympanum Content: - reliquary of Saint Foy -tympanum of Last Judgement (Christ as the judge of the damned and saved) -gallery on top (distributes the weight) -barrel vaulting -tympanum -radiating chapels, nave arcade -3 aisles -dark building, no clerestort Function: - pilgrim church, people come to see --walk to the relics, worship around altar, travel to ring the bells, place offerings -built so that it could handle a lot of people -reliquaries - part of monastery where monks lived Context: - Conques, France 1050-1130 CE (12th century) Tympanum: -last judgement: christ as judge -one hand to heaven one hand as hell -crowded- horror vacuii, symetrical, hieraxhrical scale, order vs chaos -revival of stone scultupture -flat distorted figures, crossed legs, mythical animals -portal was the focus, artists fought over the space -relief stylized originally painted -for the illiterate -chaos and evil on right, order and heaven on the left -multiple biblical figures, protection of saint foy Reliquary -in one of the radiating chapels, stolen from another monastery -gems come from donations, -face is spolia from roman sclupture -holds spiritual merit - added blessings -martyr, prayed to for blessings -symetrical, looks up to heaven -reliquary- holds part of her skull romaneque features: round arches, massive walls, buttresses, transverse arches, groin vaulting, tympanusms, small windows, dark interior, ambulatory (addition to east end), radiating chapels (contains relics), apse (ceremoney), west facade, trasncept (shape of cross)

44. Colosseum (Flavian Amphitheater) (Jordan)

Form: - stone + concrete (cheap and easy) -Corinthian, Doric, and ionic columns (fake-ish) (engaged with post and lintel) -outside mostly intact -barrel vaults, thick walls, groin vaults, arches -velarium (tented roof) Content: -eclectic -technical innovation -2 theaters -downward force of arches -bronze shield on top, 4 layers -76 entrances -where Nero's lake had been, shows the end of his reign -order of levels: doric ==> tuscan, heaviest on the bottom Function: -entertainment for the public -usually dangerous like gladiator fights or animal hunts -concrete sat in terms of social hierarchy Context: - Rome, Italy - 70-80 BCE - Imperial Rome - Flavian patron

99. Portrait of Sor Juana Ines de la Cruz

Form: - style: enlightenment -oil on canvas Content: -typical nun looks -surrounded by books (educated) -nun=sor -wearing a shield -has painting of Virgin Mary -hold St. Jerome's translation of the Bible (her religious order is named after him) -toys with rosary in her left hand -gaze directly at viewer -red curtains shows higher status -woman taking on the clergy Function: -conveys religious and intellectual status -feminist Context: -artist: Miguel Cabrera -1750 CE -location: Mexico City (Abby) Credit line Cabrera, 1750 C.E., Oil on canvas - became involved in an ecclesiastical dispute between the bishops of Mexico City and Puebla. She responded to the criticism she received as a woman writer, which culminated in one of her most famous works: The Answer (1691). This work defended her right as a woman to write and to be a scholar - portrait insists her situation as an intellectual - found inspiration in depictions of Saint Jerome - it is a nun portrait but it is different than other nun portraits because she looks at the veiwer with a direct gaze, she sits at her desk surrounded by her linbrary and instruments

221. Navigation Chart caroline

Form: - wood and fiber, cowrie shells (used to show the location of an island) Function: - horizontal and vertical sticks - curved sticks represent wave swells - used as to map out the wave swells of the Marshall Islands Content: -(depicts the wave patterns surrounding the Marshall islands) -(sailors would memorize them and then leave them behind) Context: - Marshal Islands, Micronesia - 19th-early 20th century - made for sailors

213. Nan Madol caroline

Form: -(basalt boulder) -prismatic columns -headers and stacker (use of stacking) Content: -90-100 manmade structures arranged to take advantage of trade winds -lagoon -"floating world" -92 artificial islands -canals running throughout site Function: -(great lost city) -(separated upper class from lower class (higher class, closer to the king) -(symbolic boat-like appearance) -ceremonial complex one is ^ other part is below -political center -tombs, dwellings, administrative centers Context: -Pohnpei, Micronesia -Saudeleur Dynasty 700-1600 CE

229. A Book from the Sky caroline

Form: -(mixed media installation) -3 long scroll-like pieces of paper on the ceiling Content: -(paper filled with Chinese characters (real and made-up) -(waves of book on bottom= sea, writing on walls= landscape, writing on ceiling=sky) Function: -Xu Bing invents new Chinese characters that don't mean anything -(interpreted as a critique to the meaninglessness of contemporary political language or as a commentary on the illegibility of the past) -(viewer examines the reliability of knowledge) Context: -(wood printed text) -Xu Bing- artist: grew up in society where everything was structured 1987-91 (during chinese cultural revolution)

60. Chartres Cathedral (Jordan)

Form: -3 phases of Gothic (Early in facade, High French in back, Late in the North Spire) -painted arches, rib vaults- Gothic elements -colors vivid -4 part rib vau;t, to the floor -knowledge, nature, light -limestone, stained glass Content: -stained glass- triforium -narrow passageway -jamb figures -relic: Mary's dress -judgement to salvation -divided into bays Function: -Church with great beauty that honors Mary and gives her the respect she deserves -built after they found Mary's Tunic unharmed in the fire -sets standard for gothic Context: -Chartres, France 1145-55 CE reconstructed in 1194 because of a fire Roman> Gothic Portal -early gothic, the royal portal -named after kings and queens on jamb -old testament -last judgement + ascention -matthewman, mark, lion, luke bull, john eagle -mary's depiction is unprecented Window -gothic mary -last judgement and the horrors of hell -severity lens to queen of heaven -she is the mediator between man and god -cult of the virgin tall, light filled, pointed arches- lighter, glass, tracery, flying butresses, webs between arches, no gallery, rose window, spire, pinnacles

125. Mont Sainte-Victoire

Form: -3 sections -warm and cool contrast -multiple vantage points -shatters one point perspective -faceted brushwork -relationship of forms Content: -orange: rooftops -green: trees -mountain Function: -landscape painting -paints how things relate to each other Context: -Paul Cezanne -1902-04 -Southern France, post impressionism (visual analysis: -visible brushstrokes and colors that modify the direction and depth of lines and planes -juxtaposed contrasting colors to compose specific colors with cool colors receding and warmer colors advancing -multiple points of view Contextual analysis: -wanted permanence of neoclassical but with light and color -further explained geometric shapes in nature -painted by Cezanne from 1902-1904 -painted as a view that could be seen from his house -the main space stretches out behind and beyond the canvas -by stressing the background and foreground contours the mountain simultaneously looks near and far away Attributions: -Claude Monet (Saint Lazare Train station) Continuity and change: gave way to the future cubism, influenced later abstract artists -one of the first to paint the way he did) ECH

128. The Kiss (kate)

Form: -Art Nouveau (jugendstil) -flat figures, rich colors -gold (Byzantine influence) Content: -couple laying in a field of flowers -"eternity of a kiss" -both crowned with leaves or flowers Context: -artist: Gustave Klimt -1907-08 CE (added down below) - Little of the human form is actually seen - bodies are suggested under sea of patterns - male figure is composed to rectangular boxed and female figure is composed of circular forms - suggests all-consuming love; passion - gold leaf reminiscent of Byzantine mosaics - part of a movement called the vienna secession, which broke away from academic training in schools at that time - comparison: Nefertiti and three daughters by Akhenaton and Arnolfini portrait by van eyck - byzantine mosaics influence - can be compared to munch - post-impressionists: deviated further by exploring abstract depictions of color and shape

87. Self Portrait with Saskia

Form: -Dutch Baroque -genre: private movement between husband and wife Content: -Rembrandt and wife in historical clothing -Rembrandt drawing his drawing -Dutch, Amsterdam -Dutch Baroque (Abby) Credit line Rembrandt, 1636 C.E., Etching Dutch Baroque Him and his wife are seen wearing historical clothing Example of a marriage portrait His hat casts a shadow over his eyes which adds an air of mystery to his countenance The etching shows that he recognizes himself as an artist Saskia is lightly etched showing that she played a lesser role than his form

133. Self Portrait of a Soldier (Kate)

Form: -German Expressionism -angular/powerful colors Content: -dehumanizing aspects of human life -Kirchner as a soldier standing in his studio -nude model behind him (showing that he is the artist) Function: -effects of war on a soldier or anyone involved -call for young people to fight -artist: Ernst Ludwig Kirchner, 1915 (added down below) - oil on canvas - nightmarish quality and the colors are nonrepresentational but symbolic, chosen to provide a jarring impact - tilted perspective moves things closer to picture plane - bloody stump on his hand represents losses in war and his fear that war would destroy his creative powers - painted during the recuperation period - comparison: Self-Portrait by Vigee Le Brun

132. Improvisation 28 (second version) (kate)

Form: -German Expressionism -non-objective! Content: - concerning the spiritual in art -synesthetic experience Function: - he wanted viewers to respond to this the same way one would to an abstract composition -artist: Vassily Kandinsky, 1912 (added down below) - strongly articulated use of black lines and colors seem to shade around the line forms - he felt sound and color were linked - he used words like 'composition' and 'improvisation' in the titles of his works, words associated with music - movement towards abstraction; representational objects suggested and not shown - comparison: Lamentation by Giotto or The oath of the Horatii by david

112. Palace of Westminster

Form: -Hammer Beam Construction in the Westiminster Hall -Romanticism -classical building with a Gothic exterior, Gothic revival -limestone, masonry, glass Content: -central lobby -westiminster hall (oldest section) Function: -where the House of Lords and Commons meet -rebuilt because a fire burned down old palace that was originally there Context: -London, England -architect: Charles Barry -designer: Augustus Pugin -1840-70 CE (Visual analysis: -the gothic ornament is greater that what it would be on an original gothic building -modern office building clothed in medieval clothes Contextual analysis: -competition was held in 1835 for a new Houses of Parliment because the old one burned down -has over 2 miles of corridors Attributions: Versailles, both are important government building that are in all honesty oversized Continuity and change: -Incorporated English culture and customs while also creating a unique building that will last) ECH

209. Taj Mahal caroline

Form: -Iwan on the facade (niches normally found in mosques) -Onion domes -(cross axial plan, octagonal in plan, and Iranian garden pavilion plan) -fused aspects of other Islamic traditions -marble, stone masonry -(geometric stone inlay) -symmetrical harmony -mosque on 'other' side across from the gardens -qu'ran text covers surface Content: -(charbagh- Persion garden into 4 quadrants representing paradise on Earth) -flowing water throughout -Arabic text from the Quran -chartriss -mosaics -(cenotaphs: inscriptions on the outside (symbol of tombs, tombs are actually empty) -minarets enforce central theme of the tomb Function: -resting place for Shah Jahan's wife, Mumtaz Mahal -Agra, India -India 1632-48 CE -architect: Usted Ahmad Lahori -Mughal Empire -in a city with lots of trade Relates to: Chartes as a place of worship

94. Screen with Seige of Belgrade and hunting scene

Form: -Japanese folding screen (Biombo) -Spanish Colonial Baroque -tapestry -tempora/resin on wood -shell inlay (Aztec) Content: -historical event from Europe -one side: battle scene -other side: landscape -Great Turkish War -combines multiple cultures Function: -expresses exonomic power of the Spanish in Colonial Mexico -made Spanish viceroy -room divider (biombo- Japanese folding screen) -relationship between Japan and Latin America Context: -Circle of Gonzalez Family, 1697-1701 CE -Spanish Colonial (Abby) Credit Line circle of the Gonzalez Family, 1697-1701, Mexico, oil on wood, inlaid with mother of pearl - in the early 17th century, they have a fascination for Japanese items - traded with the philipenes - laqure boxes come into mexico, the bottom of the screen are inspired by the boxes - battle scene members of the habsburg empire and the Spanish empire and the turks - the battle is contemporary - delicate thin painting but also illuminated parts - combo of painting and mother of pearl - floral motifs that frame the battle scene - made locally - political uses to express his power assert dominance!! - intented for the viceroy THE OTHER SIDE IS A HUNTING SCENE - Asian inspired landscape - the design came from a tapestry made in france, the tapestry was then copied into a print - dense botanical motif with all of these blossoms creating this frame that allows us to look into this deep space into a spectacular landscape - European motif - viewed by women - the royal linage is still important in the screen -Mexican influence - enconchado - mother of pearl

224. The Gates caroline

Form: -Mixed-media installation - 7503 saffron-colored fabric panels stretched across two beams to created a 16ft tall gate Function: -(wanted to create "a golden ceiling creating warm shadows" after the struggling times NY was going through after 9/11) -(changes the perspective of the trees and branches as the gates 'move') -(wanted to create unity among the NY community and bring joy to them all) Content: -(gates put over 23 miles of sidewalks through Central Park) -(site-specific (in-suto) Context- - Christo and Jeanne-Claude (they wanted to increase awareness of space and the features of rural and urban sites) -(took from 1979-2005 to make and was put up for only 16 days) cost 21 mil - Central Park, NYC

204. David Vases

Form: -Mongolian style -2 1/2 feet tall -text Content: -peonies= prominent scrolling flower -inscription with date, location, temple, patron, and purpose -phoenix and dragon balanced (symbol of Daoist faith- ying and yang) -elephant handles Function: -made for Daoist temples to honor a military leader who was diefied -held flowers beside an altar Context: -apart of wealthy man's collection -1351 CE -Yuan Dynasty, Mongol Empire -Beijing, China cami's notes vis an- starts white porcelain and cobalt blue underglaze dynasty underglaze taken from Iran con an- daoism meant to honor a dictatorship con and change- introduces elephant handles is an expression of the SIlk Road and increasing trade

113. Stone Breakers

Form: -Realism (anti-heroism -oil on canvas/chunky -rough brushwork -against neoclassical style that dominated French art -dark palette Content: -young and old man -faceless men doing painful work that will neber get them out of poverty -this owrk is punishment for chain gangs -rock=faces Function: -"painting of nothing" -cycle of poverty -works: economically and physically trapped -accurate display of abuse and deprivation that was common in French rural life Context: -1849 (destroyed during bombing of Dresden in 1942) -artist: Gustave Courbet (prolific artist) (Visual analysis: -peasants are breaking stones into rubble for the road -dark, colorless color palette emphasizes poverty and hardships and is portrayed accurately and is not meant to be heroic -did not approve of historical figures -it is larger than average, this size of painting was usually used for historical paintings Contextual analysis: -destroyed in 1945 bc it showed concern for the poor-figures are born into poverty and will remain that way for their entire lives -painting was a reaction to the labor unrest of 1848 Attributions: Bruegel, Hunters in the snow, both show intense labor despite the harsh conditions Continuity and change: -paintings still continue to work towards activism and issues) ECH

90. Angel with Aequebus

Form: -Spanish Colonial Baroque -idealistic -Latin inscription -nobility -Catholic missionary -Asiel fears God -Church=army -angel=soldiers -aristocratic clothing -militarist approach to faith -propaganda for war Context: -17th century Peru (Abby) Credit line Master of Calamarca (La Paz School) 17th century C.E. Oil on canvas - Representing celestial, aristocratic, and military beings all at once, these angels were created after the first missionizing period, as Christian missionary orders persistently sought to terminate the practice of pre-Hispanic religions and enforce Catholicism. - Asiel, and a particular quality: Fears God. - The Catholic Counter Reformation held a militaristic ideology that portrayed the Church as an army and angels as its soldiers. The armed angel in Asiel Timor Dei represented this philosophy - Paintings of angels with guns were perhaps representative of both the power of the Spaniards over indigenous people and protection offered to faithful Christians. - The figure is graceful and almost looks like a dancer. The extended lines of the angel's body recall the Mannerist style still preferred in the Americas in the seventeenth century - The dress of Asiel Timor Dei was an Andean invention that combines contemporary European fashion and the typical dress of indigenous noblemen. - Latin inscription - indigenous asect - gold embroidery, feathers in hat - function - aid conversion and reinforce the catholic church teachings

194. Funeral banner of Lady Dai (Xin Zhui)

Form: -T-shaped painted silk banner -over 6' long -set in registers -depth shown -naturalistic scenes not just abstract shapes -bi: disc with a hole that represents the sky Content: -Lady Dai stands on platform with her servants -dragons frame the scene on both sides -sacrificial funerary rituals shown taking place in a mourning hall in the bottom register Functions: -put over the tomb Context: -Han Dynasty, China- 180 BCE cami's notes- Han Dynasty Vis an- Painted silk banner cut into T shape with tassels Placed over tomb and hangs over 6 feet long Con an- Registers represent the three layers of the universe Depiction of the deceased ascending con+change- 3 registers = 3 layers of the universe Depth shown through naturalistic depiction- not abstract

100. A Philosopher Giving a Lecture on the Orrery

Form: -Tenebrism now used in secular aspects (mimicking Caravaggio) -Chiaroscuro: contrast between light and dark Content: -orrery: model of the solar system (heliocentric) -philosopher explain something to people in painting (education is sacred) Function: -introduction to science -celebrates access to knowledge -shift from religion to science -philosophical groups emerging Context: -1763-1765 CE -artist: Joseph Wright of Derby (Abby) Credit Line Wright of Derby , 1763-65 C.E., Oil on Canvas - used a special technological model (orrey) to demonstrate the theory that the universe operates lik ea gigantic clockwork mechanism - light represents the sun which adds drama to the scene - awed children gather around the orbs that represent planets - everyone is caught up in the wonders of scientific knowledge - realism appealed to the great industrialists of his day - books on the shelves represent the growing religion of science - EMPIRICAL OBSERVATION grounded in science and reason could best advance society - went against ideals of the British royal academy of art - concealed brushstrokes - popularize science - figures are realistic not idealized

203. Night Attack on the Sanjo Palace

Form: -Yamato-e: high vantage points, strong angles, cropping, narrative scroll -read right to left -strong angles -handscroll -extraordinary detail Content: -rival families attack the Taira clan and defeat them -battle: 1159 -extreme detail of armor, weaponry -struggles between emperor and rising shogons Function: -turning point in Japanese history Context: -piece made 1250-1300 CE cami's notes vis an- combines image and text similar to islamic works strong angles and intense/ intricate detail con an- depicts the rival families, the Fujiwara and Minamoto defeat Taira clan demonstrates it's modern war tactics con and change- made during the Karamkura period in Japan establishes the shotgun empire, a turning point in Japanese history

28. Peplos Kore from Acropolis

Form: -archaic smile -patterned hair -marble with paint remains -smaller scale Content: -women with arm out (supposed to hold out a oil lamp but hand broken off) Function: -in front of temples to "light the way" -votive figure Context: -530 BCE Lisa's Edit: -Broken hand fitted in the socket and probably held an attribute; she may have been a goddess -Hand emerges into our own space, breaks out of the mold of static Archaic statues -Tightened waist -Breasts revealed beneath drapery -So-called because she is named for the peplos, traditionally thought to be one of the four garments she is wearing -Rounded and naturalistic face -Much of the paint still remains, animating the face and hair -Hair falls naturally beside her body -CROSS-CULTURAL COMPARISONS: HUMAN FIGURE IN GREEK ART= -Winged Victory of Samothrace -Seated Boxer -Victory Adjusting her Sandal -Votive statue to Athena

207. Ryoan-ji

Form: -asymmetrical -abstract -gravel=flowing elements -stones=islands, shore, bridges Content: -15 stones -raked stone garden -monastery (Zen Buddhist monks) -mirror pond Function: -can only enter garden through your mind (spiritually enter) -power of emptiness -each rock is a different visual "pull" -Zen seated meditation Context: -1480 CE, Kyoto, Japan -Muramachi Period -Zen Buddhist

244. The Swing (Mattie WIlson)

Form: -based on Fragonard's Swing -global contemporary/post modern -3D version of the painting Content: -viewer becomes apart of the piece (we become the peeper in the painting) -fabric used in the piece is Dutch Wax Fabric (Vlisco) -textile worn in Africa -deep respect for African Ancestors -headless which refers to the Reign of Terror when French aristocracies were publicly beheaded Function: -pictures the increasing disparity between economic classes and the growing culture of paranoia, terror, and xenophobia (fear of immigrants) in post 9/11 world Context: -artist: Yika Shonibare -2001 { 2001, mixed media Artist briish born Nigerian descent Inspired by Fragonards "The Swing" Life seize headless mannequin, dress made of African print vabric, flowering vines cast to teh floor, two men in the painting not included, aduince takes teh place of men, erotic voyeurism, headless figure, guillotined by French Revolution Cross Culture Comp: Muybridge, The Horse in Motion (21.5); Alexander Mosiac(4.20 XD); Rodin, The Burghers Calais (21.150​ }

95. The Virgin of Guadalupe

Form: -based upon the original -oil on canvas on wood inlaid with pearls Content: -artist signature -traditional view -story of Juan Diego (Aztec man) -roses with her image -radiating light off Mary -indigenous coming to Roman Catholic Church -dark-skinned people portraits FunctionL -tribute to Mary and show her as divine Context: -1698 CE, Spanish Colonial -Mexico City, Basiclia of Guadalupe -artist: Miguel Gonzalez (Abby) Credit line Miguel Gonzalez, 1698 C.E., Based on teh original in Mexico city 16th century, Oil on canvas on wood, inlaid with mother of pearl - mother of pearl inlaid into wood - changes as ur eyes move which suggests her divinity - replacing religions with Christianity - the hill is a representation of mother earth and fertility - darker skin = indigenous savior - sacred image of her - dark hair and complexion is meant to appeal to the native people - standing above an eagle on a cactus

119. Burghers of Calais

Form: -big, powerful, emotional statues -bronze -public monuments -fabric appears fused to ground -put on our level Content: -6 men who gave up lives to go outside walls during 100 Years War -nervous men before they were released -can see each face individually -look of anguish Function: -show desire to live vs. need to save their city -shown equal in status -make personal connection with each one Context: -Paris, 1884-95 -artist: Auguste Rodin -impressionism (visual analysis: -each figure is sculpted individually, each showing different emotions, and arranged according to the artist Contextual analysis: -details reduced to emphasize overall impression -placed on the ground so viewiers can be eye level with the sculpture -described how King edward demanded that the six citizens appear beheaded, dressed only in a sackcloth with a rope around their necks and the keys to the town in their hands Attributions: Queen Hatshepsut with offering jars, both are seen as a sacrifice to something. Continuity and change: not many sculptures at this time where at eye level, by having it eye leve; the viewer can have a stronger connection with the piece.) ECH

188. Basin

Form: -brass inlaid with gold and silver -very detailed, interconnected Content: -battle scenes on interior -sea animals interconnected designs -men on horseback -men hunting -artist's signature (6 times) Function: -orginially: washing hands at ceremonies Context: -Mumluk artists -1320-40 (14th century) Cami's notes- Vis. An- Brass with inlaid gold and silver Con. An- Used to wash hands during ceremonies, later used to baptise French royals (St. Louis) Influenced by Mumluk artists from Egypt and Syria Con. + Change- Very detailed and interconnecting- similar to early medieval Artist attribution done six times

52. Hagia Sophia (Jordan)

Form: -brick, ceramic elements, ashlar masonry -mosaic veneer -ionic columns -centralized dome supported by penditives -buttress supports -pendentives: triangular curving vault section (Byzantine architects invented the pendentive and squich for churches with a dome, combines axial and central plan, weight on piers instead of wall, square base) -iconostasis = screen seperates the nave from altar, removed when made mosque -4 piers to support dome -squinches- quarter domes -semi domes- conches, curiving flow Content: - Byzantine architecture -attention to detail -mystical building -altar at the end of nave (center aisle) -minarets -mystical quality of light, gold and glitter, pendentives = opening up Function: -tribute to God -shock worshippers (realize their insigifigance) -originally a basilica (church) -converted to mosque- now has minarets Context: -Justinian's reign -changed to mosque by Ottomans 1452

49. Santa Sabina (Jordan)

Form: -brick, stone, wooden roof -2 levels: upper (windows), lower (arches/columns) -spolia (reuse of architectual pieces from other buildings) Content: -apse: half dome in back that is decorated -narthex: lobby. foyer -nave: center aisle (basicillica based + longitudal + apse) -depiction of crucifix on doors: enter the narthex -3 aisled basilica: side aisles -columns from temple of juno in Rome (spolia) -faced the rising sun: east Function: -basilica- diverse building -used aisle for law courts -early Christian church -represents the inner spirituality Context: -Christianity is legalized, huge buildings were made - Rome, Italy 422-432 CE -Late Antique Europe

51. San Vitale (Jordan)

Form: -brick,marble, stone, veneer, mosaic -all glass covered in gold leaf -octagonal plan + central plan (bc no naive, based off of pagan tholos) -groin vaulting -not longitudinal Content: -central domed octagon surrounded by radiating wall niches (exedrae)- attention directed at the center -big windows -covered by vaults -mosaic: clergy on right, military on left, Justinian in the middle, flattened, elongated, side by side, frontal , big eyes, gold background, purple robes of divinity, halo (nimbus), bread of eucharist, right of christ, fictional, never went, shield has the monogram of christ -Theordora: off center, subserviant, 3 magi- theo = virgin mary, power and authority, eucharist glass -plain exterior and decorated interior Function: -holds icons -basilica -reestablish Orthodox Christianity Context: - Ravenna, Italy- Early Byzantine 526-547 CE -Julianus Argentarius financed this building (wanted to wipe out other faiths, "vicar of jesus christ", divine right to rule, pope + emperor)

41. Seated Boxer

Form: -bronze -realistic- shows the exhaustion of a real athlete Content: -boxer seated naked with only his boxing gloves -copper shows blood -cuts and bruises Function: -show a boxer after a fight Context: -Greek 100 BCE -Hellenistic Lisa's Edit: -Rare Hellenistic bronze -May have been part of a group, or perhaps a single sculpture with a head turned to face an unseen opponent -Older man, past his prime, mostly defeated look -Smashed nose; lips sunken in to suggest broken teeth -Cauliflower ears -Nude figher; hands wrapped in leather bands -Blood denoted in copper; dripping from his face and onto his right arm and thigh -Copper used as highlights on his lips, nipples, straps on leather gloves, wounds on head -Great emotion -May have been a good luck charm for athletes; evidence of toes worn away by touching -THought to be a goodluck charm -Bronze casting CROSS-CULTURAL COMPARISONS: INDIVIDUAL VS. SOCIETY -Goya, There's Nothing to Be Done -Kirchnir, Self-Portrait as a Soldier -Munch, The Scream

202. Shiva's Lord of Dance

Form: -bronze -stance signifies refuge for troubled soul Content: -Shiva: destroyer god-keeps us from afterlife, but also creator -flaming circle crushing Apas mara (dwarf) -Hindu trinity: Brahma (creator), Vishnu (preserver), Shiva (destroyer/transformer) -Wedas: sacred texts of Hinduism Function: -shows the never-ending cycle of life Indians believe in -immortal symbol that in this physical world there will always be ignorance or things we have to overcome Context: -Hindu, India -Chola Dynasty 1000-1100 CE cami's notes vis an- made from cast bronze depicts Shiva, god of destruction surrounded by symbolic fire also for destruction con an- relates back to Hindu themes of rebirth and the cycle of life con and change- continues tradition of the depiction of god=the presence of god depicted an interactive way to show a god and also demonstrates various purposes of one god

197. Todai-ji

Form: -bronze and wood (sculpture) -wood and ceramic roofing (architecture) -bracketing system -massive pillars -contrapposto stance of the Nios (powerful, dynamic bodies) Content: -50' tall wood statues: Ungyo (open mouth) and Agyo (closed mouth) -Colossal Buddha image (bronze) Function: -Buddhist temple -expression of Buddhism and State mixing in Japan Context: -743 CE rebuilt 1700 CE -commissioned by emperor Shopu -Nara, Japan 1st imperial capital, end of Silk Road cami's notes vis an- wood and bronze sculpture ceramic and wood ceiling introduces bracketing system to support the roof with giant pillars con an- meant to be a Buddhist temple where one would meditate with the in-house buddhist statue con+change beginning of art schools- (kei school) evidence of theocracy

33. Niobides Krater

Form: -calyx krater (type of painted pot) -stiffness in the figures contrast the other relaxed side of the vase -sense of depth perception -red figure technique with white highlight Content: -one side: mortal woman named Niobe with 12 children would always brag to the goddess Leto that she had more children so Apollo and Artemis (Leto's children) take revenge for their mother by killing all 12 children -other side: Hercules (identified with club and lions skins) is actually a sculpture (contraposta) and Greek soldiers are offering tribute and prayer to protect them before going into battle Context: -460-450 BCE -not signed Lisa's Edit: -Found in Orvieto, Italy -Called the Niobid Krater because on side is depicted the killing of Niobid's children (Niobid bragged about her fertility to the god Leto, who had only 2 children. Leto's two children, Apollo and Artemis, seek revenge by killing Niobid's 12 children, so she was punished for her hubris) -Other side of vase, story is of scholarly debate (One theory is that it represents Hercules surrounded by heroes in arms and Athena. Another is that the warriors of Marathon place themselves under the protection of Hercules) -First time in vase painting that isocephalism (the tradition of depicting heads on figures on the same level) has been jettisoned; may have been the influence of wall paintings -Figures are in controposto -One side is relaxed and one is violent: common paradox seen in Greek art CROSS-CULTURAL COMPARISONS: CERAMICS= -Beaker with Ibex motifs -The David Vases -Martinez, Black on Black ceramic vessel

97. Spaniard and Indian Produce a Mestizo

Form: -casta painting (displays mother, father, and child) possibly modeled after the Holy Family -text is the title of the piece -enlightenment Content: -woman wearing traditional Indian clothing and white father with their mixed race son (Father wearing French-style European clothing) -servant carrying the son -family appears content -racial purity=whiteness Function: -displays social status (tied up in one's racial makeup)- helped maintain European power and control Context: -artist: Juan Rodriguez Juarez -1715 CE (height of slave trade) (Abby) Credit line Attributed to Juan Rodriguez Juarez, 1715 C.E., Oil on canvas - 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 - genre of painting, known as pinturas de castas, or caste paintings, attempts to capture reality, yet they are largely fictions. - modeled on depictions of the Holy Family - labeled with a number and a textual inscription that documents the mixing that has occurred. -> speaks to enlightenment concerns, specificaly that notion that people can be rationally catergorized based on their ethnic makeup and appearance - The family appears calm and harmonious, even loving. This is not always the case, however. Often as the series progresses, discord can erupt among families or they are displayed in tattered, torn, and unglamorous surroundings. People also appear darker as they become more mixed. - The existing evidence suggests that some of these casta series were commissioned by Viceroys, or the stand-in for the Spanish King in the Americas -casta paintings reflect increasing social anxieties about inter-ethnic mixing, it is possible that elites who claimed to be of pure blood, and who likely found the dilution of pure-bloodedness alarming, were among those individuals who commissioned casta paintings. -

102. Monticello

Form: -classical and enlightenment ideals (neoclassical) combining Italian Renaissance and French Classical architecture -domestic -symmetrical -brick, glass, stone, wood Content: -expresses American virtue of a Republic through architecture -two column deep extended portico that support triangular pediment decorated by a semicircular window (doric columns) -shallow dome Function: -plantation house for Jefferson Context: -Virginia, USA 1768-1809 -Romanticism/Classicism on the rise (Abby) Credit line Jefferson (architect), Virginia, US, 1768-1809 C.E., Brick, glass, stone and wood - emulated Palladios manner - facade inspired bu Robert Adams work - reminiscent of the Villa Rotonda and teh Chiswick house - neoclassicism was an extension of the enlightenment belief in perfectubility of human beings and in the power of art to help acheive that perfection. - building that would serve as a visible expression of the ideals of a country dedicated to liberty - influenced by roman style because of his fascination with their style of government

110. Still Life in Studio

Form: -classical art -daguerreotypes record precise detail -photography Function: -elevate photography to art Content: -reversed image -long exposure and can't record movement -upstairs underneath the skylight due to no flash -fills his photos with plaster casts (angels) Context: -artist: Louis Jacques Maude Daguerre -1837 CE (earliest dated photography) (Visual analysis: -photo has variety of textures including: fabric, wicker, plaster, etc. -not visible from all angles, and it cannot be seen unless it goes through a chemical process -inspired by still live paintings Contextual analysis: -single copy and not replaceable -made photography accessible to the public -long exposure times needeed -produced an a metallic surface; photos have a glossy surface Attributions: Matisse, Goldfish, both are inspired by still life paintings Continuity and change: -New art form proclaimed while capturing older art forms) ECH

45. Forum of Trajan (Jordan)

Form: -column: marble, low relief -brick and concrete architecture -scroll-like frieze on column- continuous narrative -groin vaulting/barrel vaults in market Content: -forum: basilica in back with equestrian figure in the center and two libraries -marble column of trajan: ashes of trajans put in bottom, crowded composition, story of defeat of the Dacians -market of trajan: multilevel mall with 150 shops Function: -column: monuments celebrates the victory in the Dacian war -forum: marketplace Context: - Rome, Italy 106-112 CE column 113 CE Basilica Ulpia - second floor has clerestroies and possibly galleries - apses (semicircular ends) -2 aisles were on each side of the nave -post and lintel construction -connects to Amen Ra (not a fortress) Roman churches: exterior has no decoration, plain brick walls, intererior, frescoes and mosaics, marble columns from pagan buildings, chandeliers and jewels Trajan Markets - Column of Trajan -low relief marble -painted to read easier -continuous narrative -power and authority

46. Pantheon (Jordan)

Form: -concrete with stone facing -marble -coffers: indentations in the ceilings -15' thick walls -perfect sphere, lots of space Content: -big portico in the front with a rotunda in back that has a dome with an oculus -sculptures of gods in niches -inscription: "marcus agrippa, son of lucias, having been consult three times, built it"- really built by Hadrian -reflects roman view of the emperor as both head of the state and church as this building connects the heavens and earth -ceiling reps the vault of the heavens Function: -houses all 7 planetary gods -famous burial space -coffers create illusion of heaven Context: -imperial Rome 118-125 CE

104. George Washington

Form: -contrapposto -neoclassicism (influenced by essence of Greek art as opposed to Rococo) -realistic -idealistic Content: -captured the duality of Washington (private citizen and public soldier) -bundle of 13 rods (symbolizes not only power but strength found through unity Function: -commemorate momentous occasion after the revolutionary war Context: -artist: Jean-Antoine Houdon (commissioned by Jefferson) -1788-92 CE made by foreigner (Abby) Credit line Jean-Antoine Houdon, 1788 - insisted on being shown wearing contemporary attire rather than the garments of a hero from ancient Greece or Rome - Washington stands and looks slightly to his left; his facial expression could best be described as fatherly - His stance mimics that of the contraposto seen in Polykleitos' Doryphoros - His left arm—bent at the elbow—rests atop a fasces, a bundle of thirteen rods that symbolizes not only the power of a ruler but also the strength found through unity. This visually represents the concept of E Pluribus Unum—Out of Many, One - captures duality of washington - done to honor his contributions in the revolutionary war - made for the rotunda of the virginia state capital - model of viture and patriotism - symbols such as the plow behind him which siggests he left his life as a general to return to farming - classicism: marble, contrapposto, roman republican references, calm expression - Realism: contemporary clothes realistic face - life size not monumental - 13 rods = 13 colonies

205. Portrait of Sin Sukju

Form: -crisp and angular lines -color characterization -hanging scroll -ink and color on silk -possible collaborative pice Content: -head slightly turned (1 ear shown) -rank badge worn on front and back -peacocks with plants and cloud Function: -respect for one's elders and ancestors -portrait cherished by descendants Context: -Imperial Bureau of Painting, Korea -1417-1475 CE cami's notes vis an- korean hanging scroll very vivid colors to suggest wealth and divinity extreme outlines con an- demonstrates his scholarly ness with his seat and wisdom with age con and change- worship of the elders in society demonstrates his loyalty to the king during distruptive times in their kingdom shows his rank through pose

39. House of the Vettii

Form: -cut stone and fresco -axial symmetry Content: -atrium (inner courtyard with pool) -reception area (atrium) has open ceiling -catch basin to collect rainwater -peristyle garden in back of house -living room with frescoes -frescoes show person's taste and used as conversation pieces for businessmen to discuss Function; -represents the wealth of the people who lived there Context: -Pompeii, Italy -Imperial Rome 2nd century BCE rebuilt 62-79 CE -wealthy family's home set in the middle of markets Lisa's Edit: -Two brothers owned the house; both were freedmen who made their money as merchants -Narrow entrance sandwhiched between several shops -Large reception area, called the atrium, that is open to the sky and has a catch basin called an impluvium in the center; cubiculas radiate around the atrium -Peristyle garden in rear, with fountain, statuary, and more cubicula; this is the private area of the house -Axial symmetry of the house; someone entering the house can see all the way through to the garden in the rear -Exterior of house lacks windows, interior lighting comes from the atrium and peristyle -FOr fresco on the wall, painters use devices to suggest perspective (linear, atmospheric, diminution, and unified light source) -Applies the phrase "foreground (blank)er, background (blank)er"

144. Fountain (kate)

Form: -dada art -approbation - china with black paint Content: -transforms a urinal by turning it around and signing it Function: -challenge notion -moving something to a different context changed the meaning Context: -artist: Marcel Duchamp, 1917 (added down below) - signed by "artist" R.Mutt, a pun on Mutt and Jeff comic strip - entered in an unjuried show, the work was refused--voted out by the organizers - thought to be indecent and not fit to show women - he resigned in protest of his work not being allowed - can be seen as an experimental replay by Duchamp, testing the commitment of the new american society to freedom of expression and tolerance of new conceptions - original is now lost - forces viewers to see ordinary objects from a new perspective

61. Bible Moralisees (jordan)

Form: -dedication page -Gothic -gold leaf, tempera, ink on vellum -illuminated manuscript Content: -King Louis IX -Blanche of Castile -passages from Old and New Testament -dedication page with blanche of castile and king louis IX of france ---trefoil arch, architectural canopies, promotes enlightened rule, picture bible, not used in ceremoney, scholar and scribe -scene of the apolocaypse ---last chapter Function: -made for Frnech royals' home (King Louis IV) -create a moral through visionary readings Context: -Paris, France 1225-45 CE (center of learning and bookmaking)

245. Old man's cloth (Mattie WIlson)

Form: -due to its flexibility, it can be hung in different ways forming differnt shapes -repurposed arts Content: -feels like Kentai cloth -liqour bottle caps are used to create the design of the "cloth" -materials come from the West -what gets dumped in Africa by Aristocratic europeans -recalls African traditions and combines it with Western World Function: -contemporary piece Context: -El Anatsui -2003 CE { 2003, aluminum liqor bottle caps and copper wire Artist born in Ghana, spent much of career in Nigera, 1000 drink tops joined by wire to form a cloth like hanging, bottle cpas form a disterllery in Nigeria, artist uses power tools like a ahain saws and welding machines REcyling of found obejcts, colorful textured wall hanglings, reltates to West African textiles, combiens aestiteci traditions of home country in Ghana to adopted country of Nigeria Cross Culture Comp: All- T'oqapu tunic(26.10); Hiapo(28.6); Funeral Banner of Lady Dai (24.4)​ }

93. The Palace of Versailles

Form: -east-west axis -rigorous geometry -classical architecture (symmetry, repetitive, and based on Greek temples) -gold -painted ceilings -outside is not as "ornate" -symmetrical -Greek/Roman influence -mirrors (hall of mirrors) Content: -Hall of mirrors (social gatherings) -700 rooms -gardens -sculptures, paintings, fountains tributed to him Function: -King Louis XIV decided to build a new palace -example of nobility -living for King, his close friends, family, servants, and soldiers) -emphasize Louis' importance (everything revolves around him Context: -Versailles, France -Louis Le Vaw and Jules Hardouin-Mansart= architects -began in 1669 CE, French Baroque (Abby) Credit Line Le Vau and Jules Hardouin-Mansart (architects), Versailles, France, 1669 C.E., masonry stone, wood, iron, and gold leaf - Versailles was meant to emphasize Louis's importance. After all, this is the guy that called himself The Sun King; as in, everything revolves around me. - He had the whole palace and its massive gardens built along an East/West axis so the sun would rise and set in alignment with his home. - ceilings painted to place Louis in the company of the Greek gods, busts of him in a huge formal curly wig staring at you wherever you go, and gold gold gold, so you never lose sight of how wealthy the King of France was. Hall of Mirrors - designed by Mansart and Le Brun - source of illusion, was a favorite element of Baroque interior design

59. Bayeux Tapestry (Jordan)

Form: -embroidery on linen -Romanesque (English or Norman) -2/3 of a football field in length -continuous narrative -latin Content: -a great epic -2 main scenes -story of William's conquest of England in the battle of Hastings -Haley's Comet -registers -colors are random -hierarchy of scale -multiple points of view -normans had horses, dead soilers are the borders -calvary: leading up to it -first meal: dining practices, everyday objects, odo blesses the meal, prepare and eat -space as a function Function: -show Norman conquest -justifies William's actions Context: -Cantebury, NW France -commissioned by Bishop Odo, william the conqueror's half brother -1066-80 CE (11th century)

54. Virgin (Theotokos) and Child between Saints Theodore and George (Jordan)

Form: -encaustic (wax base paint) on wood -spacial recession but compressed space Content: -angels looking towards heaven -Mary looking over viewers while the warrior saints look directly at viewer -light falling on Virgin -depicts Mary and Jesus in a different realm than others -classical influences (modeling of the faces 3/4, , muscles on neck) -saints have a groundline -spatial ambiguity (depth and flatness) Function: -portray Mary and Christ protected by saints and hand of God -comissioned to replace the one the iconoclasts destroyed -placed in medieval monastery Context: -6th-7th century -Early Byzantine Iconoclasm: 627 attacks by Arabs, islamics, conquered byzantine and 2/3 of empire lost, emperor leo 3 said it was punishment for false idols, 726- destoryed symbols, early vs middle byzantine

134. Memorial Sheet for Karl Liebknecht (kate)

Form: -german expressionism -lamentation, woodcut Function: -honors the communist without depicting his ideologies so people would know she wasn't a communist Content: -densely packed with figures (multitudes coming to show their respects) Context: -artist: Kathe Kollwitz, approached by family to make this, 1919-1920 (added down below) - human grief dominates - Liebknecht was one founder of the Berlin Spartacus, which became the german communist party - no political reference - theme of war and poverty dominate - theme of women grieving over dead children - comparison: the sphinx and the pyramids and lamentation - the black and white of the woodcut used to magnify the grief - Liebknecht was shot to death during communist uprising called spartacus revolt

23. Tutankhamun's tomb (innermost coffin)

Form: -gold -inlay with stones and enamel Content: -crook and flail- symbols of Osiris -cobra and vulture coming from headpiece- gods of Upper and Lower Egypt -Son of Akhenaton Function: -sarcophagus (body inside) -materials used represent the royal wealth (143 objects buried with him) Context: - New Kingdom 1325 BCE Lisa's Edit: -Discovered by Howard Carter in 1922 -Mummified body of King Tut buried with 143 objects on his head, neck, abdomen, and limbs; gold mask placed over his head -Golden mask has smoothly idealizeds features of the boy-king -Holds a crook and flail, symbol of Osiris -Son of Akhenaton, his father and mother were brother and sister; his wife his half-sister; physically handicapped caused by genetic inbreeding -When Akhenaton died, two pharaohs ruled breifly, then Tut reigned for ten years from ages 9-19 CROSS-CULTURAL COMPARASIONS: COMMEMORATION= -Sarcophagus of the Spouses -Moai -Ndop

207. Ryoan-ji

Form: -gravel=flowing elements -stones=islands, shore, bridges Content: -15 stones -raked stone garden -mirror pond Function: -can only enter garden through your mind (spiritually enter) -each rock is a different visual "pull" -Zen seated meditation Context: -1480 CE, Kyoto, Japan -Muramachi Period -Zen Buddhist cami's notes vis an- abstract and asymmetrical gravel and stones represent elements of earth man made and not con an- in a monestary for Zen buddhist monks Zen Buddhism power of minimalism and emptiness mirror pond prompts self-reflection con and change- introduces an interactive form of worship/spirituality can only enter the garden fully with mind and body Zen!

195. Longmen caves (grottoes)

Form: -guardians and vajrapani are more in motion and engaging figures Content: -60 stupas, 2800 inscriptions carves on steles -the Vairocana Buddha (representing the celestial Buddha) with bodhisattva, a heavenly king, and a thunderbolt holder on the sides Function: -signifies the arrival of Buddhism in China Context: - Luoyang, China- Tang Dynasty - 493-1127 CE cami's notes- Tang Dynasty Vis an- Carved into limestone mountainside Inscriptions on steles and over 110k Buddhist statues Con an- Signifies the arrival of Buddhism to China Encases celestial buddha and bodhisattva Con + change Engaging figures become a public display for people to experience

201. Travelers among Mountains and Streams

Form: -hanging scroll -ink and colors on silk -in proper scale Content: -Chinese landscape (no specific place) -waterfall, travelers, boulders, trees, mist Function: -reverence for rocks and stone because of their "chi" (energy) -evoke Buddha -after long period of political disunity Context: -artist: Fankuan (scholarly artist) -Song Dynasty, China -1000 CE cami's notes vis an- the hanging aspect of the scroll allows viewer to see all of the painting at once done on silk with inks con an- aligns with Neo-Confucianism- the response to Taoism and Buddhism reference to Chi or the energy of nature con and change- brings up the ideas of scholarly artists and art schools beginning of Chinese landscapes and references to religion through nature

123. Where Do We Come From? What are we? Where are we going?

Form: -human, animal, and symbolic figures across the isalnd landscape -powerful oclors -text (title) -figures out of proportion -read right to left Content: -lizard, cat, goat -Eve in center -blue idol representing the beyond -cycle of life -volcanic island in Pacific -themes of life, death, poetry, and symbolic meaning -synthetism: search for spiritual journey Function: -paradise -where do we go after we die? -cycle of life Context: -artist: Paul Gaugin (grew up in Paris and Catholic) -post-impressionism -1897-98, Tahiti (Visual analysis: -story of life, read left to right -the background figures are anguished, darkened figures -signed and dated with the title -golden edges made to look like it was part of fresco -androgynous figures - made of sewn sack cloth Contextual analysis: -rejection of greco roman influences -he had poor health so he often contemplated death -after learning about his own daughters death he made this piece his last artistic will and testament attributions: -Japanese prints, solid fields of color and odd, unusual angles Continuity and change: progressing towards cubism) ECH

30. Audience hall (apadana)

Form: -hypostyle hall -cut sandstone and mud brick -built in a hillside with big platform -72 columns (3 portico made of 12 columns) Content: - relief on the side pictures Darius and Xeres -stairs have central relief of king enthroned with attendants -reliefs Function; -used to hold thousands of people (audience hall), king's receptions - ascend upwards symbolic Context: - Persepolis, Iran; Persian influence - 520-465 BCE -built by Darius and Xeres; destroyed by Alexander the Great Lisa's Edit: -The heavily fortified complex of Persian royal buildings on a high plateau at Persepolis included a royal audience hall, or apadana(10,000 guests could stand at one time), with 36 colossal columns topped by animal protomes. -Greek, Egyptian, and Mesopotamian models but are unique in form. -the back-to-back protomes of the capitals supported gigantic wood beams. -medium or materials used:hall had mud-brick walls. -floors were paved in stone or brick; columns entirely of stone -with the many animals that varied from capital to capital the Persepolis architect must have wanted to suggest that the Persian king had captured the fiercest animals and monsters to hold up the roof of his palace. -Alexander the Great razed the site in a gesture symbolizing the destruction of Persian imperial power. on columns there are tall bases with a ring of palm leaves, fluted 57-ft shafts, and enormous capitals composed of double vertical volutes topped by polished and painted back-to-back animal protomes (head,forelegs,and part of the body) -Concept of massing columns is from Egypt ...vegetal forms on base and sometimes on capitals also Egyptian ... but fluted columns probably Ionian (Greek) .. -In this hall, received tributes from all the subjects in the ACAMENHID EMPIRE -Refers to the harmonious living in the Persian empire -Mudbrick -Processional friezes -Built with paid labor cause they did not lalow slavery -Protomes

55. Lindsfarne Gospels (Jordan)

Form: -illuminated manuscript (benedictine monks perseved books, kept literacy alive) Content: -cross carpet page: cross forms out of chaos, creates illusion of 3D in which viewer can lose themselves in contemplation -portrait page (luke): holds quill/looks prepared to write, gold halo (divinity), ox above his head, robe with purple and streaks of red -incipit page (Luke): it "begins", animal life, spiral forms, swirling vortexes -created in scriptorium (cold monk workplace) -hiberno saxon : roman and anglo saxon influence, style of art -no 3D, no shading, classical style Function: -earliest known translation of the Bible -word of god to the illierate -1 of the 4 gospels, opening words -used by clergy, read while eating, carried during prossesions Context: -Early Medieval -Britisn Isles -created by monks -written in Latin and Greek

117. Horse in Motion

Form: -impressionism -Albumen print -still photos/filmmaking -take pics of horse using trip wire on cameras set up that could take pics at 25th of a second -cut up and put on cylinders Content: -chronophotography -motion -horse with jockey Function: -photography on rise Context: -Eadweard Muybridge 1878 CE (Visual analysis: -was used to see if all of a horses feet would get off of the ground when running -cameras places evenly around the track -these pictures bridge the gap between still photography and motion pictures Contextual analysis: -by 1878 exposure time was down to 1/25 of a second which lead to motion picture -it was a bet and there were multiple cameras set up around a track to capture the horse running -photographed things that the human eye could not see -used a device called zoopraxiscope Attributions: -Terra-cotta warriors, both have the use of multiple images Continuity and change: -was a major step towards film and it greatly influenced painters) ECH

121. The Coiffure

Form: -impressionism -overall curves and crisp line -drypoint/aquatint -genre scene -etching Content: -her prints are accessible and they can own them -influenced by Japanese Wood Block Prints (ukiyo-e) -preparing one's hair refers to ideals of femininity and beauty Function: -gives image of glamorous woman in glam setting -Japanese influence -capture fugitive, fleeting moment of the busy lives of the working class Context: -America w/ Japan twist -1890-91 CE -artist: Mary Cassat (visual analysis: -no posing or acting, just the natural figure -pastel color scheme -figures from everyday life -sensous curves of female figure contrast with straight lines of the furniture and wall contextual analysis: -displays independent women and not needing men to complete -emphasis on the private domestic spaces of women -very influenced by Japanese art, curves on neck in homage to the Japanese style attributions: Vermeer, woman holding a balance, shows the peronal and orivate space of women continuity and change: -shows independent women instead of women being objects for men to use) ECH

190. The Court of Gayumars

Form: -ink, opaque watercolor, and gold -minute scale drawing and detail Content: -opening page of the Shahnama -Gayumar is surrounded by his son and grandson he looks down on the court to address them Function: -telling ancient history of Persia Context: -folio from Shah Tahmasp's Shahnama -artist: Sultan Mohammad Cami's notes- Sultan Mohammad Vis. An- Opaque watercolor, gold leaf, and ink on paper Con. An.- Tells ancient story of Persia Clothing defines station con+change- Similar to European manuscripts Displays status/station from attire

189. Bahram Gur Fights the Karg

Form: -ink, opaque watercolor, and gold on paper -shown wearing European clothing but background looks Chinese (combination of cultures) Content: -Bahram Gur went on the court of Hind disguised so he could observe the kingdom and its civilians -king tricks him into showing his true identity and decided to send him away by making him slay a karg (horned wolf)- Barham pierces the wolf with arrows and cuts off his head -this folio shows Bahram after he has defeated the wolf- confident and relaxed Function: -expresses political power attempting to legitimize the Elkhanid's claim to Iranian kingship -shows the ideal king (crown and halo) Context: -from the Great II-Khanid -1330-1340 CE (Islamic/Persian) Cami's notes- Folio from Great Khanid Vis. An- Watercolor, gold leaf on paper and ink Con. An- Shows divine right to rule, expresses political power and Iranian right to the throne. European clothing with Chinese background= combination of cultures con+change- Continues depicting royalty as divine similar/influenced by ancient Egypt Makes calligraphy a part of the art- similar to Islamic arts

210. White and Red Plum Blossoms caroline

Form: -ink, watercolor, gold leaf -swirling illusion of expansion -byobu: painted screen -rich colors/gold (left red blossoms, right red) -(Tarashikomi: technique in which colors are blended one over another that is still wet) -(Mokkotsu: technique doesn't use outlines) -(stream cuts rhythmically through the scene, swirls indicate water current) Content: -swirling water -nature/flowers alongside -early spring -(two flowering trees,,,old left, new right) -vantage points -turns simple landscape theme into dream vision Function: -rimpa school painting -painted screen Context: -1710-16 CE Japan -artist: Ogata Korin -influenced by yamato-e style of painting -Edo period Characteristics of Japanese Style: -(elevated viewpoints, diagonal lines, depersonalized faces) -(pursuit of secular things, flat 3-D areas)

53. Merovingian looped fibulae (Jordan)

Form: -interlacing (zoomorphic) -bowed -filigree 2-4" -silver gilt (thin layer of gold) Content: -animals (fish represents Christ and eagle represents St. John, highly stylized anumal forms = zoomorphic) -originally from etruscan and rome -clousonne: using thin metal bands to spersate colored areas Function: -clip for holding fabric -clasp that hold fabric to the shoulder -small portable art (time of migration and war) Context: -mid 6th century CE -Frankish kingdom -found in tomb of rich woman

57. Pyxis of al-Mughira (Jordan)

Form: -ivory -carvings of text and pictures -text used as a decoration Content: -roaring lions -4 8-lobed medallions showing pleasure activities -human and animal figures -geometrical and vegetal motifs -humans picking fruit symbolizes the land taken away from the Umayyads Function: -luxury cosmetic holder: text on top/decorated richly -ceremonies and hold toiletries -coming of age present from caliph to his younger son Context: -968 CE Umayyad, Muslim Spain

118. The Valley of Mexico from the Hillside of Santa Isabel

Form: -landscape painting -romantic and neoclassical aesthetics (new type of genre painting) -scientific accuracy -landscape as historical narrative -light/shadow directs our view -vast panorama Content: -travelers (tiny detail of mother and children walking into nature away from city) -island in middle of lake -Tepoyac (spot of Virgin's appearance -volcanoes -basilica of guadalupe Function: -about history of the land -celebration of Mexico -international movement towards nature -shows effect of Industrial Revolution Context: -1882, Mexico City -artist: Jose Maria Velasco -different styles together: impressionism, nationalism, realism, romanticism (Visual analysis: Dramatic perspective -small human figures -glorifies mexican countryside -keen observation of nature Contextual analysis: -one of mexicos best known landscapes -studied with european artist -rejected realist landscape like courbet, preferred realist landscapes -acedemic landscape painter -specialized on panoramic views of the mexican countryside attributions: Cole, The oxbow, both are landscapes devoid of massive amounts of people Continuity and change: uses landscape to display a message that is not clearly stated) ECH

193. Terracotta warriors

Form: -lifesize painted terra cotta warriors Content: -warriors with individual faces but same bodies Function: -funerary art -express imperial power and authority Context: -Qin Dynasty in China -221-209 BCE cami's notes Qin Dynasty Vis an- Life-size painted terra cotta warriors Con an- All figures have individual faces with the same body Done as funerary art to express authority even in afterlife Con+change- Displays divine right to rule Among first mass-production of the arts

114. Nadar Raising Photography to the Height of Art

Form: -lithograph: process of making a design on ston eblock with greasy crayon, ink applied to wet stone and stick to greasy parts to make a print (cheap way) -Realism Content: -Nadar- awkward photographer/businessman on high and attempting to raise photography to high art (takes first aerial shots of France Function: -make lithographs as a new mass media print method -crave of art in Paris -new kind of photography Context: -artist: Honore Daumier -made 6000+ lithographs -satirist, uses caricatures -1862, Paris -published in Le Boulevard (visual analysis: above the city taking photo (Visual analysis: -every building has the word photographie on it -satirizes the claim that photography can be a "high art" -Nadar is presented as a "silly" photographer, risking his life to get the shot and even loosing his hat in the process, it mocks him for how "difficult" photography is -used the wet plate process and use lithography print making -uses the illusion of wind and diagonals Contextual analysis: -originally was in a journal -the first aerial photo was took by Nadar -made after a court decision in 1862 that determined that photographs could be considered art Attributions: Duchamp, Fountain, both emphasize the humor in art Continuity and change: -pushed the idea that photography can be considered art even though it was not as populaer at the time) ECH

26. Athenian Agora

Form: -long buildings (stoa) -covered places- public markets -at foot of Acropolis, road that leads up Function: -marketplace/meeting area -temple (pay tribute to Athena) Content: -participated with government -democracy- didn't vote representatives but instead participated directly Context: -600-150 BCE -Athens, Greece Lisa's Edit: -A plaza at the base of the Acropolis in Athens that contained commercial, civic, religious, and social buildings; ceremonies took place here -Setting for the Panathenaic Festival, ceremonies and parades to honor Athena -The Panathenaic Way cuts through the plaza from the northwest to the southeast corners -Plaza surrounded by important buildings including a bouleuterion )chamber used by a council of citizens), a tholos (a round temples manned by a group of senators 24 hours a day for emergency meetings), and several stoas (a covered walkway with columns on one side and a wall on the other) -Connection between religious belief and civic identity -Regularized, orthogonal grid -Agora is a central spot or gathering place for athletic, artistic, spiritual, and political life -Demonstrates exchange with other areas -Represents the beginnings if democracy -Pericles: patron

98. The Tete from Marriage a la Mock

Form: -looks like French Rococo (uses to make fun of the French Content: -critques upper-class for getting married because of bloodlines and family -shows the couple is married but not faithful to eachother -man being sniffed by dog because smell of another woman's perfume -woman has been out all night trying to become popular -part of a series (arranged marriages end badly, marriage should be about love) -sign that sex occurred before husband came back home (flipped over chair) -merchant gives up on couple because they won't take finances seriously Function: -satire from British to French -art being made for the growing middle class Context: -artist: William Hogarth (social critic) -1743 CE (Abby) Credit Line Hogarth, 1743 C.E., Oil on canvas - HOGARTH IS THE FIRST POLITICAL AND SOCIAL SATIRIST - made prints of paintings - new merchant class buying art because they are becoming wealthy - art that is made for the growing middle class audience - art becoming a commodity - becoming an artist entrepreneur - makes fun of the aristocracy - modern marriage - lord squander field, has a title but no money - immoral behavior and personal ruin that can result from arranged marriages - wall painting are commentary of what is going on in the scene - juxaposition of hugh and low art to emphasize the different social classes of the couple

192. Great Stupa at Sanchi

Form: -mandala plan (map of the cosmos) -sandstone Content: -hemispherical dome -yakshis and yakshus Function: -monastery -reliquary mound holds Siddhartha's relics -symbolic representations of the Buddha (footprints, lion, elongated pathway, empty seat) -no actual pictures of Buddha's face -show inclusiveness of Buddhism Context: -300-100 BCE Madya Pradesh, India -late Sunga dynasty cami's notes vis an- Sandstone in mandala plan with hemispherical dome 4 gateways Con an- Monestary and reliquary mound Contains Yakshi and Yakshu- nature goddess/god con+change- Relics of Siddhartha similar to other religious relics like christian or islam No pictures of Buddha's face to demonstrate the inclusivity of the religion

191. the Arbabil Carpet

Form: -many many details -silk and wool carpet -central sunburst medallion creates illusion of a heavenly dome with lamps reflection in a pool of water Content: -two different lamps suspended from the ceilings -one panel with inscription that tells you who made it and when Function: -made for the funerary shrine of Safi al-Din Ardabil -prayer carpet Context: -Maqsud of Kashan 1539-40 CE Cami's notes Maqsud of Kashan Vis an.- Silk and wool carpet with extreme detail con. An.- Prayer carpet-one of a pair Made for a funerary shrine con+change- Medallion in center similar to Indian motifs (lotus flowers) Slightly symmetrical Similar to European tapestries' detail

42. Head of a Roman patrician (Jordan)

Form: -marble -deep wrinkles, hooked nose, defined cheek bones [subtractive carving] Content: - portrait of a prominent Roman Republic figure, old and male-show sense of civic virtue: wisdom, seriousness, public service [ indication of wealth/power - literal reproduction - brutally realistic images of distinctive features, made to portray them "as they are" -made for patron ] Function: -kept in shrines of Roman houses -mask of values and virtues of Republican men in Rome Context: -Republican Roman 75-50 BCE -influence of Greek Hellenistic art

47. Ludovisi Battle Sacrophagus (Jordan)

Form: -marble -high relief Content: -made ahead of its time -figures piled on top of each other, crowded surface -Romans shown as the good guys (ideal/noble) -Romans trampling over defeated barbarians - enemies very caricatured with great detail -horros vacui: the filling of entire surface or work of art with detail -deep carving and drilling creates high contrast, adds to drama Function: -tomb, only for the wealthy Context: -late imperial empire; 250 CE

37. Winged Victory of Samothrace

Form: -marble -textures shown -very dramatic motion, explosive, -forward movement counteracted by the backward movement of her wings Content: -nike lands on front of ship descending from the heavens -wet drapery look to the sculpture -twist and contrapposto of the torso Function: -war monument -commemorating a naval victory -nike is a symbol of victory Context: - 190 BCE Hellenistic Greek Lisa's Edit: -Meant to stand in or above a fountain cascading water around rocks below, similar to a figurehead of a boat -Wet drapery look imitates the water playing on the wet body -Dramatic twist and contrapposto of the torso -Monumental of the figure -Her missing right arm may have raised a victory crown or held an open hand in greeting; perhaps she was landing on the prow of the ship -The boat at the base is a battleship with oarboxes and traces of a ram -Probably built to commemorate a naval victory in 190 BCE; Nike is a symbol of victory CROSS-CULTURAL COMPARISONS: LOCATION -Dome of the Rock -Lanzon Stela -Smithson, Spiral Jetty

34. Doryphoros (spear bearer)

Form: -marble (Roman); bronze (Greek) -contrapposto: shifted weight -not meant to portray a specific person but rather specific characteristics of a Greek Function: -portray the physical perfection of a human figure Content: -everyone is imperfect but brings together different body proportions to make physical -missing its spear -athlete and warrior -gazes off in the distance Context: -Artist= Polykleitos of Argos in 450 BCE -Roman copy of the Greek original Lisa's Edit: -Closed stance -Alternating tense and relaxed elements of the body; left arm and right leg are relaxed, right arm and left leg are tensed -Block-like solidity -Broad shoulders, thick torso, muscular body -Movement restrained, Spartan ideal of body -Warrior and athlete -Hand once held spear -He averts his gaze; you may admire him, but he does not recognize the admiration -Found in Pompeii in a place of training CROSS-CULTURAL COMPARISONS: HUMAN FIGURE -Shiva as Lord of Dance -Braque, Portuguese

35. Acropolis

Form: -marble (wealth) -winged figure (nike) -elevated Content: -buildings, temples, statues -Parthenon (constructed under Pericles): -doric temple -East Pediment on parthenon: birth of Athena from the head of Zeus (Helios) -plaque of ergastines: procession held for Athena every 4 years -Temple of Athena Nike: commemorate Greek victory over the Persians -Victory Nike adjusting her sandal Function: -hold image of goddess Athen (in cella) -celebrate the female figure -civic pride (Athena) -commercial, civic, religious, and social building Context: -Athens, Greece 450-410 BCE Lisa's Edit: -Iktinos and Kallikrates are credited with the architectural design of the Parthenon -artists begin to sign their names to their work for the first time in Ancient Greece -move from artisans to artists -Parthenon housed the treasury -civic purpose rather than religious, ritual purpose -written inventory discovered -kept record of valuables -Phidias responsible for Athena Parthenos (tall statue of Athena featured in interior of Parthenon) -worship happened OUTSIDE Greek temples at individual altars or smaller neighboring temples -visible from far away, visual focal point of city -symbol of ritual power and political power -perfect proportions and harmony -columns carved exactly the same -entasis: slight bulge in the taper of the columns -affect perfection by tricking the imperfect human eye -allusion of perfection -only in the modern era that it became a ruin -balance between theoretical and physical -architects designed this building to elicit a specific response from the people who visit it -Buildings face diff directions -"Propylaia": western gateway -Symbol of democracy -Parthenon: continuous colonnade, peristyle, cella, pronaos, stylobate, opithodomos -Diff. ratio from other temples to hold the large statue of Athena -Doric on outside and Ionic on inside to reflect the Athenian'd belief that the Ionians were descendants, but Athens was the leader of all the Greeks -Peristyle columes lean in to appear straight and corner columns are thicker and have a diagonal inclination -Metopes represent the rice of Athens and Greece, of order over chaos, of civilization over barbarism -East pediment depicted the birth of Athena -Includes Helios, Horses, and Dionysus: -Wet drapery and creates a wide variation of light and shade -West pediment shows the context between Athena and Poseidon and the Athenians were the judges of the gods -Plaque of the Ergastines... part of the Ionic frieze inside... Inclusion of the procession demonstrates the Athenians saw themselves as fit for inclusion in the Parthenon's iconographical program.. Similar to the Processional frieze from Persiapolis -Temple of Athena Nike: Amphiprostyle... first fully ionic temple.. Displays humanism by chronicling a specific occasion, not a recurring event.. Parapet (low surrounding wall) is decorated -Victory Adjusting her sandal

38. Great Altar of Zeus and Athena at Pergamon

Form: -marble frieze -elevated with steep dramatic staircase -complex forms with big muscles showing violent energy and detail -ionic columns Content: -frieze wrapping around the monument shows gods overpowering the Titans -Titans vs. Olympians -"Athena": gigantomachy, battle between the gods and giants (gods win) Function: -war monument (Greek defeat of Gauls) -break architectural boundaries -altar dedicated to Zeus Context: -175 BCE - Asia Minor, Turkey Lisa's Edit: -Altar placed on an elevated platform up a dramatic flight of stairs -Conscious effort to be in dialogue with the Panathenaic Frieze on the Parthenon -7(1/2) foot high frieze over 400 feet long wraps around the monument -Contains an altar dedicated to Zeus -Ionic columns frame monument -Parallels made between King Attalos I's victories over the Gauls in a recent war, Alexander the Great's defeat of the Persians, and the god's defeat over the giants in mythology

36. Grave Stele of Hegeso

Form: -marble with paint -hierarchic scale -drape accentuates the body Function: -funerary object -put on graves in Classical period -commemorates the death of Hegeso Content: -genre scene: slave bringing jewelry box to nike figure for her to examine the jewelry -inscription identifies Hegeso Context: -410 BCE Lisa's Edit: -Attributed to the sculptor Kallimachos -In Geometric period, Greeks used kraters to mark their graves -Archaic Greeks used kouroi or stelae; this is a classical work -Erected in Dipylon cemetry in Athens -Commemorates the death of Hegeso; inscription identifies her and her father -Genre scene: woman examining a piece of jewelry from a jewelry box handed to her by a standing servant; may represent her dowry -Jewelry painted in, not visible -Indicative of the patriarchal society -Maid in controposto CROSS-CULTURAL COMPARISONS: FUNERARY MARKERS AND MATERIALS -Taj Mahal -Sarcophagus of the Spouses -King Tut's Tomb

27. Anavysos Kouros

Form: -marble with remnant of paint -archaic smile -Egyptian inspiration shown through the stance of one foot slightly in front of other -incaustic paint Content: -not a specific civilian depicted (not individualized) -male nude (warrior) -observing the human body Function: -grave marker Context: -530 BCE -large scaled Lisa's Edit: -Grave marker, replacing huge vases of the Geometric period -Not a real portrait, but a general representation of an ideal warrior -Rigidly frontal -Emulates stance of Egyptian sculptures, but is nude: arms and legs largely cut free from stones -Freestanding with legs appearing to stride forward, in contrast to many Egyptian works that are reliefs or attached to stone -Hair is knotted and falls in neatly braided rows down the back -Eyes wide open, squarish shoulders -Face is mask-like -Named after a young military hero Kroisos; inscription at base identifies him -Some paint survives, which would have given the sculpture greater life -"Archaic Smile" meant to enliven the sculpture CROSS-CULTURAL COMPARISONS: IDEALIZATION= -Power figure -Staff God -Donatello, David

43. Augustus of Prima Porta (Jordan)

Form: -marble, over life-size -elevated to be more god-like [ contrapposto -cap of hair ] Content: -Augustus barefoot -cupid riding dolphin (shows divinity -breastplate is about the Pax Romana: the power of empire is due to the military [ right arm: Aule Metele -portrayed as forever youthful, even into his old age return to the ideal (republic ==> empire) ] Function: -shows Augustus as a god because he thought he was (barefoot and cupid riding dolphin signs of this) -shows him as civic ruler (judge's robe) and warrior/right to rule (breastplate) [ leader (orator's pose/raised arm, staff) of land and sea (dolphins) - his official image was all the public knew of him (easily manipulated) ] Context: -Imperial Rome (early empire) early 1st century CE [ Augustus as patron -produced in great number by anonymous artists -inspired by classical greece ]

196. Gold and jade crown

Form: -metal work with gold and jade Content: -3 prongs in the back -jade pieces hanging down- connected by wiring Function: -queen crown Context: -found in tomb of a queen -Silla Kingdom, Korea -Three Kingdoms Period -5th-6th century CE Cami's notes Vis an- Gold, jade, metalwork and thin wires Prongs create antler effect Con an- Used as a crown for a queen from the Three Kingdoms Period in Korea con+change Continues the lavish lifestyle of the royals which falls in line with other asian countries and kingdoms

129. The Kiss (kate)

Form: -modern abstraction, little detail -symmetrical, stone Function: -version of The Kiss by Klimt Content: - two bodies into one -artist: Constantin Brancusi, 1907-1908 (added down below) - rough surface contributes to naturalism: artists break from high-polish effect of past sculpture - Brancusi worked in Rodin's studio - symbolic, almost cubist rendering of both bodies - comparison: shrine figure by Ikenga or Anthropomorphic stele - intertwining and enveloped figures - two eyes into one; cyclops like - requested by John Quinn, Brancusi's patron in New York, who admired the small plaster version of The Kiss - fourth version of this object - he brought simpiocty to the tradition of his work - non-literal representation - he wanted to find the essence of form. inspo from lamassu

40. Alexander Mosaic

Form: -mosaic copy of a Greek wall painting -tessarae: individual pieces of a mosaic -spacial illusionism -interweaving of figures Content: -Alexander the Great confront Darius III at Battle of Isos -dead tree signifies the death and sadness Function: -floor mosaic showing dramatic representation of a historical event -last major defeat of the Persians Context: -Roman Republic -House of Faun, Pompeii 100 BCE Lisa's Edit: -Alexander at left; young, brace, forthright, assured of success -Darius in center right on chariot; horrified, weakly ceding the victory; his charioteer commands the horse to make their escape -Crowded, with nervous excitement -Roman floor mosaic based on an original Greek mural (/) painting, found at Pompeii -Extremely complex interweaving of figures -Perhaps a copy of a mural made by Philoxenos of Eretria of King Cassander -Alternate theory: made by Helen of Egypt, one of the few female Greek artists who have come down to us CROSS-CULTURAL COMPARISONS: BATTLE AND GLORY -Narmer Palette -Bayeux Tapestry -Delacroix, Liberty Leading the People

103. The Oath of the Horatii

Form: -neoclassical (physicality and intense emotions) -dramatic, rhetorical gestures -geometric forms with the contrasting curvy formed women -single light shined upon them at the heightened drama of the scene Content: -"what are you willing to die for?" -3 brothers saluting towards the swords which are held by their father (take oath to defend Rome) -woman grieving in back ground because they have to deal with consequences of war (either lose husband or their bro) -sacrifice oneself for good Function: -challenge aristocracy Context: -Jacques-Louis David 1784 (before the revolution) -commissioned by King of France (Abby) Credit line Jacques- Louis David, 1784, oil on canvas - Neoclassicism - did not like rococo - depicts a scene from pre republican Rome - story of love and patriotism - win or die for Rome - image is represented with admirable force and clarity - the angular and rigid forms of the men contrast to the soft forms of the women - depicted the scene in a shallow space much like a stage setting - simple architecture framework - figures are deployed across the space, close to the foreground, in a manner reminiscent of ancient relief sculpture - audience perceived such emotionalism as characteristic of the female nature - neoclassical style became a voice for the revolution

116. Saint-Lazare Station

Form: -oil on canvas -diagonal but flat lines -abstract -everything=light or color -non-heroic Content: -commuter railroads/trains -urban scene with trains, not just outdoors/nature Function: -make modern life look beautiful -emphasizes new ways of taking day trips on trains -urbanization Context: -Claude Monet 1877 Paris -impressionism (Visual analysis: -effects of steam, light, and color not the passengers or trains -Subtle gradiations of light on the surface -forms dissolve and dematerialize as color overwhelms the forms Contextual analysis: -shows modern life in paris with great industrial iron input -part of a series -new view of modern cities Attributions: Caravaggio's Calling of saint matthew, both are oil paintings and both have some degree of chaos Continuity and change: -Marches toward abstraction) ECH

86. Henri IV Recieves Portrait of Marie de 'Medici

Form: -oil on canvas -floating figures -part of a cycle -shows an event in her life -Catholic Baroque Function: -"early harmony" -part of a tribute to her life -show that their marriage was official bc portrait -shows political power, sophistication, and stability (Abby) Credit line Ruben, 1621-1625 C.E., oil on canvas Baroque allegorical figures are put in the paintings to give the sense that her position as queen was divinely ordained Looking at a painting of a man looking at a painting Elegance of body turning shows the influence of France of the time Mythic characters instead of Christian figures Personification of France telling him to marry her for France Political alliance Landscape: shows battle, king is leaving war behind for love

105. Self Portrait

Form: -oil on canvas -portrait -light brushwork and colors (Rococo style) -Enlightenment Content: -shows her in process of creating the self portrait of Marie Antoinette (she was her court painter) -holding palette and paint brush (showing she is skilled) -interrupts her but she welcomes the interruption Function: -shows that she is a painter -several different version Context: -artist: Elizabeth Louise Vigee Le Brun -1790 CE, Rococo-Neoclassicism (Visual analysis: -looks directly at the viewers and pauses in the work -natural and down to earth -engages the viewer and has direct eye contact -depiction of herself -pastels Contextual analysis: - variation of the "naturalistic" impulse in the 18th century french portraiture -opened her own portrait studio at 15 -her self confidence and pose are what earned her an independent role -court painter for Marie Antoinette but had to escape France during the revolution -inspired by Rubens -while in exile she painted the self portrait, her work shows a relaxed environment -only 4 women were allowed into the academy attributions: Expression and intimacy are similar to Thomas Gainsborough's Portrait of Mrs. Sheridan Continuity and change: -her attitude reflects the ideals of independence and self reliance she exhibited as a woman) ECH

120. Starry Night

Form: -oil on canvas -post-impressionism -color expression (express inner reality) Content: -study of the night -everything has spiritual pulsing, swirling spin -cyprus tree= cemetery tree -church Function: -night has more color than the day -everything shown alive -gives hope -request for love Context: -artist: Vincent Van Gough 1889 -painted in hospital (asylum) -St. Remy (Visual analysis: -thick short brushstrokes -heavy application of paint -parts of the canvas can be seen through the brushstrokes -wavelike impulse only broken by the tree contextual analysis: -thought that the night had more colors than the day time -stayed inside and didn't leave while painting -one with the forces of nature -parts of the painting were from the view of the hospital room but some were not adding to his nostalgic feeling of childhood -biggest star is Venus which alluded to his hope of finding companionship ex. the mountains -combines images ex, moon tree, church attributions: -fan kuan -Kngwarreye, earths creation, shows being one with nature continuity and change: -beginnings of impressionism) ECH

24. Last Judgement of Hu-Nefer (page from Book of the Dead)

Form: -painted papyrus scroll -continuous narrative Content: -Hu-Nefer being lead to final judgement -heart weighed on scale against Osiris (test to see if has a heavy heart) -sin must weigh less than feather -Hu-Nefer is accepted into afterlife Function: -guide people to the afterlife and make journey from life to death Context: -New Kingdom 1275 BCE -found in Hu-Nefer's tomb -from the Book of the Dead Lisa's Edit: -Illustration from the Book of the Dead, an Eyptian book of spells and charms -The god of embalming, Anubis, has a jackal's head. He leads the deceased na,ed Hu-Nefer into a hall where is soul is being weighed against a feather. If the sins weigh more than a feather, he will be condemned -The hippo/lion figure between the scales will eat the heart of an evil soul -THe god Thoth has the head of a bird. He is the stenographer writing down these events in hieroglyphics that he invented -Osiris, god of the underworld, appears enthroned on the right to subject the deceased to a day of judgement CROSS-CULTURAL COMPARISONS: SCROLLS= -Bayeux Tapestry -Night Attack on the Sanjo Palace -Bing, A Book from the Sky -Different from Stele of Ham. in that its 2-D, Horizontal, Gods vary in depiction as human, animal, or composite. It's a private display that contains prayers and spells to aid the journey to the afterlife. -CONTINUOUS NARRATIVE

62. Rottgen Pieta (Jordan)

Form: -painted wood -Medieval/Gothic and realistic Content: -Mary holding her dead son after Cruxifiction -Mary is pained and anguished Functions: -versperbils (German devotional) -feel the pain she feels -intended to be used in contemplation and prayer -drama of it all! -devotional image -shows them closer to the humanity side Context: -Bonn, Germany 1300 -German Gothic connect to lamentation and last one

127. The Steerage (kate)

Form: -photograph, 1907 -German Expressionism Content: -Alfred on way back to Germany -below him: americans being sent back -elites on top while lower class is on the bottom Function: -conveys message about immigrants who were rejected at Ellis Island or people returning to old country to try to encourage people to come to US (Added down below) - Attribution: influences by experimental european painting; cubist-like in arrangement of shapes and tonal values (like picasso) - represents social divisions in society - he was interested in compositional possibilities of diagonals and lines acting as framing elements - some of these people may have been turned away from entrance into the US - cross-cultural comparisons: slave ship by turner or the stone breakers by courbet

211. Under the Wave off Kanagawa caroline

Form: -polychrome and woodblock print made of ink and color on paper -(Ukiyo-e: Japanese woodblock prints made during Edo Period with emphasis on line and pure color) -personification of nature, intent on drowning the figures in the boat -large area of negative space -(part of series of 36 showing Mt. Fuji in each) -genre scene in series/travel -flat colors, high angles, cropped, large foreground, nature specific -large foreground Content: -text: name of series, artist, censor's seal -crashing wave (dragon claws) depict the wave's threatening aspect -Mt. Fuji in background (small in comparison) Function: -show mountain and wave's resemblance -show Dutch influence -genre scenes in seires'travel of the sacred Mount Fiji -(low horizon point typical of Western painting, yet a traditional flat and powerful graphic form of the wave is foreground) Context: - influenced post-modernism workswoodblock print oban -artist: Katsushika Hokusai -1830-33 CE Edo Period

122. The Scream

Form: -post-impressionism -dark and sinister colors -elegant, graceful, and linear -foreground and background blend together -tempera and pastels on cardboard -foreground and background blend -gender unknown Content: -red clouds -people in distance -boardwalk where he grew up Function: -someone experiences mental breakdown -outward display of inner thoughts -world transforming -scream through nature? Context: -artist: Edvard Munuch -Norway, 1893 (Visual analysis: -figure walking along a wharf, baots are at sea in the distance -long thick brush swirl around composistion -as the figure is crying out the landscape echoes his emotions -discordant colors symbolize anguish contextual analysis: -unseen forces of life -infinite cry of nature -painted as a part of a series -said to have been inspired by an exhibit of an ancient peruvian mummy -art noveau swirling patterns attributions: Neshat, Rebellious Silence, shows the difference between speaking out willingly and not being able to speak out at all without a medium. Continuity and change: -prefigures expressionist art) ECH

115. Olympia

Form: -realism (genre scene) -flatness of body -rejection of use of space -angle of body -heavy paint application -features not perfect or idealized -woman makes eye contact with the viewer Content: -naked modern woman -unidealistic features -prostitute -cat (wealth) Function: -looks like a real woman -Olympia=prostitute (cortisone) -genre scene -sexual interest -scandy Context: -Edowuard Manet 1863 -based on his favorite model (Visual analysis: -frank, unavering gaze startled viewers -stark contrast of colors -simplified modeling and active brushwork -prostitute is clearly not ashamed -nothing on the body is modeled except for the hand Contextual analysis: -she was his longtime model -manet was considered the worlds first shock artist-Exhibited at a salon where it created a scandal -olympia was a common prostitute name of the time -common to upper parisian men who would often have mistresses Attributions: Titian's venus of Urbano, Olympia was inspired by it and both look very similar -it also gives some attribution to Japanese prints Continuity and change: -shows social darwinism and the contrast between how people of different races were portrayed) ECH

109. The Oxbow

Form: -romanticism -Manifest Destiny -not based of a real place -oil on canvas Content: -reverence for nature -filled with life -based on real life area -divides the painting into two unequal sections -one shows sublime view of land untouched by man (wild, untamed) -other side shows land humankind has taken over (overtaken by agriculture) -self portrait of himself wandering Function: -landscape painting -shows respect for nature Context: -Northampton, Massachusetts -artist: Thomas Cole (leader of Hudson River School) -1836 CE (19th century) (Visual analysis: -actual view of Massachusetts -landscape divided into contrasting areas contextual analysis: -emphasis on natural landscape -manifest destiny -left side is romantic landscape and the right is classical -very popular in the US -landscape represented the natural world that was destroyed from the industry and people -small self portrait of cole in the center of the composistion between the two worlds of the painting attributions: Korin, White and red plum blossoms Continuity and change: painted with two different styles and eras in one painting) ECH

108. Liberty Leading the People

Form: -romanticism -seems as though it is overpowered by chaos but filled with subtle order -oil on canvas Content: -people of both the working class and middle class join in the fight against the government -lady carrying the French flag meant to serve as an allegory, in this case a moral or political idea of Liberty (looking back to make sure people are following, represents an idea) -background: Notre Dame Function: -allow us to believe anyone can be a revolutionary Context: -artist: Eugen Delacroix -1830 CE (Visual analysis: -at first it seems as though it is full of chaos, but upon further inspection it is full of order. -Her head is shown in profile -empty and distant compared to other battle scenes with a low horizon line to include viewer-pyramidal composition action in the foreground coming out at viewer and the rebel flag acts as a light source Contextual analysis: -blended allegory and reality -breaks tradition with the subtle use of color with focus on the dramatic and visual impact -classical drapery with Greek profile and wears a hat of a freed slave -smoke in the background acts as a halo -people were taken out of bed and killed to show others what would happen if they opposed the king -three day revolution that overthrew the king, but after napoleon monarch returned-his work was rejected by the critics-the figure is not meant to represent anyone, instead she serves as an allegory. -She is used as a pictorial device intended to reveal a political or moral idea attributions: -French architectural monuments and important french symbolism continuity and change: It showed that everyone can have opinion even while not physically fighting) ECH

107. La Grande Odalisque

Form: -romanticism (exoticism) -classical figure -proportions are messed up -oil on canvas Content: -physically unreal body -peacock fan, turban, enormous pearls, hookah (eroticism based on exotic content) Function: -what a French male's fantasy would look like Context: -artist: Jean-Auguste-Dominque Ingres (court painter for Napoleon -1814 CE (visual analysis: -lounging nude female figure contextual analysis: -patron was napoleons sister -it was like a guilty pleasure and has concepts of the orient -nudity is turned away and cool blues enhance her skin tone with the soft contours of her body-creates an aloof eroticism by its exotic content -the title of the work refers back to the Frenches obsession and fascination with the orient -not Venus or a goddess, she was a sex slave -elongated limbs attribution: Has major reference to the Venus of Urbano by Titan continuity and change: -figures continue to have elongated limbs and bodies.) ECH

111. Slave Ship

Form: -romanticism (sublime) -combines a beautiful and horrible scene together -rich colors -loose brushwork -oil on canvas Content: -beautiful seascape looking at first but if u look close you see slaves drowning and being eaten alive -disease breaks out on ship and overthrows all the dead and sick overboard so they can get insurance (money is motivator for what they did) Function: -political and social activist piece Context: -artist: Joseph Mallord William Turner -1840 CE -inspired by a book (visual analysis: -emotional use of color -rapid brushwork -contrasts human size to the size of the sea and sky recognizable forms ie. the ship, hands , chains Contextual analysis: -turner was interested in the effect of light-use of sublime enhances dramatic impact -bloody sunset acts as a symbol of the scene taking place -punishment by nature justified -exhibited in an anti slave gathering -slaves were insured against accidental drowning but not insured against sickness -painting was inspired by an account of a scandal published in a book Attributions: can be compared to other works using the sublime in the piece to envoke fear Continuity and change: The use of a seascape that conveys many different themes and messages) ECH

96. Fruit and Insects

Form: -still life -Baroque -oil on wood -colors, detailed Content: -insects, fruit -wheat and grapes= Jesus? -bringing different compositions together Function: -harvest in autumn -microscopic organisms: used microscope to study these organisms Context: -artist: Rachel Ruysch (Dutch arist; last famous still painter) -Florence, Italy 1711 CE (18th century) (Abby) Credit line Rachel Ruysch, 1711 C.E., Oil on wood - specialized in flowers - about teh harvest in autumn - Eucharist when u see grapes and wheat 17th century christian - 17th and 18th century the microscope was created so this allowed for a scientific fascination - painting them as scientific specimes - complimentary colors and balancing of colors - butterfly is a reminder that her father collected bugs

126. Les Demoiselles d'Avignon (young woman of Avignon) (kate)

Form: -style: Proto-Cubism Content: -incorporated works from different periods of times: Kouros, African masks, Manet's works -5 women (prostitutes) with direct stare at the viewer Function: -embodies new world of movement in art -artist: Pablo Picasso -1907 CE, street in Barcelona (Added down below) - visual analysis: oil on canvas - Attribution: influenced by Cezanne and Gauguin's primitivism - cross-cultural comparisons: Las Meninas by Velazquez and Court of the Gayumars by Muhammed - the poses are not traditionally alluring but awkward, expressionless, and uninviting - the depth is limited but ever-shifting - first cubist work

101. The Swing

Form: -style: Rococo- love, pastels, aristocracy, arabesques, delicate paint application -oil on canvas Content: -ideal love gardens with sculptures -cupid whispering -attendant swinging her=elite -foot with expensive shoe -French garden -"peeping tom" in lower left Function: -made for aristocrats to decorate buildings -show the pleasures and decadence enjoyed by the elite Context: -1767 CE (18th century) -artist: Jean-Honore Fragonard -Enlightenment (Abby) Credit Line Fragonard, 1767 C.E., Oil on canvas - landscape setting is out of watteau - resembles a stage scene for the comic opera - glowing pastel colors and soft light convey the themes sensuality - rococo style - represents the ancien regime before the revolution - overgrown garden symbolizes the undisciplined lives of the aristocrats -

106. Y no hai remedio (And There's Nothing To Be Done)

Form: -style: romanticism (challenging power and oppression) -etching, drypoint Content: -part of series of 82 called Disasters of War -what human beings capable of -government misuse of power on helpless victims -man is blindfolded with head down tied to wooden pole (christ-like) -recently deceased corpse with extreme detail of his grotesque face (behind body on pole is a dead body on pole) Function: -pictures the atrocities of war -visual indictment and protest against French occupation of Spain Context: -publish 1863, made 1810-1823 CE -artist: Francisco Goya (trained by Rococo) (Visual analysis: -There is a man tied to a pole with a corpse in front of him, it creates a protest of the french occupying Spain. -he used etching and dry point, with this technique he was able to make shades lighter or darker. -court artist for Joseph -satire of the economy -expressed his belief that war brings out inhumane sides of men Contextual analysis: -was sent by a Spanish general out to the countryside to make a visual record of heroism -Goya was deeply disturbed by the brutality and cruelty committed by both sides-it shows the consequences of war on human life between french troops and Spanish civilians Attributions: Other Goya works that follow the same narrative Continuity and change: The purpose of the piece was to challenge the socio-economic system, which is not a new motive for creating art.) ECH

22. Akhenaton, Neferiti, and three daughters

Form: -sunken relief piece, limestone, hieroglyphics Content: -couple receiving blessing from Aten (the sun god-rays shown) -show husband and wife seated with their children -rays shining upon the family showing their divinity Function: -shows intimacy of the family -conveys realistic fidgetiness of children -state religious shift in evolving Egyptian art Context: -New Kingdom (Amarna) 1350 BCE (Lisa's Edit:) -Akhenaton holds eldest daughter, with another daughter on her shoulder -State religion changed by Akhenaton from Amun to Aton, symbolized by the sun-dick with a cobra -Neferititi holds daughter with another daughter on her shoulder -At the end of the sun's rays, ankhs (the Egyptian symbol of life) points to the kind and queen -State religion shift indicated by an evolving style in Egyptian art (smoother, curved surfaces/ low hanging bellies/ slack jaws)

31. Temple of Minerva and sculpture of Apollo

Form: -temple: wood, mud brick, tufa (volcanic rock) -sculpture: terra cotta -animated and moving sculpture (estruscan) Content: -Apollo apart of a narrative of Herakles, acroterion (roof sculpture) -deep porch, 3 cella (entrance is emphasized) -archaic Greek smile Function: -Estruscan temple made to be a place to worship the Estruscan gods and goddesses -acroterians probably shows a mythic event Context: -Veii (near Rome, Italy) -Imperial Rome 2nd centry BCE -sculpture made by Vulca Lisa's Edit: -Little architecture survives; models are made from descriptions by Vitruvius, a Roman architect during the first century BCE -Temple is 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; columns are unfluted, made of wood -Etruscan variation on Greek capitals, called the Tuscan order -Raised on a podium -Three doors represent 3 gods; division of interior into three spaces -Post and Lintel construction -Apollo -Gods depicted on top of temple -Stairs led to entrance Sited to face street

29. Sarcophagus of the Spouses

Form: -terra cotta (sign that this is Etruscan) -lifesize -archaic smile, patterned hair -extending arms Content: -husband and wife reclining on a couch dining "dining in banquet for eternity" -four pieces put together Function: -funerary container to hold ashes not the body Context: -520 BCE Etruscan Lisa's Edit: -Sarcophagus of a married couple, whose ashes were placed inside -Full-length portraits -Both once held objects in their hands-perhaps an egg to symbolize life after death -Great concentration on the upper body' less on the legs -Bodies make an unrealistic L-turn to the legs -Ancient tradition of reclining while eating; represents a banquet couch -Symbiotic relationship: man has a protective gesture around the woman and the woman feeds the man; reflects the high standing women had in Etruscan society -Broad shoulders; little anatomical modeling -Emaciated hands -Made in four separate pieces and joined together

208. Jahangir Preferring a Sufi Shaikh to Kings

Form: -texts, geometry, natural world -Persian traditions -proportions play into importance Content: -manuscript pages -Mugal leader sitting on throne -text describing reign -children dressed up -guy at bottom is the court artist -Suffi: Muslim mystic giving gift to Jahangir -combo of the sun and moon symbolizing ruler's emperorship and divine truth Function: -Mughal painting skill -cross-cultural nature of Art -artist puts himself at lowest class Context: -artist: Bichitr (Hindu) -1620 CE -signed cami's notes vis an- -1620 CE has calligraphy with patterns, naturalistic depiction of figures and symbolism -heirarchical scale! - part of manuscript pages con an- -calligraphy describes his reign -artist displayed at the bottom painting, shows him as the lowest class -Suffi: Muslim mystic giving gift to Jahangir con and change- -combo of the sun and moon behind Bichitr's head symbolizing ruler's emperorship and divine right -Mughal painting skill -signed by Bichtr

32. Tomb of the Triclinium

Form: -tufa and fresco -wall paintings -great detailed piers -color coding to show genders (not race) Content: -pictures people casually dining in triclinium (reclined on couches) -fully furnished -lively paintings of people dancing and in motion Function: -keep record of domestic life -holds ashes (crematorium) and any other offerings to the dead Context: -Tarquinia, Italy -Estruscan 480-470 BCE Lisa's Edit: -Named after a triclinum, an ancient Roman dining table, which appears in the fresco -Banqueting couples recline, eating in the ancient manner -Ancient convention of men painted in darker colors than women -Trees spring up between the main figures, and shrubbery grows beneath the reclining couches- perhaps suggesting a rural setting -Perhaps a funeral banquet is intended, but the emotions are of celebration -Ceiling has polychrome checkerboard pattern; circles may symbolize time -Dancing figures play musical instruments in festive celebration of the dead -Fresco -CROSS-CULTURAL COMPARISONS: FRESCO MURALS= -Arena Chapel -Sistine Chapel -House of the Vettii

91. Las Meninas

Form: -use of mirrors (Baroque) -movement in strokes not as detailed as you think -large painting -gaze Content: -maids of honor and daughter -dog=wealth -self portrait of Velazquez -painting in a painting (Velasquez painting this painting -people looking at viewer Function: -view of palace life -show wealth/status -made for Philip IV (the viewer) -genre painting Context: -1656 CE; Prado, Madrid -artist: Diego Velazquez -Spanish Baroque (Abby) Credit Line Diego Velazquez, 1656 C.E. Oil on canvas - painting the painting we are looking at - we must be looking into the mirror - conversation of glances, people reacting to each others glances - paying attention to the king and queen - gives access to real life of what happens in the palace - way to show artists importance in the court - colors lead eyes around the painting - intimacy of the family - comentary on painting as an art form and status of a painter as an artist, not a mere craftsman - elevates the status of Valazques as a painter and the profession of painting - shows his intimate relationship with the royal family - king visiting his studio - informality and spontaneity are reinforces by not having the focal point and orthogonals in the same place

222. Malagan Display and Mask caroline

Form: -wood, pigment, shell, fiber -anthropomorphic mask Content: -(masks uniquely decorated for a deceased and worn by dancers in ceremonies celebrating the dead (malanggan) -(colors associated with magic, warfare, and violence) Function: -(used in rituals that took place in Papua for the deceased people of their clans) -(displayed in village for temporarily and then worn again) -(shows family importance) Context: -New Ireland Province, Papua New Guinea -20th century

217. Female deity caroline

Form: -15" high -Breadfruit (wood) -(Minimalistic/simple geometric form) -Oval head with no facial features -(subtractive sculpture) -Smooth surface, flattened buttox, long torso -Undefined hands and feet Content: -Male and female gods -(Horizontal lines that indicate knee caps, navel, waistline) Function: -Most likely part of ritual ceremonies honoring gods for harvest and fertility of land, sea, and people -Collected by missionaries -Some placed in central temple Presented with food and flowers Context: -Nukuoro, Micronesia 18th-19th century -Many kept in religious buildings that belonged to the community -(characteristic of Micronesia is that they often simplify and abstract geometrically the natural forms of nouns) Relates to: -Shiva as god of dance

220. Tamati Waka Nene caroline

Form: -19th century European academic style of painting Content: -Portrait of Tamati Waka Nene (Maori chief/warrior) 0Kiwi feather cloak, green stone earring -Moko: facial tattoos Function: -(Record likenesses and bring ancestral presence into the world of the living not just a representation of Tamati but an "embodiment" of him) -After a person has died, portrait may be hung on walls of family homes or in community center -Nene represents the time of change that was occurring in the Maori world Context: -Artist: Gottfried Lindaur -1890 CE

141. Migration of the Negro, panel no. 49 (kate)

Form: -60 panels in series -Tempera paint on hardboard Content: -Anonymous faces, picture split down the middle -Public restaurant in the north Function: -Historical narrative series that depicts the migration of African Americans from the rural South to the urban North after WWI -Segregation emphasized by yellow poles Context: -artist: Jacob Lawrence, 1940-41 -Parents migrated North so he lived during this period of migration (added down below) - little individuality in the figures - tiled tabletops show the surface of the table, angularity in forms - unmodulated colors - influenced by Italian masters of 14th and 15th century with his use of tempera paint - unity of painting one color across panels before going on to the next - narrative painting in era of increasing abstraction - comparison: Lying with the wolf by smith and Trade by Quick-To-See-Smith

226. Horn Players caroline

Form: -Acrylic and oil paint stick on three canvas panels -Words as part of art -Triptych (3 panels) -(white swatches of paint on each panel) Content: -Urban text of NY (graffiti) -Words as shapes -Picasso-inspired faces -"ORINTHOLOGY", "DIZZY", "PREE", "TEETH" repeated Function: -African American history -black Jazz musicians Context: -1983 CE triptych -Artist: Jean-Michel Basquiat; based in NY (famous for graffiti there) -"the black Picasso" -friends with andy warhol

225. Vietnam Veterans Memorial caroline

Form: -Black Granite -Typography (words as art) Content: -Located between Washington Monument and Lincoln Memorial and 'arms' pointing to both (bringing together past and present) -Thin walls sunken into the ground (cut into earth) with the names of all of the veterans that died in the Vietnam war (chronologically ordered) -(the sunken nature is supposed to be a scar into the earth just as the tragedy of war did) -Names as the subject of the piece Function: -Use of polished granite to see our reflections and incorporate us in the memorial -Connection to US history -War monument that doesn't focus on war heroes but focuses on everyone -World we cannot enter -People come to terms with their loss -As a journey (walk down and out of the monument) Context: -Artist: Maya Lin, 1981-3 CE -Washington D.C, USA ***know detail of memorial too, not included here (zoomed in picture of names)***

235. Rebellious Silence, from the Woman of Allah series (Mattie Wilson)

Form: -Black and white photography -Ink on photograph Content: -Terrorist (gun) -Gun splits picture in half into darker and lighter side -Farsi text (would assume Arabic bc Muslim) poem on face -Gaze at the viewer Function: -Muslim stereotypes (making judgements from partial information) -Caught between American and muslim culture -Female oppression Context: -1994 CE -Cynthia Preston, Iranian born artist raised in the US {Iranian born artist, raised in US Cahdor: type of outer garment, allows only face and hands of woman to tbe seen Poem by an Iranian woman who writes poetry on gnder issues Gun divieds body into a darker and lighter sides Adds a note of ominous tension in teh work Westerners view work as expression of female oppression Iranians view work as an obedient right minded woman ready to die defending her faith and customs Cross CUlture Comparisons Sin Sukju(24.6), Roman Partircian(6.14), Vigee Le Brun, Self- Portrait(19.​2)}}

228. Androgyn III caroline

Form: -Burlap, wood, nails, strings, resin -Figures in large groups -Hollow cast, soaked coarse burlap Content: -Figure its on a stretcher made out of wood -Characteristics of a woman and man to focus on the humanity of the work (androgynous) -Wrinkled skin and implication of backbones -No arms, legs, or head (suffering) Function: -Alludes to the brutality of war and the totalitarian state -Viewer reflects on this -Enduring regine -(all together in room, one, but each is individualized, separate) -(possibly meditation, submission, and anticipation) Context: -artist: Magdalena Abakanowicz. 1985 CE. -(worked as a nurse caring for wounded soldiers in WWII as a teen)

249. MAXXI National Museum of XXI Century Arts (Mattie Wilson)

Form: -CAD (computer designed architecture) -Glass, steel, cement -Walls flows and melt into one another -Natural light -Articulated geometry with lighting -Concrete influenced by ancient Rome Content: -Public plaza -Lit up stairs -Open ceiling -Wind through the spaces Function: -Walk through the art -Library, auditorium, and cafeteria Context: -Zaha Hadid, 2009 CE -North of the Tiber, no one ever went to this part of Rome { 2009, glass, steel, cement - Rome, Italy Iraqi-born, british based architect Two mseums, library, auditorium, cafetria Interal spaces covered by glass roof, natural light admitted to interior Filtered by louvered blinds, walls flow and melt into one another, creating dynamic interior spaces Constantly changin interior and exterior views Transparent roof Cross Culture Comp: Forum of Trajan(6.10); Angkor WATT(23.8); Forbidden City (24.​2) }

241. Pure Land (Mattie WIlson)

Form: -Color photograph on glass -Huge scale -Basic iconography Content: -Artist= Model/musician/performer (hybrid) -Self portrait -Buddhist figures -Creative interpretation of Japanese art forms -Animated figures of lighthearted aliens play musical instruments on clouds -Her as a deity that comes blessing and bearing good things Function: -Romanticized views of pop culture -Looking back on Buddhist tradition but there are futuristic aliens and stuff -Religious sense while incorporating religious background Context: -1998 CE, LA, California - Mariko Mori: Japanese artist -Constructs this whole thing (set designer) { 1998, color photograph Japanese artist, uses creative interprations of traditional Japanese art forms Ramanticized views of popular culture Mor herself appears as if ithe the guise of Heian deity Kichijoten, essence of beauty and harbiner of prosperity an dhappiness Holds a wish granting jewel, nyoi hoju, which has the power to deny evil and fulfill wishes, jewel symbolizses Buddhas universal mind, animated figures of lighthared aliens play musical insturmnet on clouds, mering of conusmer entertainments and fantaies with trad Jap imagery Cross Culture Comp: Daguerre, Still Life in Studio(20.8); Muybridge, The Horse in Motion(21.5); Stieglitz, The Steerage(22.​8) }

135. Villa Savoye (Kate)

Form: -Domino House: concrete slabs , steel and concrete -Natural lighting, simplistic white, slender columns Content: -Garage (green) that is very big -Non-load bearing walls - roof garden and spiral staircase or ramps -Ribbon windows around second floor Function: -Weekend home for the Savoye Family Context: -artist: Le Corbusier (architect who designed the furniture as well), 1929 -Poissy-sur-Seine, France (added down below) - international style: clean lines, lack of architectural ornament and avoidance of sculpture - furniture built into the walls - patrons: the savoyes - "fallingwater" by Wright - reflects decorating and eclecticism, and traditional construction materials (stone and wood)

234. Earth's Creation (Mattie Wilson)

Form: -Dump dot technique using brush to pound color into canvas creating layers of color and movement Content: -4 panels, 11 meters wide Function: -Simulates the color and lushness of the "green time" in Australia after the rains when the outback flourishes -History of Australia Context: -Emily Kame Kngwarreye. 1994 CE. Alice Springs, Australia { -1994, synthetic polymer, paint on canvas -Australian aborigine artist -Simulates color and lushness of the green time in Autraila after the rains when the outback flourishes, dump dot technieuq to brush to pound the color into the canvas and creat layers Four panels, eleven meters wide }

236. En la Barberia no se Llora (Mattie Wilson)

Form: -Environment installation, site specific -Big multimedia environment -Tacky and grimy setting -Kitsch items everywhere Content: -Photos of famous Latino men on walls -Interior of barber shop where "no crying is allowed" -Video screens on the headrests depict men playing, a baby being circumcised, and men crying Function: -Recreating the centering of Latino male culture (the barbershop) -Kitsh items: symbols of consumerism culture Context: -Pepson Osorio, Puerto Rican artist 1994 CE {1994, mixed media "no crying allowed in the Barbershop" masculine attribute Puerto Rican born artist living in New York Large installation recreating the center of Latino male culture, barbershop, challenges viewer to question issues of identity, masculinty, culture, attitudes Phtos of latino men on teh walls, video screens of headrests, depict men playing, a baby being circumsised, and ment crying Appropriatly tacky and rimy setting, Ktish items verywhere as symbols of consumer culture Cross-Culture COmparison: VERANDa post(27.14), Delacroix, Liberty leading the people(20.4), Hogarth, The Tete a Tete(19.3)

143. Dream of a Sunday Afternoon in the Alameda Park (kate)

Form: -Fresco, 50' long, 13' high -Inspired by surrealism (dream/nightmare) Function: -Political propaganda and nationalism -Historical narrative -Decoration for a hotel across the street from the park -Show how involved the government was in Mexico Content: -Big urban park in Mexico City -Skeleton in middle- Diego as a young boy holding its hand -Older portrait of Frida Context: -Diego Rivera, 1947-48 -Diego's memories of the park (moved to Mex. City at age of 10) (added down below) - Horror vacui; didactic painting - revival of fresco painting, mexican specialty - a multitude of important historical figures in one place -3 periods of Mexican history over 400 years (Conquest of mexico by the spanish, Porfirio of Diaz dictatorship, revolution of 1910) - comparison: School of athens by Raphael or Liberty leading the people by Delacroix

138. Object (kate)

Form: -Fur-covered cup, saucer, and spoon -Surrealism: pure physic automatism (unconscious/conscious), world of dreaming Content: -Saucer, cup, spoon in Gazelle fur Function: -Turningdainty into naughty (pubic hair reference) Context: -French -Meret Oppenheim (Surrealist painter), 1936 (added down below) - said to have been done in response to Picasso's claim that anything looks good in fur - a comment on working in a male-dominated world; traditionally female vs. masculinity of sculpture in hard surfaces - comparison: Fountain by Duchamp or Camelid sacrum

246. Stadia II (Mattie Wilson)

Form: -Ink and acrylic on canvas -Gigantic scale painting -Architectural drawing, using photographs -Global modernism Content: -Flags, corporate icons -Sweeping lines create a vibrant pulse -Stadium architecture -Multi-layered lines to create animated effect Function: -Sense of memory and time -Invoking individual memories/experiences -Form of this suggests excitement of a competition held in a circular space like a stadium, arena, etc. Context: -2004 CE -Works with assistants -Her art is about place - Julie Mehretu: Artist from Ethiopia, lives and works in NYC { 2004, ink and acrylic on canvas bron in Ethiopia, lives and work in NYC paints large scale paintings, although paintings done with abstract elems, titles allude to meanings Sylized rednerings of stadium architecture, fomrs suggest excitements, almost frenzy of a competition held in a circular space surrounded by international images Dynaimc competiotn suggested in sweeping lines that creat vibrant pulse Uses multiplayred lines to create animation in the work, sweeping lines create depth, fouc of attention around a central core which colors, incons, and flags, resonate Cf Kandiskys abstractions Cross Culture Comp: The Colosseum(6.8); Seated Boxer(4.10); Basquiat, Horn Players(29.5)​ }

124. Carson, Pirie, Scott and Company Building

Form: -Medium: iron, steel, glass, and terra cotta -Horizontal emphasis -Decorative elements Content: -Maximum window areas to admit light -Terracotta tiles to decorate exterior -Heavy cornice at top of building (historical touches) -Elevator and glass (modernistic) -Grand entrance Function: -Horizontal emphasis symbolizes continuous flow of floor space -Expressing democracy and capitalism -Shopping Context: -influence of Art Nouveau in decorative touches "form follows function" -Louis Sullivan, 1899-1903 CE (visual analysis: -center window doesn't open but the two flanking it open -framework determines modulation of exterior -3 parts of classical column large windows display store wares -non supportive role of exterior contextual analysis: motto "form follows function" - blending of art nouveau -strong horizontal and vertical accents some historical touches in the round entrance arches attributions: Trajan market continuity and change: -use of open windowed space was new-ish) ECH

247. Praying Mantra (Mattie WIlson)

Form: -Mixed media on mylar -Twisting -collage Content: -Female figure lost in patterns and twinkling lights reclined in relaxed position -Kuba cloth -Cyborg? Person whose function is aided by a mechanical device or computer implants Function: -Wordplay: "praying mantra" sounds like praying mantis -Female praying mantis eat the males (symbol of female power and identity?) -Kuba cloth showing African background Context: -2006 CE -Wangchei Matu: Kenyan artist, now in Brooklyn { Kenyan born, New York artist, 2006, mixed media on mylar Collaged female figures compased of human, animal, object and machine parts, commentary on the female persona in art history Cyborg - person whose function is aided by mechanical device Relaxed position, green snake interlocks with fingers, bird feathers in back of head, bloctched skin, ironic tweist on praying mantis -suggest relgious rituals, mantis means prophet in Greek, insects use camoflage, this figure seems camoflaughed. Cross Culture COmp: Queen Hatshepsut with Offering Jars (3.9); Peplos Kore(4.2); Manet, Olympia (21.​3) }

237. Pisupo Lua Afe (Mattie Wilson)

Form: -Mixed media piece -Life-size cow Content: -Reused corn beef cans -Smalled concealed wheels Function: -Canned food was Pacific Islanders' favorite source of food -Canned food led to more health problems for people (obesity) -Canned meat often given as gifts on special occasions -Industrialization in the Pacific Islands -Reflect on the ironic impact and exploitation of the Pacific's resources Context: -Michael Tuffery 1994 CE -Corn beef was favorite food in Polynesia -Theme of recycling emphasized by the reuse of these cans {1994, mixed media Artist born in New Zealand of Somoan, Cook Island, Tahitaian descent Interest in Polynesian heritage Life size slucpture of a buill made from flattened cans of corned beef, corned beef favorite food of Polynesia Canned meat given as gifts of special occasion there Major contributer to Polynesian obesity Theme of recyling emphasiszed by cans Cross Culture Comparisons: Matisse, Goldfish(22.1), Brahram Gur Fights the Karg(9.8), Lascaux Caves(1.8)}​

214. Maoi on platform (ahu) caroline

Form: -Mostly volcanic tuff but some are basalt -Missing inlaid coral eyes -(Emphasis on head and ears) -Vary in size -Later backs were reworked -On platforms (ahu) facing the sea -Basalt base Function: -Ancestors/rulers "mana" protection -(marks a burial site or religious ceremony) -(Connect with ancestors, natural and spiritual world) -Guardian figures Content: -Ancestors watching the sea Context: 1100-1600 CE, Easter Island (Rapa Nui)

223. Presentation of Fijian mats and tapa cloths to Queen Elizabeth II caroline

Form: -Multimedia performance (costume, cosmetics, chant, movement) -Photographic documentation Content: -Queen of England's royal visit to Fiji -Fijian women and men displaying their culture to the queen -Women wearing barkcloth skirts -Rolls of woven mats that each woman in procession carries (mats served as ritual exchange) -(tapa cloth was a symbol of wealth and are valuable, they gave huge one to her) Function: -Political pageantry as art -Show the Fijian culture to the queen of England -Performance art Context: -Fiji, Polynesia, 1953

227. Summer Trees caroline

Form: -Paint movement (abstract expressionism) -Korean tradition of ink -Ink wash painting aka Sumukhwa (ink blend together) --east asian Content: -Abstract group of pine trees -Parallel brush strokes Function: -Modern but rooted in tradition --(combined native and international traditions) -Song's exploration of tone -Reference to "literati painting" (ink wash painting) --(east asian) -Express her Korean identity, which was sometimes lost from wars and split of nations -abstract, but less abstract from the inclusion of a name -Could be her statement of optimism in the rediscovery of traditional values recreated in modern times -Trees represent a gathering of friends? Context: -Song Su-nam 1983 CE -Korean artist that grew up in the 30s-40s, lived through the Korean War -(professor and a founder of the Oriental Ink Movement in the 1980s)

199. Angkor, the temple of Angkor Wat, and the city of Angkor Thom

Form: -Panchayatana plan (one main room with 4 surrounding, on a platform) -Mandala (cosmic map of the world) -Enter a grand space Content: -Water surrounding temple -Sculptures in rhymic dance poses -Horror vacui of sculptural reliefs Function: -Meant to be a tomb, express the divine power of a leader -Built complex to show his power and might Context: -Hindu and Buddhist parts of a medieval capital of Cambodia -Cambodia, Hindu, Angkor Dynasty 800-1400 CE cami's notes vis an- corblled gallery roofing moat/water surrounds the tomb made of sandstone transported from more than 50k away con an- built to mark a tomb of a ruler, demonstrating his divine power complex built to honor Hindu god Vishnu con and change- similar to the tombs of egypt attests to two different religions, Buddhist city where the Hindu tomb is

137. Illustration from the Results of the First Five-Year Plan (kate)

Form: -Photomontage, dynamic comp. -Graphic art (book and magazine) Typography: text turned into art (what Stepanova is famous for) Content: -Stalin's Five Year Plan of 1928 for agricultural, industrial, and military growth -Industrialism -Red: color of the Communist Soviet Union Function: -Soviet propaganda -Show Stalin's economic policies to the world -Constructivism as utilitarian modernism -Varvara Stepanova, 1932, russian constructivism (added down below) - portrait of Lenin; his image is used to stimulate patriotism - influenced by futurism and cubism - comparison: Liberty leading the people by Delacroix

136. Composition with Red, Blue, and Yellow (kate)

Form: -Primary palette, nonobjective -Dynamic asymmetry -Grid with lines of varying thickness -Neoplasticism: create new non-objective visual language Content: -Horizontal and vertical black lines -Red, blue, and yellow blocks Function; -Utopian: aim for a state of perfection; idealistic -Idealism about art's potential to change society Context: -Piet Mondrian, 1930, Zurich (added down below) - De stijl - he was interested in the material properties of paint, not naturalistic depictions - comparison: Summer trees by Su-nam - only primary and neutral colors used in his works - no shading of colors

212. Chairman Mao en Route to Anyuan caroline

Form: -Propaganda -Portraiture -Socialist realism (clear, intelligible subject/emotionally moving themes) Content: -(Mao on way to organize a coal worker/miner strike) -Portrait of Mao (oil paint) -Telephone poll and water cascades from a dam (modernity) -Chinese landscape -Umbrella under his arm Function: -Used Chinese landscape to portray that Mao was capable of leading a revolution -Combatting tradition Chinese art but still not modern -Mao as a person working for the people Context: -(based on oil painting by Lui Chunhua) -artist unknown 1969 CE -(color lithograph)

139. Fallingwater (Kate)

Form: -Ribbon fenestration -Organic plan/space, horizontality Content: -Hearth in center of house -Living room with glass curtain wall around 3 of the 4 sides Function: -Weekend house for the Kauffman family (owned a department store in Pittsburgh) -Harmony with nature Context: -architect: Frank Lloyd Wright (also did furniture in the home), 1936-39 (added down below) - concrete, sandstone, steel, and glass - cantilevered steel-supported porches over waterfall - irregularity of complexity of ground plan and design - late expression of prairie schools ideas - comparison: Monticello by Jefferson - floor of the living room and walls are made from stone of the area - an outcropping of stones around the hearth of the house - lots of cantilevering, and connects to nature

200. Lakshamana Temple

Form: -Sandstone -Axial plan -Panchayatana temple type: Configuration of 5 rooms is the typical setup for Indian temple -High base/platform -Deep entrance porch -Complex horizontal banding crosses the ribs of the tower Content: -Series of rooms -Tallest part of building: marks spot of most important part of building (inner sanctuary that holds the image) -4 shrines/chapels around main room -Lion statues (symbols of male figures) -Murti: embodied image of a divine figure -Mandapa: hall -Sensuous couple (controversial figures): shows deeper connection with gods Function: -Hindu temple dedicated to Vishnu -Mandir temple: Space that is the house for gods (in this case, for Vishnu) -place of worship, the divine endowed in its idealized architectural form Context: -Chandella Dynasty 950 CE -Khajuraho, India (North Central India) cami's notes vis an- a sandstone build with axial plan designed to look like the mountain range where hindus believed Vishnu lived- Everest con an- designed as Vishnu's house- similar to greek temples as in the building was considered the home of the gods emphasizes Hindu beliefs that each representation of a god contained a piece of the true god within it. con and change- house of gods makes the Hindu religion more accessible to the public similar to greeks

250. Kui Hua Zi (Sunflower Seeds) (Mattie WIlson)

Form: -Sculpted and painted porcelain Content: -Hired a lot of people to hand paint millions of individual sunflower seeds -Crunching sounds of people walking all over them Function: -Political rebellion -Ideology of Chairman Mao: He was the sun, the seeds were his followers -Initially supposed to always be you as a participant but the ceramic dust rising when people walked on it became too harmful -Seeds symbolically represent an ocean of fathomless depth Context -2010-11 CE -Ai Weiwei: brave artist, often gets in trouble for what he says { 2010-2011, sclupted and painted porcelain Chinese artist, installation containing milions of indiviudally handcrafted ceramic pieces resmebling sunflower seeds They symbolically represetn an ocean of fathomless depth, each seed is made in Jingdezzhen, city known for porcelain production in Imperial China 600 artisans worked for two years, each seed handpainted Sunflower seeds eaten as a source of food during famine era under MAo Tze-Tung Ideology of Chairman Mao, he was teh sun, followers were seeds Orignally you could walk on teh installation, but it raised harmful ceramic dust, viwing limited to sidelines Cross Culture COmp: Bing, A Book from the Sky(29.8); Osorio, NO Crying Allowed in the Barbershop(29.15), Shonibare, The Swing (After Fragonard)(29.​22) }

215. Ahu'ula (feather cape) caroline

Form: -Semi-circular form/crescent shaped -Feathers woven into fiber: knotted into fiber base Function: -Power of Ruler: identified with divine power -(connected owner to the gods, the sennit was associated with deities throughout Polynesia) -Symbol of individual leader -Worn into battle for protection/intimidate enemies -Given as gifts to reinforce political transactions Content: -(red royal color, yellow rare color) -Only worn by men elite (usually royal) -Feathers signifying wealth and power Context: -Worn in battle and during rituals -Late 18th century CE, Hawaii

242. Lying with the Wolf (Mattie Wilson)

Form: -Skin-like paper feel -Against contemporary art -Large wrinkled drawing pinned to a wall Content: -Nude woman lying down with a wild wolf (emphasize woman strength) Function: -Contrast between delicate woman and wild wolf -Sexual identity -Based in religious, history, personal narrative, mystical worlds -Wolf seen as traditionally evil or dangerous symbol but not in this drawing -Wolf looks tamed by the woman's embrace Context: -Kiki Smith: American artist, born in Germany, lives in NYC (2001) { 2001 ink and pencil American artist, born in Germany, NYC liver Nude femal figure, large wrinked drwaing, pinned to a wall, reminscent of a table cloth or bed sheet Female strength emphasized in woman lying down with the wild beast, wolf seems tambed by womans embrace, traditionally evil or dangerous symbol Cross Culture COmp: Osorio, No Crying Allowed in the Barabarshop(29.15); Salcedo, Shibboleth(29.26), Lawrence, The Migration of the Negro, panel no. 49(22.19​) }

206. Forbidden City

Form: -Stone masonry, marble, brick, wood, and ceramic tile -Layout based on Chinese philosophy -Certain palette to signify (dark red-sun, yellow-earth, blue-heaven) Content: -30 ft. tall walls surrounding the city -Moat around the wall -Series of bridges -Front Gate (Mao Zedong's portrait over doorway), Meridian Gate -Private realm: where the royal family lives (outer and inner court) Numbers everywhere -Complex of roughly 100 buildings, 9000 rooms Function: -Express that the emperor is the Son of heaven -Political and ceremonial center for nearly 500 years -Main building: to discuss the issues of the state -Importance of numbers spiritually -Walls provide privacy and protection for the families Context: -Largest political complex in the world -City at center of a city -Beijing, China, Ming Dynasty 15th century CE-later cami's notes vis an- 98 buildings followed ideal cosmic order found in confucianism con an- confucianism dieties and their rights to rule meant to be a cermonial place for various processions is now the national museum of China con and change- similar to other giant templs such as Angkor Wat and Borobudor the last of the dictators were expelled from that palace

140. The Two Fridas (kate)

Form: -Surrealist -Ex Voto Tradition -Victorian European (left)/ Mexican (right) Function: -Show her two heritages (European father, Mexican mother) -Blood on lap suggesting abortions and miscarriages Content: -Right: holds small portrait of (almost) ex-husband Diego as a child -Left: holds hemostat (stop bleeding of her heart) -Heart twined together by veins cut by scissors at one end and lead to portrait of husband Context: In midst of divorce with Diego Rivera -Frida Kahlo, 1939, oil on canvas (added down below) - the stiffness and provincial quality of Mexican folk art was a direct inspiration for the artist (right frida) -barren landscape: two figures against a wildly active sky - the vein acts as a umbilical cord, associating Riviera as a husband and son - she rejected the label Surrealism for her art - comparison: Self-Portrait by Vigee Le Brun OR Rembrandt

219. Hiapo (tapa) Niue caroline

Form: -Tapa cloth/bark cloth (woman would harvest inner bark of mulberry tree and pound it flat with an anvil or wooden beater) -Freehand painting -Abstract/geometric, in a grid -Use of stencils; dyed the exposed parts of the tapa with paint to create shapes Function: -(the most traditional uses for this would be clothing, bedding, and wall hangings) -Specially prepared and decorated for people of rank -(could be used for marriages or funerals) -Each set of designs interpreted symbolically (images with rich history) Content: -Plant and sometimes animal motifs -Text (where and when it was made) Context: -Made by women -Polynesia, 1850-1900

240. Guggenheim Museum Bilbao (Mattie Wilson)

Form: -Titanium , glass, and limestone -CAD (computer assisted design) -Titanium covered -Bending and arching walls -Effect of shimmering surface -Deconstructionist architecture: seeks to create a seemingly unstable environment with unusual special arrangements Content: -Multiple galleries -Central atrium like Wright's Guggenheim in NY Function: -Bending walls represents how history is never-ending and never stops unfolding -History has many ways of being constructed -Swirling forms and shapes mark a contract with the industrial landscape of Bilbao -"Bilbao effect": refers to the impact that a museum can have on a local economy Context: -1997 CE -Frank Gehry: Canadian-American architect based in Los Angeles { 1997, titanium, glass, and limestone, Bilboa, Spain Canadian-American architect based in LA Swirling forms and shpaes mark a contract with industrial landscape Building resembles boat referencing to Bilboas past as a shipping and commerical center Curving forms desinged by computer softwware program called Catia Fixing clips made a shallow dent REvitalized the port area of Bilbao, "Bilbao effect" impact a museum can have on a local economy assymetrical, sweeping curved lines Deconstructionist architecture- architecture that seeks to create a seemingly unstable environment with unsual sptial arrangements Cross Culture COmp.: Borromini, San Carlo alle Quattro Fontane (17.2); Walls at Saqsa Waman(26.8); Great Zimbabwe(1​7.2) }

218. Buk mask caroline

Form: -Turtle shell, wood, fiber, feathers, and shell -Seashell eyes inlaid -Raffia for hair -Discs on wings amplify the sense of a bird in flight (dynamic) -Lattice work around the face Content: -(Masks representing human forms, and some depict birds, fish, or reptiles, or both) -Perhaps a faith hero or ancestor -Bird as a totem? (connected to the person or family) Function: -Male initiation ceremonies -Funerals -(Used with grass costumes in ceremonies about death, fertility, or male initiation) Context: -Torres strait (between Australia and New Guinea) Mid-late 19th century CE

239. The Crossing (Mattie Wilson)

Form: -Video and sound installation Content: -Two screens of color video projects from opposite sides of large dark gallery onto two large back to back screens suspending from the ceiling and mounted to the floor. -Fire and water -Figure walking in slow motion -Film shot a very slow speed Function: -Promotes video as an art form -Evokes eastern and western spiritual traditions -Spiritual reality Context: -Performer: Phil Esposito -Bill Volia, Artist from Queens, NY​ { 1996, video and sound installation Artist born in queens, new york, promoted video as an art form, two channels of color video projections form opposite sides of large dark gallery crossing is two channels of video projected on twelve foot tall double sided screen, one side is figure appring from a long disatnce, stops small flame appears at his feat and rapidly engluf him other side is simlar scenes but water pours on his head and then reaging torrent inudating him, man is gone two video screens, free standing, double sided fire, flames consume figure of man from feet water, engulfs him from the top, figures walk in extermly slow motion, actions repeate again and again Interested in sense perceptions implied cylce of purifaction and destruction, evokes esastern and weestern spirtual traitions Cross Culture Comparisons: Muybridge!!, The Horse in Motion (21.5); Winged Victory of Samothrace(4.8); Presentation of Fijian Mats(28.10) }

216. Staff god caroline

Form: -Wood; Carved by men- penis on one end and head on other -(soul of god represented by polished pearl shells and red feathers and these were placed inside of the bark cloth, next to the interior shaft) -know what both images look like -Women wrapped tapa (barkcloth made by women) around the whole thing, most important -Feathers -(alternating men/women figures on head) -Figures in profile/abstract -13' high (largest known) Content: -Combination of male and female elements Function: -Wrapped staff god -Protects ancestral power (mana) of the deity from those around it -Contains it in the wrapping within its layers Context: -May 1827 this god figure was brought to John William and their wives -Rarotonga, Cook Islands, Central Polynesia; late 18th-early 19th century

243. Darkytown Rebellion (Mattie WIlson)

Form: cut paper and colorful projection on the wall Function: - make the viewer apart of this time in history and question th - shows the racial stereotypes but the black silhouettes do not show you the color or gender of the figure- that is for the viewer to decide Content: - depicts racial stereotypes and exaggerates the physical appearance of different groups of people Context: -made by Kara Walker in 2001 - Whitney museum in NY { 2001, cut paper and projection on wall Californian born, New York based, black artist Draws images with a greasy white pensil, cuts paper with knife, images adhered to gallery walls with wax overhead projectors throw colored light onto walls cast shacdows of viewrs body that mingle with the black paper images Exploration of black people in the antebellum south, teenager holds a flag of colonial ship sail Viewr interacts with work, walking around it, engaing in elements Cross Culture COmp: Lascaux Caves, Great Hall of the Bulls(1.8);Tomb of the Triclinium(5.3); Michelangelo, Sistine Chapel Ceiling (16.2)​ }

50. Rebecca and Eliezer at the Well and Jacob Wrestling with the Angel, from Genesis (Jordan)

Form; -tempera, gold, and silver on purple vellum (animal skin) -illuminated manuscript (pictures with words) -continuous narrative Content: - between classical (personifictaion of spring, contraposto, colonnade, shading, continous narriative) and medival (drapery. unproportional, codex) - stories from Genesis -Jacob wrestles an angel at night -Rebecca quenches thirst of camels and camel driver -letters black now bc silver oxidized -Greek writings> Byzantine Function: -tell stories Context: -Early Byzantine Empire 6th century CE

238. Electronic Superhighway (Mattie Wilson)

Form; -Explosion of sound and images -Neon lighting Content: -Video screens behind outline of the USA (each state has own video feed) -Maps/travel Function: -Information overload (before web was created) -Viewer incorporated in the piece (picture of you) -Fascination with interstate highway system -Neon symbolizes motel and restaurant signs Context: -Nam June Paik, Korean artist -1995 CE -Cross Culture Comparison: Daguerre, Still life in Studio(20.8); The Colosseum(6.8); Cranach, Allegory of Law and Grace(14.5)

145. Woman I (kate)

Form; -Slashing paint onto canvas (Picasso inspired) -Aggressive movement of paint (action painting) -Many layers of paint Content: -Smile is from a magazine ad -Great fierce teeth and huge eyes (not attractive) Function: -Breasts were a satire on women who were in magazines -Critical look at the post world war pinup and the disapproval of the pornographic culture Context: -Series of 6 "Woman" paintings -artist: William de Kooning: Dutch-American abstract expressionist painter (added down below) - blank stare; frozen grin - ambiguous environment: vagueness in the woman - black lines dominate - ironic comment on the banal and artificial world of film and advertising -influenced by everything from Paleolithic goddesses to pin-up girls

2. Great Hall of the Bulls (Jessica)

Great Hall of the Bulls Lascaux Caves 15,000-13,000 BCE Pigment on rock Dordogne, France Twisted perspective on composition Pigment add contour and volume Floating - Natural products used to make paint: charcoal, iron ore, plants - 650 paintings: most common are cows, bulls, horses, and deer - Animals places deep inside cave, some hundreds of feet from the entrance - Bodies seen in profile; frontal or diagonal view of horns, eyes, and hooves; some animals appear pregnant - Many overlapping figures - Evidence still visible of scaffolding erected to get to higher areas of the caves - Caves were not dwellings because prehistoric people led migratory lives following herds of animals; some evidence exists that people sought shelter at the mouths of caves - Walls were scraped to an even surface; paint colors were bound with animal fat; lamps light the interior of caves; flat stones served as palettes - Many theories about reasons for the paintings —Traditional view that they were used to ensure a successful hunt —Ancestral animal worship —Shamanism: a religion based on the idea that the forces of nature can be contracted by intermediaries, called shamans, who go into a trancelike state to reach another state of consciousness Cross-cultural comparison: Mural paintings - Tomb of the Triclinium - Leonardo Da Vinci, the last supper - Walker, Darkytown rebellion

17. Great Pyramid (Menkaure, Khafre, Khufu) and Great Sphinx

Great Pyramids, c. 2550-2490 B.c. Limestone, Giza, Egypt (Figures 3.6a and 3.6b) , - Giant monuments to dead pharaohs - Each pyramid has an enjoining mortuary temple - Huge pile of limestone with minimal interior for the deceased: pharaoh buried within the pyramid, unlike at the Stepped Pyramid, in which the pharaoh is buried under the building - Each side of the pyramid oriented toward a point on the compass - Great Pyramids were faced with stone, most of which has been lost - each pyramid has a funerary complex adjacent connected by a formal pathway used for carrying dead pharaoh's body to the pyramid to be interred - Shape may have been influenced by a sacred stone relic, called a benben, shaped like a sacred stone found at Heliopolis. Heliopolis was the center of the sun god cult - Tombs of pharaohs Menkaura, Khufu, and Khafre Cross-Cultural Comparisons: Commemoration of Ruler and Country Taj Mahal (Figures 9.17a, 9.17b) Houdon, George Washington (Figure 19.7) Terra-Cotta Warriors (Figures 24.8a, 24.8b)

Yaxchilan (2) [Kathleen]

Image is Structure 33 - significant Maya center Location: Chipas, Mexico Time: 725 CE Structures 33: - most likely built by Bird Jaguar IV - s a wonderful example of Maya Classic architecture, particularly of the Usumacinta and Peten region or "style" as some would call it - The building itself is narrow, only one vault deep, so it was not intended to hold many people. - An elaborate roof-comb (a masonary "wall" that rises upwards above a building to give the impression that it is taller than it actually is), arguably the most famous component of the temple, incorporates a decorative frieze, niches, and sculptural elements, including a sculpted human being in the central niche. - The top step of Structure 33 displays rulers, including Bird Jaguar IV and his father and grandfather playing the ballgame in a series of thirteen carved limestone blocks -- Holds Lintels 1&2 ---------------------- - Lintel 1, for example, shows Bird Jaguar festooned in the fantastic clothing of a Maya ruler. The other lintels show a similar concern with rulership. - Lintel 2 displays Bird Jaguar and his son and heir, Chel Te' Chan K'inich (later known as Shield Jaguar IV), while another depicts Bird Jaguar once again dressed in royal regalia.* ------------------------------------------- Structure 40: - It displays the typical Yaxchilán architectural style—a rectangular vaulted building with a stuccoed roof comb. - intended to advertise the rule of Bird Jaguar IV

7. Jade cong

Jade cong from Liangzhu, China, c. 3,300-2,200 B.c.E., jade Zhejiang Institute of Archaeology, Hangzhou (Figure 1.3) . -Circular hole placed within a square abstract designs; main decoration is a face pattern, perhaps of spirits or deities -Four corners of the cong usually carry mask-like images with pronounced eyes and fanged mouth -Jades appear in burials of people of high rank -Jade religious objects found in tombs; interred with the dead in elabo- rate rituals -Chinese linked jade with virtues: durability, subtlety, beauty -Placed in a burial around bodies, some broken, some show signs intentional burning . -Made in the Neolithic era in China - symmetrical patterns - square and circle= earth and heaven— links natural and supernatural world - Cross-Cultural Comparisons: Geometric Designs -Mondrian, Composition with Red, Blue and Yellow (Figure 22.14) -Relief Sculpture from Chavín de Huántar (Figure 26.1c) -Martínez, Black-on-black ceramic vessel (Figure 26.14)

164. Transformation Mask (30.10) [Kathleen]

Kwakwaka'wakw transformation masks Artist: Kwakiutl (N. Coast of Canada) Time: late 19th century CE Form: -animal and human share -symmetrical Content: -When the cords are pulled, the eagle's face and beak split down the center, and the bottom of the beak opens downwards, giving the impression of a bird spreading its wings, thus revealing the face of an ancestor -bird=eagle Function: -used in Potlatch -Potlatch: used to memorialized the dead, mark union of families through marriage -help tell a story, dance around

156. Great Serpent Mound (14.28) [Kathleen]

Location: Adams County, Ohio Time: 1070 CE (11th century) Form: -1300' long, 3' high - follows a river - east/west axis - earthwork - site specific - Mississippian culture Content: -numerous mounds forming the shape of a serpent - The serpent is slightly crescent-shaped and oriented such that the head is at the east and the tail at the west, with seven winding coils in between. Function: - connection to Haley's comet -he head of the serpent aligns with the summer solstice sunset, and the tail points to the winter solstice sunrise. Context: -The complex mound is both architectural and sculptural and was erected by settled peoples who cultivated maize, beans and squash and who maintained a stratified society with an organized labor force, but left no written records.

161. Machu Picchu (30.5) [Kathleen]

Location: Central highlands, Peru Time: 1450-1540 CE Form: -careful placement of stones (the stones were made individually to shape one another) -channels throughout -built into mountain - Entryways were in the unique Inka shape of a trapezoid, rather than a rectangle. Content: -observatory with niches -calendars -cosmological though -terrace common way of growing agriculture (potatoes) - Terracing increased the arable land surface and reduced erosion by creating walled steps down the sides of steep mountains. -Intihuatana stone (carved from bedrock stone, corners are aligned with the compass points) Function: -religious pilgrimage site for the Inka - The site contains housing for elites, retainers, and maintenance staff, religious shrines, fountains, and terraces, as well as carved rock outcrops, a signature element of Inka art. Context: -agricultural complex - built for the first Inca empower

18. Menkaura and queen

Menkaura and His Queen, 2490-2472 BCE greywake Museum of fine arts, Boston - Figures attached to the block of stone; arms and legs not cut free - Figures stare out into space - Wife's simple and affectionate gesture, and/or presenting him to the gods . - Menkaura's powerful physique symbolize his kingship - Society's view of women expressed in the ankle length and tightly draped gown revealing her form covering her body; men and women the same height, indicating equality - Original location in the temple of Menkaura's pyramid complex at Gizeh Cross-Cultural Comparisons: Royalty - Lindauer, Tamati Waka Nene (Figure 28.7) - Wall Plaque from Oba's Palace (Figure 27.3) - Augustus of Prima Porta (Figure 6.15)

21. Mortuary Temple of Hatsheput check

Mortuary Temple of Hatshepsut, c. 1473-4 B.G.E sandstone near Luxor, Egypt (figure 3.9a) - 3 colonnaded terraces and 2 ramps - Visually coordinated with the natural setting long horizontals and verticals of the terraces and colonnades repeat the patterns of the cliffs behind; patterns of dark and light in the colonnade are reflected in the cliffs - Terraces were originally planted as gardens with exotic trees - First time the achievements of a woman are celebrated in art history; her body is interred elsewhere - Akhenaton holds eldest daughter (lef), ready to be kissed a Nefertiti holds daughter (right) with another daughter on shoulder - State religion changed by Akhenaton from Amun to Aton, symbolized by the sun-disk with a cobra - At the end of the suns rays, ankhs (the Egyptian symbol of life points to the king and queen State religion shift indicated by an evolving style in - - Egyptian art smoother, curved surfaces - low hanging bellies slack jawsarms epicene bodies heavy-lidded eyes Domestic environment new in Egyptian art; panel is from an altar in a home on and Nefertiti having a private relationship with their new god, Aton Cross-Cultural Comparisons: Genre Scenes - Vermeer, Woman with a Balance (Fig 17.10) - Courbet, Stone Breakers (Figure 21.1) - Stele of Hegeso (Figure 4.7)

13. Palette of King Narmer

Narmer Palette IN EGYPT 3000-2920 B.C.E Slate - Egyptian Museum Cairo (Figures 3.4a and 3.4b) - Relief sculpture depicting King Narmer uniting Upper and Lower Egypt - Hathor, a god as a cow with a woman's face, depicted four times the top register - Figures stand on a ground line - Hierarchy of scale - On front: - Narmer, who is the largest figure, wears the cobra crown of lower Egypt and is reviewing the beheaded bodies of the enemy, bodies that are seen from above, with heads carefully placed between their legs - Narmer is preceded by four standard bearers and a priest and followed by his foot washer or sandal bearer In the center are harnessed lionesses with elongated necks possibly symbolizing unification; at the bottom is a symbol of a bull knocking down a city fortress-- Namur knocking over his enemies - On back: - Hawk is Horus, god of Egypt; triumphs over Narmer's foes; Horus holds a rope around a man's head and a papyrus plant, symbols of Lower Egypt - Narmer has a symbol of strength, the bull's tail, at his waist; wears a bowling pin- shaped crown as king of united Egypt, beating down an enemy Servant holds Narmer's sandals because he stands on the sacred ground as a divine king - Defeated Egyptians lie beneath his feet - Schematic lines delineate Narmers muscle structure: forearm veins and thigh muscles are represented by straight lines; half circles for the kneecaps - Palette used to prepare eye make-up for the blinding sun, although this palette was probably commemorative, or ceremonial - Hieroglyphics explain and add to the meaning - Scholars believe the palette conflates actions taking place over many years into one event - Narrative - in situ- style of carving Cross-Cultural Comparisons: - Symbolism Delacroix, Liberty Leading the People (Figure 20.4) - Cotsiogo, Hide Painting of a Sun Dance (Figure 26.13) - Ruler's Feathered Headdress (Figure 26.6)

4. Running horned woman

Running Horned Woman 6000-4000 BCE rock painting Tassili n'Ajjer, Algeria - More than 15.000 drawings and engravings found at this site - A cone time the area was grasslands; climate changes have turned it into desert - Some drawings are naturalistic, some abstract; some Negroid features, some Caucasian features - Depicts livestock (cows, sheep, etc.); wildlife (giraffes, lions, etc.); humans (hunting, har- vesting, etc.) - Composite view of the body - Dots may reflect body paint applied for ritual features - The entire site was probably painted by many different groups over a large expanse of time - small figures surrounding her - scarification - horns are composite ,, Cross-Cultural Comparisons: Masks and Headdresses -Aka Elephant Mask -Ikenga -Malagan mask

15. Seated Scribe

Seated scribe e. 2620-2500 B.G. painted limestone Louvre, Paris (Figure 3.5) - Created for a tomb at Saggara as a provision for the ka - Not a pharaoh: sagging chest and realistic rather than idealistic features - Color still remains on the sculpture - Amazingly lifelike, but not a portrait-rather, a conventional image af scribe - Attentive expression; thin, angular face -Contrasts with the ideally portrayed pharaoh - Holds papyrus in his lap; his writing instrument (now gone) was in his hand ready to write Cross-Cultural Comparisons: Human Figure - Shiva as Nataraja (Figure 23.6) - Great Buddha from Todai-ji (Figure 25.10b) - Abakanowicz, Androgyn III (Figure 29.7)

16. Standard of Ur

Standard of Ur, c. 2600-2400 B.C.E., wood inlayed with shell, lapis lazull, and limestone, British Museum, London (Figures 2.3a and 2.3b) - Two sides: war side and peace side; may have been rical two halves of a narrative; early example of a histo narrative - Perhaps used as part of soundbox for a musical instrament - War side: Sumerian king half a head taller, has descended from his chariot to inspect captives brought before him some debased by their nakedness; chariots advance over the dead in lowest register - Peace Side: food brought in procession to the bar quet; musician playing a lyre; ruler wears a kilt made of tufts of wool; larger than others shell - Reflects extensive trading network: lapis lazuli from Afghanistan; shells from Persian Gulf; red limestone from India - Figures have broad frontal shoulders, body in profile - Emphasized eyes, eyebrows, ears - Organized in registers; figures stand on ground lines; reads from bottom to top Cross-Cultural Comparisons: - Narrative in Art Bayeux Tapestry (Figures 11.7a, 11.7b) - Column of Trajan (Figure 6.16) - Night Attack on the Sanjo Palace (Figures 25.3a, 25.3b)

19. Code of Hammurabi

Stele of Hammurabi, c. 1792-1750 B.C.E, basalt, Babylon (modern Iran) (Figures 2.4a and 2.4b) - Hammurabi 1792-1750 B.C.E united Mesopotamia in his lifetime - Took Babylon from a small power to a dominant kingdom, but at his death the empire dwindled - Text in Akkadian language, read right to left and top to bottom in fifty-one columns - Contains one of the earliest law codes ever written below the main scene and on the reverse - Sun god, Shamash, enthroned on a ziggurat and handing Hammurabi a rope, a ring, and a rod of kingship - Shamash: frontal and profile at the same time, headdress in profile: rays (wings) from behind his shoulder - Shamash, judge of the sky and the earth, with tiara of four rows of horns, presents signs of royal power, the scepter and the ring, to Hammurabi . - Shamash's beard is fuller than Hammurabi's - Hammurabi with a speaking/greeting gesture - They stare at one another directly, even though their shoulders are frontal; composite views - 300 law entries placed below the grouping, symbolically given from Shamash himself to Hammurabi - Bas-relief Cross-Cultural Comparisons: Humans and the Divine - Jayavarman VII as Buddha (Figure 23.8d) - Bichitr, Jahangir Preferring a Sufi Shaikh to Kings (Figure 23.9) - Bernini, Ecstasy of Saint Teresa (Figures 17.4a, 17.4b)

8. Stonehenge

Stonehenge c. 2500-1600 B.C.E. Sandstone Wiltshire, England (Figures 1.12a and 1.12b) - Perhaps took a thousand years to build, gradually redeveloped by each succeeding generation - Post-and-lintel building lintels grooved in place by the mortise-and-tenon system of construction - Large megaliths in center are over 20 feet tall and form a horseshoe surrounding a central flat stone - Ring of megaliths, originally all united by lintels surrounds central horseshoe - Some stones over 50 tons - Hundreds of smaller stones of unknown placed around monument - Some stones imported from over 200 miles away - Generally thought to be oriented toward sunrise on the longest day of the year, may also predict eclipses - New theory posits that Stonehenge was the center of ceremonies concerning death and burial; later a center for the sick and dying to be healed - One of many henges in southern England; the most recently discovered in July 2009 is called Bluehenge - megaliths- large stone Cross-Cultural Comparisons: - Ritual Centers purpose Chavín de Huántar (Figure 26.1a, 26.1b) - Pantheon (Figures 6.11a, 6.11b) - Great Mosque of Djenne (Figure 27.2)

20. Temple of Amun-Re and Hypostyle Hall

Temple of Amun-Re and Hypostyle Hall 1550-1250 B.C.E. sandstone and mud brick near Luxor, Egypt (Figures 3.8a, 3.8b, 3.8c) . - Huge columns, tightly packed together, admitting little light into the sanctuary - Hypostyle halls - Columns elaborately painted - Massive lintels bind the columns together - Axial plan - Tallest columns have papyrus capitals have a clerestory to allow some light and air into the darkest parts of the temple - Lower columns have bud capitals - Columns carved in sunken relief - Enter complex through massive sloped pylon gateway into peristyle courtyard, then through a hypostyle hall and then into the sanctuary where few were allowed Cross-Cultural Comparisons: Houses of Worship - Lakshamana Temple (Figures 23.7a, 23.7b, 23.7c, 23.7d) - Santa Sabina (Figures 7.3a, 7.3b, 7.3c) - Great Mosque, Isfahan (Figures 9.13a, 9.13b, 9,13c)

11. Terra cotta fragment

Terra-cotta fragment. Lapita, from the Solomon Islands, 1000 B.C.E,, terra cotta, University of Aukland, New Zealand (Figure 1.6) - Lapita culture of the Solomon Islands, known for their pottery - Characteristic use of curved stamped patterns: dots, circles, hatching - Outlined forms: used a comb-like tool to stamp designs onto the clay - One of the oldest human faces in Oceanic Art Cross-Cultural Comparisons: Motifs in Pacific Art Hiapo (Figure 28.6) Malagan mask (Figure 28.8) Lindauer, Tamati Waka Nene (Figure 28.7)

9. The Ambum stone

The Ambum Stone from Papua New Guinea, c. 1500 B.C.E., greywacke, National Gallery of Australia, Canberra (Figure 1.4) - Stone Age work, artists used stone to carve stone - Found in Ambum Valley in Papua New Guinea - Composite human/animal figure; perhaps an anteater head and a human body - Theories: - Masked human - Anteater embryo in a fetal position - Anteaters thought of as significant because of their fat deposits - May have been a pestle - Perhaps a ritual purpose; considered sacred - part human and part animal - Cross-Cultural Comparisons: - Animal Forms Detail from the Lakshamana Temple (Figure 23.7c) - Tuffery, Pisupo Lua Afe (Corned Beef 2000) (Figure 26.15) - Buk Mask (Figure 28.9)

160. Maize cobs [Kathleen]

Time: 1440-1533 CE Inka Form: -Realism: sheet metal pressed against actual maize to get the texture (repousse) -oxidized silver (black maize) - Inka metalsmiths expertly combined silver and copper to mimic the internal and external components of actual corn. Content: -corn was revered because of its importance to the diets of the Incans Function: -show importance of corn Context: -1440-1533 CE Inka

10. Tlatico female figure

Tlatilco Female Figures, c. 1200-900 B.C.E., ceramic, Princeton University Art Museum, Princeton, New Jersey (Figure 1.5) . Tlatilco, Mexico, noted for pottery - Many shapes and forms: male, female, couples, genre scenes ball playing games, animals, imaginary creatures, etc. - Female figures show elaborate details of hair styles, clothing, and body ornaments - Many show deformities including the two-headed females: perhaps signifying a cluster of conjoined or Siamese twins; stillborn . - Theories that they show bifacial images, and therefore would show the first evidence of congenital defects. - May have had shamanistic function - Style: flipper-like arms, huge thighs, pronounced hips, narrow waists, unclothed except for jewelry; arms extend from body Cross-Cultural Comparisons: - Human Figure - Veranda post (Figure 27.14) - Power figure (Figure 27.6) - Reliquary of Sainte-Foy (Figure 11.6c)

12. White Temple and its ziggurat

White Temple and its ziggurat c. 3500-3000 B.c.., mud brick, Uruk, Iraq (Figure 2.1) Figures - Large settlement at Uruk of 40,000 based on agriculture and specialized labor - Deity was Anu, the god of the sky, the most important Sumerian deity . - Mud-brick building on a colossal scale . - Buttresses spaced across the surface to create a light and shadow pattern - Whitewash used to disguise the mud appearance . - Tapers down so that rainwater washes off - Temple on the top was small, set back, and removed from the populace; accessed reserved for royalty and clergy, only base of temple remains - Temple interior contains a cella, and smaller rooms . - On top of the ziggurat is a terrace for outdoor rituals; temple for indoor rituals - Entire form resembles a mountain; contrast of vast flat terrain and man-made mountain - Gods descend from the heavens to a high place on earth, hence the Sumerians built ziggurats as high places . - Four corners oriented to the compass Cross-Cultural Comparisons: Religious Centers on Hilltops Yaxchilán Structure 40 (Figure 26.2a) Templo Mayor, Tenochtitlan (Figure 26.5a) Acropolis (Figure 4.16a)

70. Palazzo Rucellai

[Charlie F.] Visual Analysis: - 3 levels (like classical) - Round arches Context Analysis: - Architect: Leon Battista Alberti - 1450 CE Florence, Italy - Giovanni Rucellai commissioned it - Early Italian Renaissance - At the time, palaces were viewed as if they were created for the city's good and thus, brought Florence much civic pride Attributions: - Nearly every piece of the Palazzo's design is pulled from ancient Greek & Roman architectural ideals - Horizontality Continuity and Change: - Constructed as part of the "building boom" after the Medici family built their own palace - Humanism: domestic architecture Influence from Roman Colosseum

69. David Donatello

[Charlie F.] Visual Analysis: - Bronze - Exaggerated Contrapposto - Beautiful, ideal, classical, cultured, independent, wealth, power (like Florence) Context Analysis: - Florence 1440-60 CE (15th century) - Early renaissance - Artist: DONATELLO - Made for Medici Palace in Florence - Represents the story of David Attributions: - Shepherd's hat with flowers of Florence (small can conquer giants) - Biblical figure of Florentine Republic - Religious AND political connotation - Return to the nude powerful figure in contrapposto - Goliath's head under his foot - 5 ft tall Continuity and Change: - Middle ages: a period when the focus was on God and the soul and didn't create nude art - First free-standing nude figure since classical antiquity - Connection to religious subject matter, Hammaurabi

82. Church of Il Gesu

[Charlie F.] Visual Analysis: - Building: marble, brick - Ceiling: fresco and stucco - Single aisle Context Analysis: - Architect: Giacomo da Vignola - Facade: Giacomo della Porta - Ceiling: Giovanni Battista Gaulli - Jesuits are great defenders of the pope - Ceiling made 100 years later (1676) - Rome, Italy - Main church for the Jesuits of the world - Post-Reformation Attributions: - Faith through the senses - Last Judgement - Church has a cruciform floor plan, although the transept is not overly long on either side so it does not bear exactly like a cross in terms of proportions - Focus on altar in the center Continuity and Change: - Mix of the rational and Baroque styles - Spatial illusionism on ceiling - End of Baroque period

81. Frontispiece of the Codex Mendoza

[Charlie F.] Visual Analysis: - Codex - City laid out in 4 sections - Text - Ink and color on paper Context Analysis: - Aztecs 1541-42 CE - Made for Spanish viceroy - Historical account for the Aztecs Attributions: - Part 1: creation of the City of Tenochtitlan (eagle on cactus describes how city was founded) - Part 2: conquests achieved by Aztec alliances - Part 3: daily life - Templo Mayor - Canals dividing cities - The Codex: great amount of information about the Aztec empire Continuity and Change: - Scene of Aztec conquest

83. Hunters in the Snow

[Charlie F.] Visual Analysis: - Endless, winter landscape - Panoramic view - part of series of 4 seasons - Oil on wood Context Analysis: - Artist: Pieter Bruegel the Elder - Painted in 1565 - Secular painting - Part of calendar series - For dining room of wealth merchant in Antwerp Attributions: - Hunters coming back after an unsuccessful hunt (only one rabbit) - People iceskating and curling (shows daily life) - Broken sign above inn - Vastness and beauty of world Continuity and Change: - No linear perspective, but AERIAL PERSPECTIVE - Social commentary

74. Adam and Eve

[Charlie F.] Visual Analysis: - Engraving on metal - Contrapposto - Tiny details Context Analysis: - Artist: Albrecht Durer (German) - Latin - 1504 CE - High Renaissance (north) - 16th-17th century Attributions: - Animals representing temperaments and humors being let into the world - Artist signature on sign - Tree of Knowledge and Life - Fall of humanity - Shows knowledge of classical art - Lots of symbolism Continuity and Change: - Sacrifices naturalism to showcase his mastery of Vitruvian ideals - Durer combined Northern Realism and Italian concern for size

63. Arena (Scrovegni)

[Charlie F.] Visual Analysis: - Fresco - Brick and architecture - Painted plaster - Grisaille (gray tones) - Qua-trefoils - Tracing - Plain outside, transformative inside Context Analysis: - Padua, Italy - On grounds of an old arena - Artist: GIOTTO DI BONDONE - 1303-1305 CE - Italian Gothic - Proto-Renaissance - Private family devotional art Attributions: - Completely covered in fresco - Lapiz Lazuli for bright blues - Narrative scenes - Very expensive - Lamentation Continuity and Change: - We see GRIEF, which in medieval art we usually had divine figures and not upset - Illusionism, architectural elements give earthly setting - Mary not holding the dead son of God who will rise again, but holding her own dead child who she believes she will never see again

76. School of Athens

[Charlie F.] Visual Analysis: - Fresco - Spatial illusionism - Fluid/interlocking - Same style as Sistine figures - Roundalls - Barrel vaults - Coffers Context Analysis: - Artist: Raphael - High Renaissance - 1509-11 - Stanza della Sengatura in the Vatican in Rome - Expresses knowledge and faith Attributions: - Branches of knowledge under faith - Philosophy and science - Plato: idealism (points up) - Aristole: realism (points down) - Raphael self portrait - Michaelangelo on block of marble - Poetry, imagination - Disputah: faith and reason - Heavenly court of prophets and saints - Jesus in full body halo Continuity and Change: - Opposed the Medieval idea of an authority passing down knowledge - Uses compositional tools to enhance and place the figures like Leonardo

75. Sistine Chapel ceiling and altar wall frescoes

[Charlie F.] Visual Analysis: - Frescoes - Sculptural element to his paintins - Neoplatonic (classical and Judeo-classical) - Hellenistic figures Context Analysis: - Artist: Michaelangelo - High Renaissance 1508-12 (ceiling), 1536-41 (altar wall) - Vatican City, Italy - Under Pope Julius II - Election of new pope and masses happen in this building - Art is made for this building (Sistine Chapel) Attributions: - Scenes from the OT (9) - Noah's Ark - Men working on ark hoping for salvation - Duster seeking sanctuary - Counter reformation - Last judgement, life and death - Saved and damned people - Sibyls: monumental (Hellenistic figures) - Portraits of certain artists on lower walls Continuity and Change: - Makes viewers question God's justice; why would he destroy the whole population of Earth, spare Noah and his family?

64. Gold Haggadah

[Charlie F.] Visual Analysis: - Illuminated manuscript - Pigments and gold leaf on vellum - Each image has golden background - Resembles Christian Gothic manuscripts through the long flowing bodies and small architectural details Context Analysis: - Late Medieval Spain 1320 CE - Late Romanesque / Gothic Period - Jewish art - Book used by a wealthy Jewish family to tell the story of Passover around the sedar table each year Attributions: - Left: plagues of Egypt - Middle: scenes of liberation (Israelites leave) - Right: Passover Continuity and Change: - Was forbidden to create images at that time, but it was justified as didactic - Stands as a testament to the impact and significance of Jewish culture in medieval Spain

73. Last Supper

[Charlie F.] Visual Analysis: - Linear perspective, spatial illusionism, frieze-like - Triangle in center (Christ @ the point) - Monumental forms - Oil and tempera Context Analysis: - Artist: Leonardo DaVinci - High Renaissance - Milan, Italy - 1494-98 - Dining hall/refectory for monks eating in silence - DaVinci used models to paint people so he can make it more realistic Attributions: - Jesus and apostles having a final meal before Jesus is arrested - The betrayal (Judas) - The Eucharist Continuity and Change: - Perfect perspective is achieved at Christ's level using linear perspective - Vanishing point behind Christ's head

67. Pazzi Chapel

[Charlie F.] Visual Analysis: - Makes use of Pietra Serena Stone, used to create spacial divisions - Masonry - Geometrically perfect - Corinthian columns, fluted pilasters, small barrel vaults, dome ceiling - Inlaid marble, terracotta tiles - Franciscan Context Analysis: - Filipo Brunelleshi (architect) - Florence, Italy 1429-61 CE (15th century)- Early Renaissance - Commissioned by Pazzi Family - Based on models of ancient Roman temples - Show Pazzi family wealth - Served as chapter house (meeting room for the Franciscan monks) Attributions: - Entablature - Arch forms - Family crests Continuity and Change: - Representation of early Renaissance Connection to Pantheon influence

78. Entombment of Christ

[Charlie F.] Visual Analysis: - Manneristic: shows great knowledge of Renaissance but distorts it - Figures stylized and elongated - Primary colors and white - Roundalls above of Evangelists - Space is nonsensical - 1D (no depth) Context Analysis: - Artist: Pontormo - Florence, Italy 1525-1528 - Family chapel - Altar piece Attributions: - No symbols of holiness (no cross, etc.) - Mary proportionately larger - Everyone mournful - Lower Jesus from the cross - Chaotic figures/constant movement - Self portrait - Non balance (lots of different directions) - Doesn't look Renaissance Continuity and Change: - Response to Protestant reformation - Over-exaggerated emotions

80. Venus of Urbino

[Charlie F.] Visual Analysis: - Oil on canvas - Rich colors (red) - Nude reclining - Celebrating female body - Paints thin layer of paint to create flow and softness Context Analysis: - Artist: Titian who was one of the first to use oil on canvas - Ventian Renaissance - 1538 CE - Wedding gift Attributions: - Woman reclining while maids get her clothing - Dog = wealth - Seduction look makes it erotic - The woman has a direct gaze that meets the eyes of the viewer - Since the painting has the woman titled Venus it makes the viewer feel more comfortable seeing a nude depiction of a woman - The small tree in the background that looks perfect and ready to grow to represent the future of the marriage

66. Annunciation Triptych

[Charlie F.] Visual Analysis: - Oil on oak - Triptych - Altar piece (portable) - Flemish (oil paint, glowing, vivid color) - Hyper reality/hyper clarity Context Analysis: - Workshop of Robert Campin (master of flemalle) - 1427-32 CE (15th century) - Flemish Renaissance - Private devotional - Newfound prosperity in Northern Europe, so commissions are increasing Attributions: - Scene of annunciation - Holy Spirit and Jesus coming through window - Couple asking for divine intervention - Joseph on right making mouse traps - Mary laying down on pew - Image of Christ coming from the window going to Mary's womb Continuity and Change: - Not meant to secularize the scene, but to make them closer to us - God takes human form, which was new

68. The Arnolfini Portrait

[Charlie F.] Visual Analysis: - Oil on wood Context Analysis: - Artist: Van Eyck - 1434 CE (15th century) - Flanders - Northern Renaissance - Northern lacks perspective and obsession with human anatomy, but boasts greater attention to minute detail and softer gradations of color and light - Shows status, wealth, and power Attributions: - Portrait of husband and wife - Betrothal (engagement) - Vaneyck signature and reflection in mirror - Dog represents wealth and fidelity Continuity and Change: - Significant amount of religious symbolism

77. Isenheim Altarpiece

[Charlie F.] Visual Analysis: - Oil on wood - Diptych (two panels/wings) Context Analysis: - Artist: Matthias Grunewald - 1512-1516 - German, Christian - Created to serve as the central object of devotion in an Isenheim hospital built by the Brothers of St. Anthony - Made for hospital to make them feel better by relating to Jesus' suffering Attributions: - Predella: base of the altarpiece - 1st panel: shows Jesus suffering on the cross symbolizing the suffering of the patients - 2nd panel: shows Jesus resurrection - 3rd panel: statue of St. Anthony who was patron saint of the hospital Continuity and Change: - None, but connection to Standard of Ur

72. Birth of Venus

[Charlie F.] Visual Analysis: - Tempera on cancas - Curvy body (flexibility) - Neoplatonic love (classical and Christian) - Sense of pattern and beauty Context Analysis: - Artist: Sandro Botticelli - 1484-86 CE - Medici commission - Venus is goddess of love - Probably a wedding gift - Early Renaissance Attributions: - Venus standing on seashell - Born by the sea fullgrown - Couple intertwines; pushing Venus to land - Someone on shore ready to receive Venus with cloth - Floating figures - Earthly and celestial love Continuity and Change: - Images of nude women were only tolerated in two contexts: educational or mythological - Painting her nude was a radical statement - Marks rebirth of Classical mythology

71. Madonna and Child with Two Angels

[Charlie F.] Visual Analysis: - Tempera on wood - 3D figures - Sense of space - Elegant lines/curves Context Analysis: - Artist: Fra Filippo Lippi (monk of Carmelite order) teacher of Botticelli -1465 CE - Early Renaissance Italy Attributions: - Mary's halo slowing going away (divinity fading) - Mary youthful/beautiful - Landscape through window (Flemish background) - Pearls (symbol of immaculate conception Continuity and Change: - Humanism - Connects us to Mary and Jesus - All humanized - Sensuality - Relates to viewers

65. Alahambra

[Charlie F.] Visual Analysis: - Whitewashed adobe stucco, wood, tile, paint, and gilding - Complex arches - Elevated on top of a hill (power) - Arabesques (organic/natural designs- flowers/vines) on arches Context Analysis: - Granada, Spain- Nasrid Dynasty 1354-1391 CE - Alhambra is an abbreviation of 'Qal'at al-Hamra' meaning 'red fort' - Built by Nasrid Dynasty, the last Muslims to rule in Spain - Attention to detail - Complex of palaces - Some markets - Garden provokes sense of paradise/heaven Attributions: - Contains palaces, gardens, water pools, fountains, and courtyards - Comares Palace, Palace of the Lions, Partal Palace - Channels of water run throughout Continuity and Change: - ?

79. Allegory of Law and Grace

[Charlie F.] Visual Analysis: - Woodcut, letterpress - Protestant - German text Context Analysis: - Artist: Lucas Cranach the Elder (High Renaissance North 1530 CE) - German; worked with Martin Luther - Northern Renaissance Attributions: - Written in people's voice - Left: being chased by death (shows 10 commandments) - Right-washes over with Holy Spirit (can only be saved by God's grace Continuity and Change: - Single most influential image of the Lutheran Reformation - Debates between Catholics and Luthers on how to get to heaven - Propaganda during Reformation

plan Mosque of Selim II

(Abby) - preceded by a rectangular court covering an area to that of the building - behind the porticos, the building rises to its climactic dome (height surpasses the hagia sophia - Similar style of hagia sophia - Fusion of an octagon with the dome covered corners of the square - central plan - dome forms an octagon transition from round dome to square ground plan is achieved by inserting smaller domes into corners - coherent plan that is still used today

88. San Carlo alle Quatro Fontane

(Abby) Credit Line BORROMINI, Rome, Italy, 1665-1676 Visual: Emphasized three dimensional effect with deeply recessed niches. Pulsating, engaging component inserted between interior and exterior space -> provide fluid transition between the two. interior is a combination of a Greek cross and oval. Interior flows in a different direction that redirects to flow of the exterior Context: Baroque art in the 17th century Attribution: Chapel of Saint Ivo Continuity: set the whole facade in undulating motion, forward and back, making counterpoint of concave and convex elements on two levels.

89. Ectasy of Saint Teresa

(Abby) Credit line BERNINI, Cornaro Chapel, Rome, Italy, 1645-1652 - designed a whole chapel to show it off - swooning on a cloud, an expression of mingled ecstasy and exhaustion on her face - induce an intense religious experience in worshipers - on swirling clouds while rays from heaven are pouring onto them textures made the marble seem to quiver with life - BAROQUE - altar piece has loads of emotion, drama, and passion - Utilizes the architecture, sculpture and painting to create drama in the architecture - uses knowledge in play writting - members of the cornaro family (patron) are seen in the chapel

85. Calling of St. Matthew

(Abby) Credit line CARAVAGGIO, Calling of Saint Matthew\, Rome, Italy, 1597-1601 Visual: Oil on canvas. Christ is unidentifiable, you can only tell by his halo. Christs outstretched hand is reminiscent of the lord in creation of Adam. Context: Baroque Attribution: High stage lighting, dark backgrounds. PAINTINGS: Entombment, Conversion of Saint Paul Continuity in change: Extreme stage lighting - lets the viewer know it is a holy event because of the slight halo around the figure

84. Mosque of Selim II (outside)

(Abby) Credit line SINAN, Edrine, Turkey, 1568-1575 Visual: numerous annexes, including libraries and schools, soup kitchens for the poor and cemetery containing mausoleum of the Sultan responsible for building the mosque. Height surpasses the Hagia Sophia. Mihrab is recessed into an apselike alcove deep enough to permit window illumination from three sides - walls glow with their own light. Context: Islamic architecture Continuity: The octagon, formed by eight massive dome supports, is pierced by the four half dome covered corners of the square - result is a fluid interpenetration of several geometric volumes that represents the culmination solution to Sinan's forms are clear and legible. ratio of 1:2 - Dome covered square prayer hall

San Carlo Quattro Fontane (Inside)

(Abby) - Geometric shapes allow for the viewers eye to travel - The triangles also have significance in the holy trinity - the ceiling is made up of hexagons crosses and octagons which is a direct relations with Boromini - ingenious response to an awkward sit but also a provocative variation on the theme of the centrally planned church

Mosque of Selim II (Inside)

(Abby) - Illumination from the windows make the brightly colored tile panels sparkle - the octagon formed by the 8 domes supports is pierced by the four half dome covered corners of the square - the result is a fluid interpretation of several geometric volumes - uses muqarnas to create a subtyle transition from the walls of the mosque to the dome above - geometric clarity

Plan of San carlo Quattro Fontane

(Abby) - hybrid of the greek cross and an oval with a long axis between entrance and apse side walls move in an undulating flow that reverses that facades motion - vigorously projecting columns define the space facades motion vigorously projecting columns define the space into which they protrude as much as they accent the walls attached to them - the molded interior space is capped by a deeply coffered oval dome that seems to float on the light. rich variations on the basic theme of the oval, dynamic relative to the static circle, create an interior that appears to flow dome entrance to altar, unimpeded by the segmentation so characteristic of renaissance buildings - Based off centrally planned church - combines Greek cross with an oval - domes cover the entire nave rather than just the crossing - portal omes out to audience, verticle movement towards heaven

157. Templo Mayor at Tenochtitlan, the Coyolxauhqui Stone, and an Olmec Mask [Kathleen]

*4 pictures for this but only the coyolxauqui stone is pictured here - The capital was also divided into four main quadrants, with the Templo Mayor at the center. Location: Tenochtitlan (Mexico City), only foundation of Aztec culture that exists today Aztec Time: 1375-1520 CE Form: - The Templo Mayor was approximately ninety feet high and covered in stucco. -built in layers -two great staircases -stone temples -the Coyolxauqui Stone: volcanic stone -mask: jadeite -calendar stone: basalt - city was laid out in a grid Content: -two temples on top (one for sun God Huitzilopochtli and one for the Rain God Tlaoc) -base of the pyramid is a serpent and the Coyolxauhqui Stone - -Calendar stone (central is the sungod, shows the days) Function: -ceremonial place for the Aztec people -human sacrifice victims were thrown on this stone from atop the temple Calendar Stone (The Sun Stone): - Would have originally been painted - most likely would be on the ground - is unfinished - face seen in the middle is the sun god - Coyolxauhqui Stone (30. 3) - Coyolxauhqui: bells her cheeks -- defining feature -Coyolxauhqui Stone: retells the story of Huitzilopochtli (after his sibs killed their mother, he takes revenge on them and dismembers his sister Coyolxauhqui which is shown on the stone) - Originally painted and carved in low relief - Coyolxauhqui is shown naked, nakedness was considered a form of humiliation and also defeat - The bodies of the conquered were tossed down the great temple stairs to land on the disk - It was an expression of Aztec temperament and taste as the Aztecs dismembered foes to the likeness of the god's sister Olmec-style Mask - Some offerings demonstrate the Mexica's awareness of the historical and cultural traditions in Mesoamerica. For instance, they buried an Olmec mask made of jadeite, as well as others from Teotihuacan - The Olmec mask was made over a thousand years prior to the Mexica, and its burial in Templo Mayor suggests that the Mexica found it precious and perhaps historically significant.

177 — Lukasa (memory board) [CHARLIE PLESE]

- 19th-20th century Luba People Democratic Republic of Congo - Varied in size but small enough to hold - Made of large wood plank with metal and smalls beads of various materials - Used as a way to record and remember important times and events in the Luba People's society - A wooden plank that has metal beads and other beads specifically placed to make patterns in touch in visualization to discuss the history of the Luba People - Designed specifically to tell a story and remember the past easily for those who are trained to be able to do so - Important for oral history and story-telling - Alludes to ancestors and deities, recording names - Only specifically trained people can read them - Demonstrates hierarchy and class consciousness, as only the most accomplished and senior members of the council could read the memory boards (These people were known as "men of memory") - THEMES: Oral Tradition Storytelling Maintaining culture Hierarchy Language Record keeping - Political and Historical

183. The Kaaba [CHARLIE PLESE]

- 600's - In Mecca and is in the heart of the Grand Mosque - Black granite masonry - Interior is fitted with a marble and limestone floor - The Calligraphy is of important verses "ayats" from the Quran - Every Muslim faces the direction of the Kaaba and Mecca when they are praying and they pray five times a day - It is symbolic of the journey and triumph of Muhammed - Kaaba - cube in Arabic - Holiest shrine - Hajj = annual pilgrimage to visit - The black stone — most sacred object, given to ibrahim, said to be a sign for Adam and Eve to build a temple - The door made of solid gold - Considered a safe haven

173 — Female (pwo) mask [CHARLIE PLESE]

- A naturalistic depiction of a woman's face with elaborately styled hair, earrings, and tattoos - Ideal features including wide forehead, small nose, calm expression, healthy (reddish brown) complexion, delicately rounded ears, mouth, and chin - Neat lines and circles, use of symmetric shapes - Crafted with very delicate carvings hence capturing a calm expression - On the side of face signs shown or repair, signs of long use - Under the eyes are tattoos that signify tears -To honor an ideal Chokwe woman who had successfully given birth - Honors fertility and prosperity - Used during male initiation rites to teach young boys about how they should behave as well as to show them the type of ideal woman (who is like Pwo) that they should be looking for as a wife - Show the beauty of woman and their fertility - Pwo- the founding mother and deity who represents fertility - The whiteness around her eyes: spiritual realm/ her eyes are the most important part of the face - The huge eyes suggests that she is on a different level or spirituality/ power and her wisdom is so great - THEMES: Spirituality Femininity Beauty Fertility Bloodline Coming of age - Scarification - Cosmogram — cosmic mark on forehead - Scar of tear at loss of son to manhood

187. Folio from a Qu'ran [CHARLIE PLESE]

- Arab, North Africa, or North East. - 8th to 9th century CE - Ink, color, and gold on parchment. - Qu'ran fragment, in Arabic - The Folio is part of the Qur'an which is the sacred text of Islam - Two pages spread Qur'an manuscript - The Qur'an is written on parchment in blank ink with a broad-nibbed reed pen - Kufic is the type of calligraphy used in this manuscript - The Qur'an is read from left to right - This book was used for sacred rituals and recitations - The Qur'an which means "recitation" suggests that the manuscripts were secondary importance to oral tradition - Heavily decorated for ceremonial purposes - The Qu'ran is the central part of Islam and the Islamic faith revolves around this book - Human and animal forms were considered inappropriate for the ornamentation of sacred monuments and objects, artists relied on vegetal and geometric motifs when they decorated mosques and sacred manuscripts - Very high value and prosperity in the religion - Sacred text of islam -

165. Painted Elk Hide [Kathleen]

- Attributed to Cotsiogo Form: -elk skin - Usually, artists decorated the hides with geometric or figural motifs. By the later nineteenth century certain hide artists like Cotsiogo began depicting subject matter that "affirmed native identity" and appealed to tourists. - The imagery placed on the hide was likely done with a combination of free-hand painting and stenciling. Content: -animal hide painting of the Sun Dance - The hide painting also shows activities of daily life - Some scenes display individuals skinning buffaloes and separating the animals' body parts into piles. Function: -record history Context: -Wyoming

178. Aka Elephant Mask [CHARLIE PLESE]

- Bamileke (Cameroon, western grasslands region) - c. 19th to 20th Century C.E. - Wood - Elephant mask composed of colorful cloth and beads - This piece of art was meant to be used in performance- the wearer also wore a tunic and a decorative headdress - Very dramatic- many people would wear these masks and emerge from "a large palace compound" - Headdress- a symbol of privilege - The purpose was to emphasize the complete power and dominance of the Bamileke king - Intended to worship the elephant- this animal was always seen as a symbol of sovereignty/royal authority - Beads imported from Venice and the Middle East- represent great wealth and status - Black beads- the relationship between the living and the dead - White beads- ancestors and medicines - Red beads- life and women - Kuosi- elite masking society that owned and wore these Aka Elephant masks - Included royal family, wealthy title holders, and ranking warriors- all came together and showed off the masks during the masquerade - THEMES: Animals and art Tradition Domestic life Identity- community and connection to ancestors Symbolism- animals symbolizing power and authority Performance (masquerade of the Kuosi people) Family/Ancestors - Human face, elephant-like trunk

182. Buddha [CHARLIE PLESE]

- Bamiyan, Afghanistan - Gandharan - c. 400-800 C.E. (destroyed in 2001). - Cut rock with plaster and polychrome paint. - high relief sculptures — carved into cliff face but feet and head in the round - allowed worshippers to circulate —circumambulation is a common form of worship and meditation in buddhism - surrounding monasteries might have come to the caves to pray - combined Hellenistic style with Indian images - greek drapery in robes - painted statues like in ancient greece - greek hairstyles (wavy hair)

185. Dome of the Rock [CHARLIE PLESE]

- Built in 691-2 - Jerusalem - Patron is Caliph Abd al-Malik - 2 ambulatories and an octagonal exterior wall and encloses the wall. - Stone masonry, wooden roof, and is decorated with glazed ceramic tile, mosaics, and gilt aluminum and bronze dome. -The mosaics do not depict any representations of the human or animal form -The mosaics are decorating the shrine with Arabic script and vegetal patterns - The design is a clear parallel to the form the Early Christian and Byzantine martyrium - The use of this specific design may have been used to rival and even outshine the Christian domes - The rock that is enclosed by the rock is an integral part of the Islamic religion. -In fact, it has great significance to all 3 of the Abrahamic faiths — The Talmud: Believed that God created the world out of this rock. It was the site of 2 Jewish temples and very important to the Jewish religion. —The Bible: It is the location where Abraham prepared to sacrifice his son Isaac to God —The Quaran: This is the place where Muhammad ascended to God on his night journey - Built as a monument to a holy site - Site is sacred - Gold dome = wealth and prestige - Columns = spoila from Roman temples - Is an Islamic building but is heavily influenced by Byzantine design

169 — Wall plaque, from Oba's palace [CHARLIE PLESE]

- Cast brass relief plaque —Brass was a valuable material in Benin and brassworking took extreme technical skill. - Combines traditional depictions of figures from the Beninese culture and brass work of European cultures (Shows that the people of this culture were interacting with Europeans) - Decorated palace walls. - Plaques were made in pairs and attached to pillars in Oba's palace. - Shows that court rituals occurred in the palace and the order of plaques in the palace show the history of the kingdom. - Clearly expresses royal power, showing the Oba as especially large and with a huge head. - Demonstrates the consequences of British imperialism during the Scramble for Africa, as there was a vastly increased system of trade between Benin and Portugal after the British conquest. - The King is depicted in the center of the plaque, working to emphasize his undisputed power. - The attendants appear smaller than the king because they are less important than the king. - The king is shown riding a horse and wearing expensive necklaces and jewelry. - The hierarchical scale is used to show the relative importance of the Oba to the surrounding figures, as he is much larger. - The distinct use of proportion—the Oba's head is larger than expected. This is because the Oba was known as the "Great Head", as he is the center of wisdom and power amongst the entirety of Benin. Obas symbols of power : - Composition—he is the center - Hierarchy of scale - Horse — imported - Brass -

153. Chavin de Huantar (14.17) [Kathleen]

- Chavín de Huántar is an archaeological and cultural site in the Andean highlands of Peru. Artist: Chavin People Location: Northern Highlands, Peru Time: 900-200 BCE Form: -U-shaped temple, stone faced structure facing east between 2 rivers - no windows light the interior space -sunken relief -powerful curving -stone architecture -hammered gold alloy -granite sculpture -- Famous for extensive stone carvings: Subjects were creatures that combined feline, avian,reptilian, and human features Content: -only priest and high officials could see the Lanzon (human/jaguar) - Lanzon means "great spear" in Spanish Lanzon statue: -enormous, shape of agricultural tool, dark tunnels lead to the illuminated statue -nose ornament: status symbol, serpent shape relief: jaguar Function: -they held secret ceremonies - important pilgrimage cite Context: Center of Chavin culture