AP ART HISTORY - everythang

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Great Zimbabwe

Shona peoples, southeastern Zimbabwe. 1000-1400 CE. coursed granite blocks.

Great Mosque (Masjid-e Jameh)

Form/Content: • 4 iwan style mosque (vaulted portal; opening to a courtyard) • sets standard for 4 iwan style mosques • iwan shadows determine what kind of day it is • bumpy roof is b/c of the domes in the hypostyle hall • simple earth toned exterior • extravagant interior - similar to Byzantine & early Christian • extra large courtyard to accommodate overflow of worshippers • muqarnas - cusped niches • jali - pierced stone screen • mihrab - niche in wall towards Mecca • minbar - where prayer leader stand Context/Function: • uncommon for expansion & modification to continue over a span of 1000 years • 8th century to 20th century • visually embodies the changing politics & aesthetic over time • unique in its primary urban settings; was at the center of the city & used for multiple purposes, not just religion

Vienna Genesis

Form:

The Bay

Form: -Abstract expressionism -Use of acrylic (had just been invented) -Soak-Stain method: pouring wet paint onto a canvas and moving it around -Paint seeps and flows and interacts with the fiber Content: -Prominent blue section shifting from violet to indigo then into navy -Blurring of the colors, blues blend together Function; -Color as the subject of the painting -Subject could also be a landform of some sort? Context: -Helen Frankenthaler, 1963 CE -Color Field painting

The Court of Gayumars

Form: -ink, opaque watercolor, and gold on paper -clothing identifies who they are not their faces -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 -1522-1525 CE

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

The Swing

Form: • Epitome of Rococo • Lightheartedness (subject and technique) • Realism and Naturalism • Emphasis on the natural background • Intentional use of soft colors • Ornate details (layers in her dress) • Strong use of lines (eyes directed towards the woman) • Lighting = woman bathed in sunlight Function: • Shows a woman on a swing while her lover and a bishop stand below Content: • Depiction of a fine lady swinging above her lover and a bishop • Scene = dense garden with flowers and cupid statues Context: • 1766: People of France were living better than population • Wealthy and lavish living • Women were major patrons of the arts • Art was seen as a wealthy escape from issues that France was facing • Art became exclusive to the rich • Art served as an attractive way for nobles to express themselves

Female Deity

Form: -15" high -Breadfruit (wood) -Minimalistic/simple form -Oval head -Smooth surface, flattened buttox, long torso -Undefined hands and feet Content: -Male and female gods -Facial features hinted or nonexistent -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

The Migration of the Negro, Panel no. 49

Form: -Synthetic cubism (flat, angular) -60 panels in series -Tempera paint on hardboard -Unmodulated colors -stylized Content: -Anonymous faces -Split down the middle -Public restaurant in city segregated -white figures have faces while the blacks are anonymous 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 that zigzag down the center Context: -artist: Jacob Lawrence, 1940-41 -Parents migrated North so he lived during this period of migration -60 painting series -100,000s of blacks migrated north because of the World Wars -1st black artist represented by a New York gallery

San Vitale

Form: Brick, Marble, and Stone veneer. Mosaics - OCTAGONAL Plan - Clear glass wrapped in Gold lead Function: Site of Religious worship at Ravenna. Context: 520-540 CE Ravenna was the western military capital of the Byzantines while they were conquering Italy. Content: - Byzantine world saw the pope as only the Bishop of Rome, not the pope; government rulers were the Byzantine religious authority - Circular interior space serves as the nave - Ambulatory- walkway encircling the building -Gallery above ambulatory is a full second floor - Some traces of Classic in Mosaics of Justinian and Theodora

Guggenheim Museum Bilbao

Frank Gehry, 1997, Titanium, glass, limestone

The Two Fridas

Frida Kahlo. 1939 C.E. Oil on canvas.

Hunters in the Snow

Pieter Bruegel the Elder. 1565 C.E. Oil on wood.

Colosseum

Rome, Italy. Imperial Roman. 70-80 BCE. stone & concrete

Venus of Urbino

Titian, 1538, oil on canvas

White Temple and its ziggurat

Uruk (modern Warka, Iraq). Sumerian. c. 3500-3000 B.C.E. Mud brick.

Tlatilco female figurine

◦ intimate, lively poses & elaborate hairstyles ◦ female figures ◦ displays idea of duality, an importan concept to early Ameri. cultures ◦ representing life & death, cycle of life, rebirth, or shamanism ◦ Asian influence ◦ funerary art ◦ narrow waists & wide hips ◦ deformities suggest access to supernatural

Acropolis

Athens, Greece. Iktinos & Kallikrates. 447-410 BCE. marble.

Angkor Wat

Code of Hammurabi

Form/Content: • figures shown in composite view • used bas relief • vertical format • written in cuneiform • twisted perspectice Context/Function: • meant for public display • one of the earliest law codes ever written • gives Hammurabi divine right to rule • Hammurabi raises hand in respect to the sun god Shamash • Shamash is depicted with flames • he hands hammurabi a rod & ring; → establishes his authority to build social order

Statue of Votive Figures

Form/Content: • realistic figures & clear narratives separate it from prehistoric art • men depicted as bare chested with kilts • women had their left shoulder covered • only slaves & prisoners are shown as nude; nudity was a debasement (unlike Greeks) • emotionless • hierarchical scale, showing importance by the size of the figure - formalized art • hands in prayer to indicate piety • large eyes looking to the gods, waiting for them to descend Context/Function: • these were the tallest found; male is 2'6" (most important) • placed in the cella of a temple & shown as praying • served as a stand in for an actual person • overly large eyes believed to be the windows to the soul & eternal wakefulness to their gods • some held libation vessels • cups used in the ritual of pouring out precious liquids/oils as a form of sacrifice to the gods

Mortuary Temples of Hatshepsut

Near Luxor, Egypt. New Kingdom. 18th Dynasty. c. 1473-1458 BCE. Sandstone partially carved into a rock cliff, and red granite.

Malagan display and mask

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

Akhenaton, Nefertiti, and 3 daughters

New Kingdom (Amarna). 18th Dynasty. c. 1353-1335- BCE. Limestone.

Akhenaton, Nefertiti, and three daughters.

New Kingdom (Amarna). 18th Dynasty. c. 1353-1335- BCE. Limestone.

Female Deity

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

White and Red Plum Blossoms

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

King Menakure and Queen

Old Kingdom, Fourth Dynasty. c 2490-2472 BCE. Greywacke.

Veranda post of enthroned king and senior wife (opo ogoga)

Olowe of Ise. Yoruba peoples. c 1910-1914 CE. wood and pigment

Fallingwater

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

En la Barberia no se Llora (No Crying Allowed in the Barbershop)

Pepon Osorio, 1994, mixed media installation

Terra cotta warriors from mausoleum of the first Qin emperor of China

Qin Dynasty. c. 221-209 B.C.E. Painted terra cotta

Fruit and Insects

Rachel Ruysch. 1711. Oil on wood

Moai on platform

Rapa Nui (Easter Island). 1100-1600 CE. Volcanic tuff figures on basalt base.

School of Athens

Raphael. 1509-1511 C.E. Fresco.

Staff god

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

Forum of Trajan

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

Il Gesu

Rome, Italy. Giacomo da Vignola, plan; Giacomo della Porta, facade; Giovanni Battista Gaulli, ceiling fresco. church: 16th century. facade: 1568-1584. fresco & stucco figures: 1676-1679. brick,marble, fresco, and stucco

Catacomb of Priscilla

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

Santa Sabina

Rome, Italy. Late Antique Europe. c. 422-432 C.E. Brick and stone, wooden roof.

MAXXI National Museum of XXI Century Arts

Rome, Italy. Zaha Hadid (architect). 2009 C.E. Glass, steel, and cement.

Beaker with Ibex Motifs

Susa, Iran 4200-3500 BCE painted terra cotta

Tomb of the Triclinium

Tarquinia, Italy. Etruscan. c. 480-470 B.C.E. Tufa and fresco.

Statue of Votive Figures

Temple at Eshnunna (modern Iraq). Sumerian. gypsum inlaid with shell & black limestone. c. 2700 BCE

Templo Mayor

Tenochtitlan (modern Mexico City) ; Aztecs 1375-1520 C.E. Stone

Gold and jade crown

Three Kingdoms Period, Silla Kingdom, Korea. Fifth to sixth century C.E. Metalwork.

Presentation of Fijian mats and tapa cloths to Queen Elizabeth II

Tonga, central Polynesia. 1953 C.E. Multimedia performance (costume; cosmetics, including scent; chant; movement; and pandanus fiber/hibiscus fiber mats), photographic documentation.

Buk (mask)

Torres Strait. Mid- to late 19th century C.E. Turtle shell, wood, fiber, feathers, and shell.

White Temple and Ziggurat

Uruk.(Modern Warka, Iraq) Sumerian. c. 3600-3000 BCE. Mudbrick

Illustration from The Results of the First Five-Year Plan

Varvara Stepanova. 1932 CE. photomontage

Improvisation 28

Vassily Kandinsky, 1912, oil on canvas

Sistine Chapel ceiling and altar wall frescoes

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

Frontispiece of the Codex Mendoza

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

Self-Portrait

Vigee-Lebrun. 1790 CE. oil on canvas.

Narcissus Garden

Yayoi Kusama. Original installation and performance 1966. Mirror balls.

The Swing (after Fragonard)

Yinka Shonibare. 2001 C.E. Mixed-media installation.

David Vases

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

En la Barberia no se Llora (No Crying Allowed in the Barbershop)

• 1950's = new medium = acrylic • artist = Puerto Rican living in NY • big installation showing center of Latino male culture • barbershop • questions identity, masculinity, culture, and attitudes • no crying allowed on inside = masculine thing • photos of Latino men on the walls • videos on headrests show men playing, baby circumcision, and men crying • tacky and grimy = appropriate here • Kitsch items = consumer culture

The Portuguese

• 1st phase of Cubism (analytic) • aim to produce a conceptual image of an object • to keep focus on forms they used a monochromatic color scheme • to keep focus on forms, they used a monochromatic color scheme • done from a memory of hearing a Portuguese musician years earlier • objects are fragmented & reconstructed into geometric forms • this is not non-objective art • there is a starting object & some recognizable imagery • combines chiaroscuro & transparency • letters act as horizontal elements in a mostly vertical composition • BAL = fragment of a poster for a Grand Bal • neither naturalistic nor conventional • fractured forms • not a portrait of a Portuguese musician, but rather an exploration of shapes

Borobudur Temple

• Buddhist temple • 3D mandala; pilgrimage site • on top of an enclosed stupa • on a hill vertically enhanced to achieve a greater height • cosmic diagram • series of ascending open-air passageways that radiate toward central axis mundi • people's movement of circumambulating via stairs represents the spiritual journey to enlightenment • stupa on top is empty - represents state of nirvana • aligned with the 4 cardinal points • has bas reliefs to tell stories • one emerges from dark galleries representing the realms of desire into the light of the "formless" open air upper walkways • the concept of path = the impermanent • path leads pilgrims from the seen to the unseen • upper terraces are circular; represent the spiritual realm • guardian reliefs mark the gateways to uppermost levels • at the temple's apex sits the large central stupa, a symbol of enlightened mind • bell shaped stupas on the top show the evolution of stupa design; different from China & Japan where it evolves into a pagoda • relief sculptures aid in a physical & spiritual journey that guides pilgrims toward higher states of consciousness • the brilliance of the site can be found in how the mandala blends the metaphysical & physical, symbolic & material, cosmological & the earthly within the structure of its physical setting & the framework of spiritual paradox

Darkytown Rebellion

• Created by drawing silhouettes on black paper (with a greasy white pencil or a pastel crayon) cutting the images out • adhering these silhouettes to the wall (with wax) • projecting colored light onto the walls (used to heighten the surreality of the scene) • this creates shadows that interact with the black figures/images • Walker created this piece to explore "African-Americans in the antebellum South" • hence the flag that resembles a colonial ship sail + the silhouette with only one leg + the woman aborting a child + to the woman caring for newborns • a narrative piece (depicts a "nightmarish scene" with 12+ characters) + an interactive piece (we are meant to be a part of it, just as we are a part of history) • the historical representation of African Americans in American visual culture • emphasizes concealment & anonymity & ambiguity

Where Do We Come From? What Are We? Where Are We Going?

• Gauguin devised a new way of painting based not on his perception of reality but his conception of it • done after his daughter died • wanted to create a magnus opus - the culmination of his life's work • reflects his artistic methods - flat shapes & pure color • pessimistic image of the cycle of life • human, animal, & symbolic figures arranged across an island landscape • areas of flat colors b/t the figures • 2 figures in darker colors stand by the tree of knowledge • designed & painted to recall frescoes or icons painted on a gold background • like a sacred scroll, it's supposed to be read from right to left • finished in a month, Gauguin then went to the mountains to commit suicide • old woman accepting death = where we are going • picking fruit = Garden of Eden = what we are • sleeping child = where we came from

Pure Land

• Japanese artist • creative interpretation of traditional Japanese art forms • romanticized pop culture • Mori = vision in the guise of the Heian diety Kichijoten • essence of beauty and harbinger of prosperity and happiness • holds wish-granting jewel, nyoi hoju, power to deny evil and grant wishes • jewel = Buddhas universal mind • animated figures of aliens play instruments on clouds • merging of consumer entertainment fantasies with traditional Japanese imagery

Narcissus Garden

• Kusama is a self taught artist • best known for creating "Happenings" • self-proclaimed life long history of insanity • she currently chooses to live in a mental health facility • has had hallucinations since childhood • the world appears to her to be covered with dots & stripes • uses reflective surfaces to suggest endless proliferation • narcissism - the admiration of one's self • originally installed & displayed outside the exhibitors hall at the Venice Biennale; she wasn't selected to exhibit in the actual show • 1500 mirrored plastic balls • Kusama interacted with the site by lying among them • she sold them for $2 each • purposefully wore a gold kimono & silver sash to draw attention to her ethnicity • interpreted as Kusama's self-promotion and her protest of the commercialization of art • orig. intended for an interactive performance b/t the artist & the viewer

Terra cotta warriors from mausoleum of the first Qin emperor of China

• Qin Shi Huangdi took the throne at 13 & immediately began to plan his burial • imposed strict form of authoritarian rule through Legalism • lined his burial complex with a treasury of riches and precious gemstones said to represent the stars, sun, & moon • high levels of mercury in tomb = rivers • soldiers are individualized • the tomb indicates a direction towards the use of ceramic models as stand ins for sacrificial victims • not just soldiers; acrobats, musicians, court officials, horses • the entire complex was a replica of the court that surrounded the Emperor to take with him • versimilitude - extremely realistic • army was to protect the emperor in the spiritual world • largest ceramic project ever undertaken • created with assembly line process • originally brightly painting

Angel with Arquebus, Asiel Timor Dei

• angel depicted with an arquebus (type of rifle) instead of traditional sword • military poses derived from European engravings of military engravings • probably one in a series of angel drummers, buglers, standard bearers, and holders of swords • drapery of a 17th century Spanish aristocrat; rich costuming • Mannerist influence in the stiffness of the figure; dance-like pose • Latin inscription: "Asiel, fear of God" • angel appears in an androgynous stance • gold embroidered on fabric favored by indigenous people • relationship b/t these images & the winged warriors of Pre-Columbian art

Ndop (portrait figure) of King Mishe miShyaang maMbul

• anthropomorphic figure w/ large head • Ndop = spirit double of king; a carving of his spirit; capture a moment in time that would otherwise be transformed in oral history • represent dynastic line of Kuba kings • each king would have a portrait created • King Mishe Mambul was celebrated for his generosity & large kingdom • Kuba artists learned their art by becoming apprentices • sculpture acted as a surrogate in the king's absence • calm face, eyes closed • uses a 1:3 proportion - Kuba canon • Kuba artists emphasized the head b/c it was considered to be the seat of intelligence • sword in left hand held with handle out indicating the nonaggressive pose of the nyim • royal iconography • ibol - a personal emblem; each one is different • a drum with a severed hand is symbol for Mishe's reign • Ndop sculptures serve as important markers of cultural ideals

Adam and Eve

• balanced contrapposto poses • details & texture • figures set against a dark background • mouse = Satan • parrot = false wisdom • goat = references the scapegoat in the Bible • cat & mouse = Eve & Adam's stressful relationship before the fall • 1st attempt at classical human proportion based on ratios • Durer sacrifices naturalism to showcase mastery of Vitruvian ideals • ideal image of humans before the Fall of Man • background is plants and animals from northern Europe • created to sell as reproductions • 4 humors expressed as animals • engraving - image created by incising into a metal plate with a sharp tool; more detail

Sistine Chapel ceiling and altar wall frescoes

• based on dimensions of Solomon's Temple • is the Pope's private chapel and used for masses on important days • patron is Pope Sixtus IV • Pope Julius II ordered Michelangelo to paint the ceiling • show Biblical scenes and narratives from the lives of Moses & Jesus • painted Old Testament in reverse order from entrance to altar; viewers enter and go back in time • nudity is a sign of the prominence of Humanism • at first he drew cartoons (full sized detailed drawing) then transferred them to the ceiling • later he drew directly onto the ceiling • Michelangelo wasn't experienced with fresco painting • scenes in the pendentives depict violent episodes in which the biblical heroes fight for their cause • relates to reputation Pope Julius II had as the "warrior pope" The Delphic Sibyl fresco: • around the edge • largest figures on the ceiling • she is placed amongst biblical prophets near the entrance, emphasizing her importance • their presence reinforces Renaissance Humanist ideals • chapel is seen as typological - Christian beliefs are symbolized by things in the Old Testament • idealized young woman • twisting of the body as she turns to look over her shoulder • circular composition • powerful arms • she's holding the scroll with her prophecy • left knee and elbow are foreshortened • similar to his statue of David • Classical Greek proportions & idealism; Hellenistic Greek emotions & musculature • painted the figures as if they were sculptures • vibrant colors • small head and feet will inspire Mannerist artists The Flood: • 1st panel he painted • far from the Pope's throne • the use of small, tightly grouped figures undermines the emotional content & makes the story harder to follow • 4 distinct parts • left - ppl climb a mountain to escape the rising water • middle - small boat capsizing b/c of the rain • right - ppl huddle under a makeshift covering • back - building an ark

Annunciation Triptych

• domestic use • combines religious & secular concerns • illustrates the importance of their religion in their daily lives • connects the patron to the religious event - powerful experience • city of Flanders is visible in the background • tilted perspective • meticulous detail done by use of oil paint • lots of symbolism • lily in vase = Mary's virginity • extinguished candle = God is now in human flesh • International Gothic style - disproportionate figures to architecture; dramatic angling • left panel depicts the donors witnessing the holy event • right panel depicts Joseph at work: he's made 2 mousetraps - symbolic of the holy idea that bait is set in the trap to catch the devil • center panel was done earlier • the Annunciation and the Incarnation

Allegory of Law and Grace

• done after the Protestant Reformation • small woodcut relief print • letterpress printing used for text • tree is used to separate the 2 scenes • depicts differences b/t Protestants & Catholics • used as private devotionals and for educating the masses • scripture from the Bible below reinforces the imagery • left = Catholic Last Judgment; vengeful god will send those who commit evil deeds to a fiery hell; Romanesque; Christ is enthroned in clouds as a skeleton drives a sinner to hell • Moses is on the right holding the 10 Commandments • right = Protestant; resurrected Christ who brings salvation for all who sin • Christ emerging from the tomb - reinforces the idea of salvation

Helios, horses, and Dionysus (Heracles?)

• east pediment • depicted the birth of Athena • to left & right are spectators who witnessed Athena's birth on Mt. Olympus • the eastern pediment (facing the rising sun) depicts divine figures rising up & falling into repose • graceful naturalism & wet drapery demonstrate a greek appreciation of divinity, harmony, balance • remaining sculptures brought by Lord Elgin to England • Christians removed part of the east pediment to allow for an apse • west pediment shows contest b/t Athena & Poseidon to determine who would be the city's deity • Athenians were the judges of the gods - example of humanism • Phidian's wet drapery

The Stonebreakers

• exemplifies Realism • only things directly observable are "real" • focus on everyday life • depicted on a large scale that had been reserved for grand historical paintings • wasn't selected for the Salon Exhibition • destroyed in 1945 • shows concern for the plight of the poor • depicts an accurate account of the abuse/deprivation common in mid-1800s French rural life • emphasize the isolation & hard life of the poor • not meant to be heroic • the laborers are physically & socio-economically trapped by their work • small patch of sky isolates the workers • rough brushstrokes are a conscious rejection of the highly polished Neoclassicist style that still dominated French art in 1846 • seems to reject all the attributes promoted by the French Royal Academy

Plaque of the Ergastines

• fragment of frieze of Parthenon • ergastines-young women who wove garments for sacred sculpture of Athena • Represents the panathenaic procession, held every four years to honor Athena. • Athenians placed a new peplos on a wooden statue of Athenia in the Erechtheion • caryatid - sculpted female figure serving as an architectural support taking the place of a column • 1st Greek temple that featured a human event in decoration • Ergastines - young women of the Athenian aristocracy, specially chosen to weave & offer the peplos • example of both political & religious events • social hierarchy is displayed in who's allowed to participate & the roles they have in the ceremony • upper part of the frieze is in high relief than the lower so the more distant zone is still legible from the ground

Trade (Gifts for Trading Land with White People)

• from the Confederated Salish & Kootenai American Indian Tribes of the Flathead Indian Nation • created this piece to "commemorate" the "Quincentenary Non-Celebration" of the European occupation of North America -- focuses specifically on the American Indian social issues of poverty, unemployment, disease, & alcoholism (all of which in some way can be traced back to the European occupation) • made to emphasize the lack of equality between Europeans and Indian Americans -- in history and in today's world • divided into three pieces = a triptych = reminiscent of medieval devotional triptychs • a large mixed-media canvas • collage elements (newspaper clippings, images of conquest) + abstract expressionist painting (geometric shapes + "prominent brush-strokes + dripping) • multi-layered to emphasize the history of the occupation & the complexity of the situation includes many items that represent how the American Indians have been represented by the Europeans (emblems of sports teams, toy arrowheads & tomahawks, pages from comics, gum and tobacco wrappers, etc) • makes use of images of Indian American men in historical dress smoking and photos of deer and buffalo as well • canoe = representative of the possibility of trade and cultural connections-- but in this piece, it's stuck and motionless • red paint = representative of American Indian blood

Bundu Mask

• geometric designs surround the pointed forehead • evokes female ancestral spirits • refers to ideals of female beauty & good health • men commissioned to make the masks but older women wear them in a dance to welcome women before being iniated • used for female initiation costumes • rare example of female mask that's for women & performed by women • the long costume that completes the mask serves to disguise the whole body; enable Sowo to inhabit them • always have female characteristics • the entire community is involved with education of young women • women may have more power among Mende peoples • the mask is idealized

Las Meninas

• group portrait of the artists in his studio at work; he steps back from the canvas & looks at the viewer • Velazquez wears the cross of the Royal Order of Santiago, elevating him to knighthood • central figure is the Infanta of Spain with her meninas (attendants) • in the doorway is perhaps Jose Nieto, who was head of the queen's tapestry works • king and queen appear in the mirror • alternating darks & lights draw us deeper into the canvas; the mirror simultaneously reflects out into our space • dappled effect of light on shimmering surfaces • painting originally hung in Philip IV's study

Henry IV Receives the Portrait of Marie de' Medici, from the Marie de' Medici Cycle

• heroic gestures, demonstrative spiraling figures • 1 of 21 huge historical paintings allegorically retelling the life of Marie de Medici, Queen of France • allegories assist in telling the story and mix freely with historical people • Henry IV is smitten by the portrait of his wife • portrait is held by Cupid (god of love) and Hymen (god of marriage) • Hera and Zeus look down from below; symbolic of marital harmony; they express support • royalty were considered demigods • portraits were exchanged before the marriage • behind Henry is the personification of France • France is a female figures with a helmet and masculine legs; she whispers to Henry to take love over war • cherubs at bottom are playing with his military gear

Longmen Caves

• in situ • along the Silk Road on the Yi River • pilgrimage site • 2,800 inscriptions attesting to the importance of Buddhism in China • originally covered with a wooden roof; guarded from outside view • Vairocana Buddha - the supreme buddha • Central Asian influence; Indian influence on the face • the artists suppressed surface detail in the interest of monumental simplicity & dignity • continues tradition of carving monumental figures of the Buddha on cliffs @ strategic sites along the Silk Road • this Buddha is in the Tang style with graceful lines • a change in the historical Buddha in its scale & cosmic aura • idea of one god over others = Tang dynasty • intentionally mirrored the political situation • dignity & the imposing presence of Buddha & his bodhisattvas is significant • bodhisattvas wear heavy jewels, crowns, & pendants • Heavenly Kings: hold a stupa; crush an evil spirit; maintain cosmic order; Indian clothing & poses • guardian figures have Chinese influence; warding off evil with an open hand • rising threat of the Tibetan military may be a reason why the guardians take on such a ferocious demeanor

Androgyne III

• is on a short, wooden stretcher which acts as a substitute for his/her legs • is hollowed out ("a shell made of hardened fiber casts -- which has the appearance of crinkled human skin--made from plaster") • made to be seen in the round • heavily emphasizes space & mass • androgynous & ambiguous = wants viewers to focus on the figure as a human rather than as a man or woman & to allow for multiple interpretations • chilling, fragmented -- expresses dehumanization and suffering in today's world (much of which is based upon Abakanowicz's own experiences with war & totalitarian states)

The Oxbow

• juxtaposes untamed wilderness & pastoral settlement to emphasize the possibilities of the national landscape • division of landscape into wild, untamed Romantic on the left & developed landscape on the right • landscape painting • also represents man's control over nature • Manifest Destiny - depicts benefits of westward expansion • strong diagonal separates the 2 sides • very popular painting in the US • no classical references • Christian interpretation • God approves the US movement west • tiny self portrait in the foreground • Cole painted this to make money

Maize cobs

• life sized metal corn cob sculpture • part of the main temple in Cusco's courtyard • maize was principle food source in Andes • believed to contain life-force of natural corn • different from most art in this area that was geometric & abstract • repusse technique - extremely difficult; metal must be mined, annealed, flattened, then formed • metal is very prevalent in this area • all but the maize were miniature • realistic & accurate • the metallic maize cobs would have represented one of the most important imperial foods • Temple's garden asserted the natural world as a possession of the Inca and reinforced the divine right to rule • all of these offerings acted as symbols of the supernatural origin of the Incas in the Sun

Painted Elk Hide

• long tradition of painting on hides • used to record history • decorated with geometric & florals • done free hand and with stencils • worn as a robe over the shoulder of warriors, but could also function as a wall hanging • warrior's deeds are celebrated on the hide • narrates an event • Cotsiogo's painting represents changing time for the Shoshone • prior to being forced onto the reservation, the tribe was nomadic • buffalo scene done to appeal to tourists • combines history w/ contemporary • Sun Dance depiction • daily life depicted on many of Cotsiogo's hide paintings • use of bow & arrows is fictional; Shoshone had used guns for a long time - meant to appeal to non-native buyers • depicts the past

Triumph of the Name of Jesus

• on the ceiling in the main nave of Il Gesu • figures tumbling; some carved in stucco enhancing the 3D effect • some cast long shadows across barrel vault • some painted figures aren't in stucco, but maintain a vibrant 3D illusion • as if the ceiling were open to the sky & the figures were spiraling around Jesus • di sotto in situ • extremely theatrical • the damned are cast into hell & the saved rise heavenward; the Last Judgment • influence of Bernini's dramatics emotionalism in the style

Great Serpent Mound

• over 1300ft long and 4ft high. Made from raised and packed earthwork. • unlike other effigy mounds (mounds built in the shape of animals) b/c there's no sign of burial or temples • snakes & reptiles are iconography to the Mississippians • many North American cultures attributed supernatural powers to snakes & reptiles • many copper snake-shaped works found in the area • power & authority: required a large labor force that only a firm and powerful leader could have demanded • largest effigy mound in the world • 1,300 ft long; 1-3 ft high • on a high plateau • the head is east → aligns with summer solstice sunset • the tail is west → points to winter solstice sunset

Temple of Athena Nike

• part of the frieze depicts the battle at Marathon - turned the tide against Persians • chronicles a specific occasion, not a recurring event like the Panathenaic procession in the Parthenon • first fully ionic temple • dedicated to Athena as the victory goddess Nike • amphiprostyle temple - portico (porch) at each end, no columns on the sides (as opposed to peristyle) • parapet - low surrounding wall • set on a promontory to entice the winged figure so that she will never leave Athens

The Steerage

• pictorialism - effects that mimic brushstrokes • first modernist picture • marked his move away from the rich tonality of his earlier Pictorial phase • a benchmark for the beginning of modernist photography • included in a gallery show in 1911; puts his medium on par with the experimental European painting & sculpture • depicts travelers boarding a crowded steamer going from Germany to NY; they're forced to go back home • Stieglitz takes a passive observer stance • photogravure - etched on a metal plate for production • it calls for a more complex, layered view of photography's essence that can convey abstraction • significance of form, shapes, & textures • message about its subjects, immigrants who were rejected at Ellis Island

Jowo Rinpoche, enshrined in the Jokhang Temple

• pilgrimage site • pilgrims circumambulate 3 concentric circles each directing pilgrims to the Jowo statue • kora - path to circumambulate • focus of intention & love has changed it with a field of spirituality • location is significant: Jokhang Temple is where the Dali Lama is initiated • most sacred Buddah in Tibet; still actively worshipped • made in Indian & given to China; represents the king's conversion to Buddhism and the spread of ideas & religion across Asia • seated in lotus position • left hand in mudra of meditation • face is repainted frequently with donations; believed to be a representation of the actual face of Buddha • in Tibet, when someone is sick or dies the relatives offer gold to the statue, which is applied to the face & body as an offering • purpose of the statue's carving was to act as the Buddha's proxy after his departure from the world • multisensory experience - candles are all around

Versailles

• reorganization & remodeling of a hunting lodge into an elaborate palace • center was Louis XIV's bedroom, or audience chamber, from which all aspects of the design radiate like rays from the sun • corresponds to Louis's political & economic ambitions • building was centered in a vast garden and town complex radiating from it • subdued exterior decoration on facade; undulation of projecting members is understated • classical elements Hall of Mirrors: • 240 feet long • barrel vaulted painted ceiling • light comes in from one side & ricochets off the largest panes of glass that could be made at the time • ceiling paintings illustrates civil & military achievements of Louis XIV Gardens: • classically & harmoniously arranged • formal gardens near palace; less elaborate plantings at distances farther from palace • man's triumph over nature • fountains

Screen with Siege of Belgrade and hunting scene

• screen commissioned by Jose Sarmiento de Valladares, viceroy of New Spain • displayed in Viceregal Palace in Mexico City • only known example of an art work that combines biombos & enconchados • two faces of the screen: one has a hunting scene and the other has a war scene • the hunting scene is suited to an intimate space for small receptions • war scene was more suited for a grander room with political importance • war scene depicts the contemporary event of the Great Turkish War • a Dutch print was used for inspiration • illustrates a scene of Hapsburg power

Ecstasy of Saint Teresa

• sculptural interpretation of St. Teresa's diary in which she tells of her visions of God, many involving an angel descending with an arrow & plunging it into her • natural redirected onto the sculpture from a window hidden above the work • marble handled in a tactile way to reveal textures: skin is high gloss, drapery is animated & fluid, clouds are roughly cut • carved from a single block marble • figures seems to float in their place, w/ rays of God's light symbolically illuminating the scene from behind • St. Teresa's pose suggests sexual exhaustion, a feeling that is consistent w/ her description of spiritual ecstasy • stagelike setting with the patrons (Cornaro family) are sitting in theater boxes looking on & commenting

School of Athens

• setting is the ancient world • 52 great thinkers from across ti,e who attempted to find truth • many contemporary artists are depicted • figures are depicted with calm reason & balance • combination of Roman architecture & St. Peter's new building • Plato & Socrates are highlighted by a framing arch • composition influenced by The Last Supper • Plato & Aristotle represent the dialogue b/t thinkers • Plato points up to heaven, the source of his inspirations • on the left are the philosophers concerned with the ultimate mysteries that transcend this world • on right/terrestial side are the philosophers and scientists concerned with nature & human affairs • reconciles classical philosophies with Christianity • Raphael's self portrait in the corner (humanism) • portrait of da Vinci as Plato

All-T'oqapu tunic

• shows ruler's power & authority to have this tunic • darkest color, purple, is seen as black • ruler's tunic was covered in abstract motifs to show his control over all groups • foreigners were required to wear black in Cusco • material is significant • red & blue dyes were valuable • every inch has over 300 wefts (thread that holds the warp); extremely fine, colorful, & precise • unbelievably difficult to create patterns & designs with such a high thread count • finely woven textiles are more highly valued than metals • portable art, like fabric, were easier to manage in the mountains • Incan culture valued collaboration

Lakshmana Temple

• temple for Vishnu • faces EAST • as tall as it is long • designed using ideal mathematical proportions • symbolizes the mountains (the gods' home) • built as a human body • on a high platform; covered in relief sculptures & friezes • people move around the temple clockwise • visiting a temple is done for darshan (to "see" the god) • circumambulation • garbha griha = cella • elaborately carved exterior • gods & mortals • very sexual to suggest fertility, abundance, & propserity • figures have perfect proportions • sexual love in the context of marriage

Still Life in Studio

• the development of photography • Daguerre sold the formula for daguerreotypes to the French gov't instead of patenting it • one of his first successful works • 1 minute exposure • sharp image that's a reverse of the subject • single copy • not visible from all angles • latent image • trend ended by 1860 when the Calotype became popular because it was reproducible • Daguerre promoted photography for scientific purposes and as means of artistic expression • inspired by 17th century Dutch vanitas paintings • displays the play of light • objects purposefully arranged to show off their textures & shapes • plaster casts reference French Renaissance art

Shibboleth

• the piece is titled this as it visually depicts the gaps in our relationships & the invisible barriers we place between ourselves & others -- thus it references themes like racism & prejudice • Salcedo has said that, in one sense, Shibboleth represents the immigrant experience in Europe. • an installation piece featuring a large crack in the floor that starts off small & widens as it moves across the room • created by opening the museum's floor & inserting a cast of Colombian rock faces (& then wire mesh) • the fissure = 548 feet in length (varies in width from as little as one inch wide to as large as two feet wide) • after being on display for seven months, the crack was sealed & exists as a scar (to commemorate the lives of those who are prejudiced against & excluded + to show that the past cannot truly be erased) -- this action is also used to represent the possibility of healing • sculpture/installation -- it lies in the middle ground of these two concepts • emphasizes the relationship & interaction between the sculpture & space (as well as between the artist & the viewer) • a piece of conceptual artwork (& one whose meaning is purposefully left up to interpretation)

Woman Holding a Balance

• viewer looks into a private world in which seemingly small gestures take on a significance greater than what first appears • figures seem unaware of our presence • light enters from left & highlights textures and surfaces • a moment in time: stillness & timelessness • a moment of weighing & judging • behind is a painting of the Last Judgment • balance has nothing in it • pearls & coins on the table waiting to be measured • allegory • vanitas: gold should not be false allure • geometric lines focus on a central point at the pivot of the balance • dressed in fine clothing • The scales in her right hand are at equilibrium, suggestive of her inner state of mind • empty scale stresses that she is balancing spiritual rather than material considerations • chiaroscuro

Running Horned Woman

◦ 2 groupings in red ochre of small human figures superimposed onto the horned goddess ◦ at one time the area was grasslands; climate changes have turned it into desert ◦ twisted perspective ◦ some drawings are naturalistic, some abstract ◦ depicts livestock, wildlife, & humans ◦ composite view of the body ◦ dots may reflect body paint applied for ritual/sacrification ◦ painted during different times - dating is difficult ◦ found in one of the highest massifs (plateau) which was a region believed to hold special status due to its elevation ◦ suggests ritual, rite, or ceremony ◦ could be a shaman or horned deity

Camelid sacrum in the shape of a canine

◦ carved from sacrum - base of the spine; symbolically important ◦ bone has been worked to create the image of a dog or wolf ◦ Mesoamerican idea that a sacrum is a "2nd skull" ◦ one natural form used to take the shape of another ◦ done using subtractive technique of removing material to create a sculpture

Terra Cotta Fragments

◦ characteristic use of curved stamped patterns: dots, circles, hatching ◦ outlined forms: used a comblike tool to stamp designs onto the clay ◦ one of the oldest human faces in the oceanic art ◦ incised red clay (marked w/ a series of cuts) ◦ geometric patterns & abstract human forms ◦ some used in funerary context/cooking

Anthropomorphic Stele

◦ funerary object ◦ resembling human form ◦ one of the earliest known works of art from the Arabian Peninsula ◦ 3 ft tall ◦ simple & slightly abstract carvings - indicates skill & artistic ability ◦ carvings are bas-relief: technique in which figures are just barely more prominent in the background ◦ formed in pre-Islamic Saudi Arabia, Ha'il ◦ area was heavily populated due to its fertile ground ◦ other stelae with similar characteristics have been found nearby ◦ show importance of human figure ◦ connected to belief in the afterlife

Beaker with Ibex Motifs

◦ funerary object - buried with the body ◦ depicts a mountain goat - very stylized, not naturalistic ◦ use of potter's wheel, a technological advance ◦ abstract style motif ◦ found w/ 100's of baskets, bowls, & metallic items - indicates the prosperity of the city

White Temple and Ziggurat

◦ mud brick ◦ rectangular; corners face the cardinal points ◦ points symbolize the 4 "world regions" ◦ altar with fire in the central hall ◦ dedicated to the sky god Anu ◦ practical purpose of using the roof as an observatory ◦ whitewashed to hide mud brick ◦ only the base of the temple remains ◦ bent axis plan- can't approach the cella in a direct line (stairway on one side leads to the top, but changes direction) ◦ temple was at the center of town b/c the gods were most important ◦ cella functioned as a waiting room for worshippers ◦ worship for average person took place outside

Great Hall of the Bulls

◦ pigments, charcoal, & ochre ◦ surface: damp, uneven, several artists over decades ◦ 650 paintings - most common are cows, bulls, horses, & deer ◦ bodies seen in profile; frontal or diagonal view of horns, eyes, & hooves (twisted perspective) ◦ naturalism ◦ hunting magic - theory suggests that the prehistoric people used the cave as a way to overpower their prey; involved creating images of it during rituals designed to ensure a successful hunt ◦ also thought to communicate narratives ◦ ancestral animal worship

Apollo 11 stones

◦ some of the world's oldest works of art ◦ proves that art and human creating symbolically is older than we thought ◦ stones painted in charcoal, strict profile ◦ total of 7 stone fragments of brown grey quartzite, some depicting traces of animal figures drawn in charcoal, ocher, & white ◦ indirect dating techniques - radiocarbon dating the archaeological layer in which they were found

The Ambum Stone

◦ stylized; simplification of form ◦ composite human/animal figure, perhaps an anteater head & a human body ◦ unique in detail & sophistication of carving ◦ stone is extremely hard to carve - demonstrating importance of the object ◦ dropped & broken in 2000 ◦ pestles possibly for grinding food/body paint used in rituals ◦ modern day Enga tribes use it as a ritual object

Great Altar of Zeus and Athena at Pergamon

Asia Minor (present-day Turkey). Hellenistic Greek. c. 175 B.C.E. Marble (architecture and sculpture).

Painted Elk Hide

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

Spaniard and Indian Produce a Mestizo

Attributed to Juan Rodríguez Juárez. c. 1715 C.E. Oil on canvas.

Grave Stele of Hegeso

Attributed to Kallimachos. c. 410 B.C.E. Marble and paint.

The Burghers of Calais

Auguste Rodin. 1884-1895 C.E. Bronze.

Feather Headdress of Moctezuma

Aztec. 1428-1520. feathers (quetzal & continga) and gold

Code of Hammurabi

Babylon (Modern Iraq) Susian. c.1762-1750 BCE basalt.

Code of Hammurabi

Babylon (modern Iran). Susian. c. 1792-1750 B.C.E. Basalt.

Aka elephant mask

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

Borobudur Temple

Central Java, Indonesia Sailendra Dynasty 750 - 842 CE volcanic stone masonry

City of Machu Picchu

Central highlands, Peru Inka 1450-1540 CE Granite

Chartres Cathedral

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

Carson, Pirie, Scott and Company Building

Chicago, Illinois, U.S. Louis Sullivan (architect). 1899-1903 C.E. Iron, steel, glass, and terra cotta.

Female pwo mask

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

The Gates

Christo and Jeanne-Claude. Central Park, New York, January 2005.

Seated Boxer

Content/Form: • defeated, older athlete • represented just after a match • shows him battered & bruised • nude except for the boxing gloves • hollow cast by means of the indirect lost wax method - made in several diff. sections that were then welded together • inlaid copper creates "blood" from his wounds' some "blood" drips onto his arm • the "bruise" under the right eye, is cast with a different alloy to give it a darker color Context: • shift in subject matter demonstrates the Hellenistic love of pathos • statue was displayed for many years in the Rotunda of the Baths pf Diocletian (Roman) together with another great Hellenistic bronze of a heroic nude man • rare example of an original Greek bronze Function: • toes are worn b/c the athletes touched them --> good luck charm • attributed with healing powers • represented the cultural shift of the Hellenistic period

Liberty Leading the People

Content: • Personification of Liberty (central figure) • Marching over dead bodies • Leading the way to freedom • Carrying flag of revolution and a musket in her hands • Young boy holding two pistols • Represents sacrifice • Upper-class gentleman in a top hat, holding a rifle • Represents the rich's inability to stay out of the Context: • Romanticism • Based on July Revolution of 1830 Form: • Realistic, but with dramatic, theatrical lighting • Soft, rounded lines that embody the figures • Depth and foreground but little to no background; shrouded in a cloud of fog Function: • Glorification of everyday people who were involved in the war and the role of France's citizens in that war • Acknowledgment of the sacrifices civilians made for the sake of revolution against a corrupt governmental regime • takes on a poignant tone as the revolution would be thought by some to have been in vain; pre-Napoleanic rule

Starry Night

Content: • starry sky alive with energy • cypress tree: usually associated with graveyards & mourning; used as a bridge b/t the solid earth and fluid sky • houses are clustered around the church • it's planned and balanced but spontaneous • Japanese influence: black outlines, sharply contrasted planes, juxtaposed complimentary colors • this is the sky he viewed from his window • the town in invented from his memory of the Netherlands • leads the way into Expressionism Context: • Van Gogh was very spiritual & this painting depicts his faith • the church steeple reaches the highest in the landscape • painted from his room in the asylum at Saint-Perry • incorporates Impressionism's emphasis on light & color, but doesn't focus on modern city life • image is rooted in imagination & memory • "a study of night" • style inspired by medieval woodcuts • impasto painting

Niobides Krater

Content: - 2 sides - one side is of war almost - the other is more peaceful - kind of like the Standard of Ur? - Front: - Shows the story of a woman named Niobe - Niobe (a mortal woman) had 14 kids; 7 girls and 7 boys - She bragged that her kids were more numerous and more beautiful then the kids of goddess leto - Leto was the mother of Artemis (huntress) and Apollo (sun and music) - Artemis and Apollo exacted revenge for their mother by killing all of Niobe's kids (this is the scene on the front) - Artemis is reaching into her quiver for another arrow - dead children litter the field - god and goddess are in perfect profile - Niobe's kids are more frontal - Back - Herakles (aka hercules) in the center (place of importance) - Herakles is surrounded by warriors some standing some reclining - Athena (wisdom) is on his left - maybe it's not a painting of herakles but rather a painting of a statue of herakles Form: - figures are stiff - early classical - red figure bc bodies are part of red clay pot and then black background — lots of detail allowed - in the past: greek vases before this had only one "line" - now figures occupy different levels - sense of an illusion of space - foreground and background but all figures are the same size - suggesting depth - might be a copy of a wall painting by Polygnotus Context: - Created during the classic period (look below for classic period pottery characteristics) Greek Pottery: - Made of terracotta (fired clay) - black figure technique - 1st time figures are placed randomly instead of painted in isocephalism (all heads line up) Function: - krater used to mix water & wine at symposium - may have been a reminder not to boast excessively about oneself while drinking & entertaining

Great Mosque of Cordoba

Context/Function: • likely a temple to the Roman god Janus on the original site • temple converted to a church by the Visigoths in 521, then into a mosque by Umayyads • minarets made to look like a steeple • one of the oldest places of worship intact • symbolic - an appropriation of space that affirmed their presence Content: • tree lined courtyard is in the same pattern as the hypostyle hall • originally walls werent there so the inside & outside were more integrated to unify inner & outer worlds of the worshippers • not just a temple - public building, meeting place, school, & social center • mosaic & horseshoe arches • Moorish Portal • outside decoration references the inside Form: • hypostyle prayer hall • built w/ recycled Roman columns (spolia) • repeated columns 7 arches give illusion of larger space • the double arches were builder's solution to the reuse of shorter columns; bottom arches are horseshoe shaped • red & white arches influenced by the Moors and the Spanish • maqsura - area of mosque reserved for caliph • multi-lobed arches • its mihrab doesn't face towards Mecca b/c the Umayyad caliph was homesick & wanted it to face in the same direction as his home in Syria • dome above the mihrab is built of crisscrossing ribs that create pointed arches; lavishly covered in gold mosaic in a radial pattern - indicates that mosaic Byzantine artists came to work during the iconoclasm • rectangular prayer hall w/ aisles arranged perpendicular to the qibla • timber ceilings held up by arches • floor plan changed with the addition of the cathedral

The Two Fridas

Context: • Surrealism • she was a self-taught artist • used the details of her life as symbols for the psychological pain of human existence • extremely personal images • she did mostly self-portraits • a look into her dramatic relationship with Diego Rivera • commentary on the struggle faced by Mexicans in defining their national identity • Kahlo didn't consider herself a Surrealist • a split identity → European - in Victorian dress → Mexican - in traditional Mexican dress; holds an image of Diego as a child Form/Content: • holds her own hand = loneliness • 2 hearts are joined in one circulation system • turbulent sky in the background, could symbolize her relationship with Diego • blood stains match the floral design of her dress → could reference the many miscarriages she had • left side holds a clamp to control the bleeding • the Frida in white is the one Diego no longer loved

Venus of Urbino

Context: • common for paintings erotic in nature to be commissioned in honor of a wedding or engagement • for private viewing • controversial • establishes the standard for paintings of reclining female nudes • est. oil painting as the preferred medium in Western art Content: • symbols of martial love - dog, maids, roses • very different from Giorgione, his teacher • Titian's is overtly sexual & sensual Form: • Titian uses glazes to create soft contours & luminosity • her soft body is contrasted with the sharp curtain • curtain draws our attention to her left hand and divides the foreground & background • space is divided into progressively smaller segments as it recedes • uses color to connect the spaces diagonally; asymmetrical • her body is counterbalanced by red skirt & cushions • uses female figure to provide visual pleasure to viewer, or meant to hang in a bedroom to ensure good fortune

Virgin of Guadalupe

Context: • With Spanish colonization of the Americas, devotion to the Virgin Mary crossed the Atlantic • After Cortes defeated the Aztec capital of Tenochtitlan in 1521 and established the Spanish Viceroyalty of New Spain (Spanish rule in Mexico, Central America, and part of the U.S., 1521-1821), the Virgin Mary became one of the most popular themes for artists • The cult of The Virgin of Guadalupe became the most popular • Her image could be found everywhere • the original image of Guadalupe to be an acheiropoieta, or a work not made by human hands, and so divinely created • immaculate conception • inspired on Japanese Nanban lacquer work Form/Content: • Enconchado - fragments of shell that make the work look almost otherworldly • Mandorla • she is standing on a crescent moon • Virgin placed above an eagle perched on a cactus to associate her with local identity • Four roundels depicting her three apparitions to the Indian Juan Diego in 1531 and the moment when Juan Diego unveiled her image imprinted on his tunic before Bishop Juan de Zumárraga • an important element is the work's elaborate shell-inlaid frame that combines lavish floral motifs with symbols of the Litany of the Virgin

Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preparation for Passover)

Context: •Jewish art •Haggadah - collection of prayers & texts used by Jews as part of the seder (ritual meal on the eve of Passover) •private devotional art for use at home •educational use •most decorated of all Jewish sacred writing •gave wealthy Jews a chance to demonstrate their wealth, good taste, & piety •layout of the story aids the narration •Jews acted as advisers, physicians, & financiers to the Counts of Barcelona who provided economic & social protection Plagues of Egypt: •reads right to left •4 plagues Scenes of Liberation: •Pharaoh order Israelites to leave Egypt •Israelites safely cross the Red Sea •Moses takes a last look at the drowning Egyptians Preparation for Passover: •master of the house order the distribution of matzoh & haroset to the children •house is prepared for Passover •sheep are slaughtered for passover & a man purifies utensils in a cauldron

The Ambum Stone

Enga Province, Papua New Guinea. 1500 B.C.E. Greywacke stone

Self Portrait as a Soldier

Ernst Ludwig Kirchner. 1915 C.E. Oil on canvas.

Sarcophagus of the Spouses

Etruscan. c. 520 B.C.E. Terra cotta.

Presentation of Fijian mats and tapa cloths to Queen Elizabeth II

F: To show respect and gratitude towards Queen Elizabeth II for visiting Tonga and for commemorating the war memorial. Also I believe this served as a way of the two countries signaling their alliance and partnership. idol and spiritual. used for funerals. banner sometimes used to decorate graves. queen visited in 1953. the ngatu was placed under the body of the queen. C: During both world wars the people of Tonga and England have fought for same cause and have even assisted each other at times so in order to so union between two countries English royal family visits Tonga for the first time and honors those who died in the line of duty. made bark cloth for queens (it had hand painted decoration on cloth) DT: Elaborate, native, unique, representative, grand-scale, natural M: The meaning behind the display involves along lasting peace agreement between both queens and Queen Elizabeth's desire to thank those who served, fought, and died in World War II, is what inspirers her arrival. Because it was the first time any English Queen had stepped foot onto the island so it is a celebration of many years of peace and common cause in the war efforts.

Reliquary figure (byeri)

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

Gold and jade crown

Form/Content: • 5 vertical elements • tree shape int he middle = sacred tree; acted as an axis mundi • gogak - decorations; made out of jade • jade ornaments symbolize ripe fruits, fertility, & abundance • gold discs symbolize sun & help create a shimmering effect • used straps to secure to head Context/Function: • gold crowns emphasized the power of the wearer • not meant to be worn b/c the gold is extremely fragile • used in ceremonies, coronations, & burials • found in king & queen's tomb • assists her in the afterlife • shows wealth & status • burial customs from China • Buddhism spread & evolved in Korea and influenced artwork from this period

Dedication Page with Blanche of Castle and King Louis IX of France, Scenes from the Apocolypse from Bibles moralisées.

Form/Content: • Blanche of Castle & her son Louis IX on top register • both crowns topped with fleur-de-lis • cleric & scribe are depicted underneath them • unusual to be set against a background of gold • b/c colors would bleed through vellum, they only used 1 side of the page (very expensive) • higher rank of Queen & King is indicated by their placement above the monk and scribe • monks have tonsured (shaved) heads • 2 columns, each with 4 miniatures set in medallions • upper illustrates the text of Old Testament • lowers shows equivalent scene from the New Testament or an allegorical meaning of the Old Test. story • 2 narrow columns with explanatory text in Latin • design inspired by stained glass windows • trefoil used as decoration: symbolizes the Trinity Context/Function: • Bible Morales = illustrated short passages from Old & New Testament with explanatory texts; not used in church • meant to teach moral lessons to members of French royal family • the nobles, church officials, common folk, etc. who viewed this page could be reassured that their ruled has been well trained • Scenes from the Apocalypse: ongoing battle b/t God & evil; gives biblical text 3 interpretations

Chairman Mao en Route to Anyuan

Form/Content: • Mao is ready to weather any storm • he holds an umbrella in one hand, other is in a fist • some signs of modernity (dam, telephone pole) • depicted as practical & charismatic • depicts him as a heroic figures acting alone to help the poor • his head is held high, conveying his revolutionary spirit • he's dressed in traditional robes Context/Function: • Chinese Communist Party propaganda • reproduced 900+ million times & distributed widely • most reproduced artwork in world history • patron - Chinese Communist Party • Mao Zedong was the leader of China from 1949 to 1976 • uses socialist realism to portray Mao as a revolutionary leader committed to championing the common people • is a scene from 1922 when he organized a nonviolent strike of 13,000 miners & railway workers

Palazzo Rucellai

Form/Content: • all about horizontality • the higher the floor = the more intricate & fancy has 4 floors: 4 - servant quarters; 3 - family apartment; 2 - guest rooms; 1 - center of business • flat pilasters (decorative columns) • entablatures define each story • netting of lines create rhythm & unity • impression of solidity on lower level; top stories seem lighter • flat with pleasing surface design (typical of early Renaissance) Context/Function: • was the 1st to fully express the spirit of 15th century humanism in residential architecture • trabeated architecture - Alberti thought fit for homes of nobility • on the 2nd frieze is the heraldic symbol of the Rucellai family, a billowing sail • architectural features for decoration rather than structural support • used ashlar masonry

The Kiss

Form/Content: • ambiguous time and space • focus is on design & emphatic patterning of figural pieces • figures merge together • rectangular forms evoke masculinity; circular forms evoke feminine • conflict between 2D and 3D • geometric & organic shapes unite the two • expressive hands • exploring the universal theme of passion Context: • Klimt focused on the interior world of human existence • his father was a goldsmith & engraver • he was the leader of the Vienna Secession - a group of artists who rebelled against academic art rules & conservative traditional values • inspired by San Vitale mosaics

Goldfish

Form/Content: • bright orange strongly contrasts with the more subtle pinks and greens that surround the fish bowl & background • complementary colors • paint is applied thinly to allow the white canvas to show • bright colors • goldfish symbolize a tranquil state of mind • still life painting Context: • from a series that Matisse produced in 1912 • Fauvism • done at his home in a suburb in Paris • his intent was to calm the viewer • he had visited Morocco where locals would gaze into goldfish bowls • Matisse invites the viewer to indulge in the pleasure of watching the graceful movement & bright colors of the fish • theme of paradise is common in his art • didn't imitate nature but manipulated it to resemble his own pictorial reality

Bandolier Bag

Form/Content: • brightly colored • glass beads sparkle & ribbons wave • new bright colors; replaced the porcupine quillwork and painted hides that were historically used • designs are abstract & symmetrical • white beads act as outlines to emphasize design • each motif is 4 sized = 4 cardinal points; division of earthly realm • design is Prairie Style: borrowed from older Delaware traditions; abstracted; floral motifs; eclecticism Context/Function: • based on European soldiers who used the bags to store ammo • won across the chest • intended to complement men's ceremonial outfits • men commonly wore them; created by women • shows prestige & high status • flower design is from 1830s • nuns taught the young women how to embroider European flower motifs • Lenape were forcibly removed and relocated to Oklahoma • seed beads imported from Europe • not done in the Americans before European contac

Great Stupa at Sanchi

Form/Content: • domed structures, evolved from earthen mounds containing relics • Chatra - triple umbrella structure symbolizing the three jewels of Buddhism: the Buddha, the Dharma (doctrine), and the Sangha (community) • Gateways :also known as Toranas; face in cardinal directions; free standing and highly ornamented; prominent throughout the Indian subcontinent, not just Buddhist architecture • ornamentation of the Torana: covered with relief sculpture images of the Buddha's life, Jataka stories about his previous lives, scenes of early buddhism • the Buddha's presence is honored symbolically with imagery like: foot prints, umbrellas, an empty seat, people and animals worshipping the bodhi tree, the wheel, and famous sacred sites Context/Function: • the largest of several stupas in the area, surrounded by remains of other monastic buildings • remains were buried in a stupa creating new tradition • built by Ashoka, famous for converting to Buddhism to recompense for slaughtering of thousands in battle

Head of a Roman Patrician

Form/Content: • face of a Roman aristocrat • meant to convey seriousness of mind & the virtue of a public career • veristic portraiture • frontal figure without any emotion of dynamism • veristic portrait of an unknown Roman patrician depicts carefully sculpted detail in the face • wrinkles & other signs of aging serve to point out his admirable experiences Context/Function: • patricians - wealthy & educated men who ran the Republic • sculptures were often produced to show the power & wealth of an individual • power was passed from relative to relative through generations; sculptures were made of these family members almost as a form of ancestor worship • art reflected a dominantly male view of the world (malegaze) • sculptures reflect how the Romans viewed male & female roles in their society • admires the age of the elderly • symbolizes the virtues of wisdom, experience, valor, & strength that all Republicans hoped to obtain

Fallingwater

Form/Content: • house is over the waterfalls instead of across from it • is counter-weighted at the back to support the cantilevered terraces • mix of organic & geometric • horizontal terraces are balanced by the vertical chimney which anchors the house • color of the concrete matches the underside of the leaves of the bushes • all steel is painted red to acknowledge the iron ore it comes from & the firing process it goes through • Wright designed all of the interior furniture & lighting • the rock where the family would picnic on became the centerpiece of the design • all the cantilevers radiate from that rock Context: • sought to discover a landscape's underlying geometry, then to enhance it with a building that echoed, shaped, or unified the setting • wanted the home to blend organically with the environment • no one except Native Americans had tried to incorporate their construction into the land Function: • weekend home for the Kaufmann family

Power figure (Nkisi n'kondi)

Form/Content: • imposing figure; wide stance; signifies strength & importance • meant to be small & transportable • elongated belly bottom w/ cowrie shell - symbols of fertility & wealth • often contain medicinal combinations inside them covered by pieces of glass • contains many diff. types of insertions (pegs, sticks, pegs) that each have diff. meanings Context/Function: • figures of spiritual importance & protection are very significant to Kongo people • serves as a type of nkisi which acts as a container of sacred substances activated by supernatural forces that summon spirits • carved by a spiritual specialist (the nganga) who activates the figures by driving nails, blades, etc. into its wooden surfaces to make it "angry" • serves as a mediator b/t ancestral spirit world & the living world • brought healing & protection to community

The Valley of Mexico

Form/Content: • landscape • monumentality & an open quality • in the back is Lake Texoco • hill is the Tepeyac Hill where Juan Diego saw the Virgin of Guadalupe • united pre-Hispanic symbols & contemporary national sentiments • figures are in indigenous clothes • happy mom with kids & dogs • Velasco's landscapes became symbols of the nation • indications of industrialization are combined with native history Context: • one of Mexico's best known & most beloved landscape painters • he studied with an Italian landscape painter, so he was trained in the European style • Mexico's independence - he was encouraged to paint the local vistas of the Valley of Mexico • the huge view incorporates important landmark & natural features central to Mexican identity

Standard or Ur

Form/Content: • mosaic box with trapezoidal form • pieces of stone cut to create the image for the figures; lapis lazuli for background • it's a narrative, with each side telling a story • one side shows peace & other war • illustrate roles of a Sumerian king • registers - horizontal level in a work of multiple levels; this has 3 historical narrative - story of how the Sumerians won & celebrated a great military victory • hierarchy of scale - most important figures are the largest (priest & king) • Peace side depicts Ur at peace with a vibrant economy, celebrating with a royal banquet • registers also act as division classes • War side - power of the king is reinforced by the uniformity of the soldiers Context/Function: • found in a royal cemetery • misnamed as a standard • lapis lazuli - precious blue stone imported from present day Afghanistan; suggests wealth & power • functioned as probably a soundbox of a musical instrument of a military standard

La Grande Odalisque

Form/Content: • not a Venus • a contemporary woman as a member of a harem - a sex slave • elongated back; widened hips • left leg is in an impossible position • feet are small & smooth • Mannerism influence • turns her nudity away, yet stares directly at us • cool blues enhance the warmth of her skin • Ingres' ability to depict luxuriant textures adds to the sensual appeal • extremely realistic sheets, curtains, & accessories Context: • fiercely criticized when it was displayed at the Salon of 1819 • considered immoral • but at the same time, it was indulgent to look at • from the Orient, very exotic & erotic • peacock fan, hookah, & turban refer to the French concept of the Orient • Ingres is a bridge b/t Neoclassical & Romanticism

Sarcophagus of the Spouses

Form/Content: • painted terra cotta • high relief • relaxed figures • split twice so that it would fit in a kiln • creates a sense of intimacy • thought to have held a pomegranate or another object relating a banquet • not a portrait - have the archaic smile Context/Function: • only history of the Etruscans is the art & inscriptions with them • Etruscans were in Tuscany just north of Rome • found in an Etruscan tomb in a necropolis • 2 versions of this work • takes the form of a bed upon which the deceased are resting • a gravemarker, indicative of burial practices • serves similarly to the Greek Kouros • displays the importance of women in Etruscan culture • in Greece, banquets reserved just for men

Illustration from The Results of the First Five-Year Plan

Form/Content: • photomontage can include photographs, text, words, & newspaper clips combined to make a new image • limited colors • platform has the number 5 to the represent the Plan • letters CCCP = USSR • picture of Lenin, the founder of the USSR • sizes are varied for a dynamic look • loud speakers point to the left • electrical tower & lines = industrial progress • happy crowds of people holds Soviet banners to ensure success of 5 Year Plan • the plan was cause of suffering & deaths Context: • celebrates the results of the first 5 Year Plan from the book by Stalin about the industrialization of the USSR • intended to help establish the great success of the Plan • Stepanova defined herself as a constructivist • she was a leading member of the Russian avant-garde Function: • political propaganda

Object (Le Dejeuner en fourrure)

Form/Content: • recognizable object • a teacup, saucer, & spoon covered in fur • challenges reason and summons unconscious & poetic associations Context: • Oppenheim was a rare woman in the Surrealist group • known for her assemblages - 3D works made of various materials • the popularity of this stunted her career for a decade • she submitted it to a Surrealist exhibition in Paris and Andre Breton changed the name to "Lunch in Fur" • fur may remind viewers of wild animals & nature • reveals the psychological, sexual, & emotional drives burning just beneath the surface of society Function: • mocking the masculinity of sculpture • commentary on the male-dominated world of sculpture

Self Portrait as a Soldier

Form/Content: • soldier is standing in his studio with an amputated, bloody arm and a nude model behind him • eyes are empty • primitivism • inspired by African masks and medieval statues Context: • Kirchner volunteered to be a driver rather than being drafted into a more dangerous situation • he had to take time off for health issues • based on his fears of being hurt • self amputation is not to the body, but to his identity as an artist • this painting was labeled as a degenerate by the Nazis; 32 of his works were exhibited as a joke in the Degenerate Art exhibit in 1937 • he committed suicide in 1938 • Die Brucke movement

Woman I

Form/Content: • sweeping gestural brushstrokes • energetic application of paint • no flowing movement • deliberately crude • vision of aggressive feminity • threatening stare and grin are heightened by de Kooning's aggressive brushwork & frantic paint application • reflects the age old cultural ambivalence b/t reverence for and the fear of power of women • reverses the typical female subject matter of the idol, Venus, the nude • paint is in multiple directions as layers of color are applied, scraped away, & restored Context/Function: • de Kooning worked as a commercial artist • trained as a traditional artist, but switched to abstract painting • was a house painter during the Depression • first in a series on the theme of women • action painting • worked on for 1.5 years • influenced by the Cubism of Picasso • mocks the idea of a Venus

The Tete a Tete

Form/Content: • told stories with a social evil • juxtaposition of "high" art and "low" art • room decoration comments on the action; picture over mantlepiece is Cupid among ruins • husband has just returned from a night out • steward throws his hands up in disgust w/ a stack of unpaid bills; butler in the back rolls his eyes • house is decorated w/out taste • she's using a mirror to signal to her hidden lover • dog sniffs at another woman's bonnet in his pocket • black spot on husband's neck is a sign of syphilis Context: • second in a series of paintings • mocks the upper classes's arranged marriage • Hogarth is the 1st political & social satirist • displayed w/ explanatory text

Parthenon

Form/Content: • trade Greek temple • doric with ionic features • friezes on all 4 sides • sculpture in pediments & metopes • contained giant sculpture of Athena • at entrance - story if Athena vs. Poseidon; metope showed battles • friezes similar to stained glass windows in churches • used to be very colorful Context/Function: • top of rocky outcropping, overlooking the city • high classical - detailed, perfect incarnation of Greek ideal • neoclassical birthplace of democracy • artists started signing their work • dedicated to Athena • place of worship & importance • built on top of the site where a temple had been destroyed in the Persian war • ratios for the size of it are different from typical temples • exterior is doric order & interior ionic • became a Roman Catholic church in the middle ages

And There's Nothing to be Done

Form/Content: • used etching & dry point to get wide range of values • expresses his belief that war brings out the inhumane in man & causes is to act like beasts • man wearing light-colored or white tied to a pole by his hands (behind his back) • he is blindfolded • there is a firing squad behind the central figure facing similarly bound people (also tied to poles) • critical elements are placed outside the picture plane & the immediate action is forced to the foreground - amplifies impact • 3 rifles are on the right side Context: • was sent by a Spanish general to the countryside to make a visual record of Spanish heroism & noble self-sacrifice • Goya was deeply disturbed by the brutality committed by both sides • he created 82 etchings that were meant to awaken the viewer • visual indictment of French occupation of Spain Function: • meant to protest the French occupation and the brutality against the Spanish people • show conflicts between French troops and civilians → consequences • Showing that war brings out the inhuman in people

Villa Savoye

Form/Content: • used pilotis to raise the building for the best view & light • heavy elements above the light elements • no facade; all 4 sides are identical • first floor: servants rooms & garage; painted green to give the illusion that the house is floating • Le Corbusier felt stairs separated the levels while ramps acted as links • elimination of load bearing walls • allows for freedom of design with the rooms • floorplan consists of open space, leaving out obstructive support poles, freeing exterior & interior walls from the usual structural constraints Context: • purism • his style relied on pure geometric shapes • eliminated load bearing walls • used to steel beams to support floors • creates maximum space • ferro-concrete • overlooks the Siene River • Le Corbusier devised his 5 Points of Architecture

Reliquary figure (byeri)

Form/Content: • wooden carved figure • elongated torso & downcast eyes • belly button & genitals emphasize life • prayer gesture & somber look = death • exemplify the qualities the Fan admire in people - tranquility and the ability to hold opposites in balance • large head of an infant on adult body • static symmetrical pose & expressionless face afe counterbalanced by the bulging muscles Context/Function: • sat on top of a reliquary container • made these to keep cultural continuity & the ongoing help of ancestor spirit • Bieri - clan elders who were devoted to ancestral worship; assuring fertility • functioned as protectors of the ancestors • used in initiation training for young clan members • focal point for communicating w/ ancestor spirits • guard the reliquary box against forbidden gazes of women & boys

Shiva as Lord of Dance (Nataraja)

Form/Content: • Shiva = the creator/destroyer • he sometimes has 3 faces = the cyclical pattern of life, death, & rebirth • in human form, he has multiple limbs & heads • one leg on top of a dwarf = illusion can lead mankind astray • creating the universe as he dances • Flaming Nimbus = the continuous act of destruction & creation of the universe • matted hair indicates his role as a religious ascetic • ring of fire • holds the damaru in upper right hand • drum beats synchronize the act of creation & passage of time • lower right hand in the act of the "abhaya mudra" • holds agni (flame) in upper left hand; flame of destruction • sculpture is the literal embodiment of the divine • Shiva's face remains tranquil transfixed in the "mask of god's eternal essence" • third eye = his spiritual wisdom & power • created out of the need to transform the divine into a physical embodiment of beauty Context/Function: • portable art, used in processions • this image of Shiva is taken from the ancient Indian manual of visual depiction, the "Shilpa Shastras" • perfect physical qualities

Jahangir Preferring a Sufi Shaikh to Kings

Form/Content: • black outlines • humans display emotion • tilted perspective • floral patterns to add richness • hierarchy of scale • symbolizes Jahangir's emperorship & divine truth • radiant halo + golden sun = Jahangir is the center of the universe • top figure: elderly Muslim Sufi shaikh • 2nd: Turkish sultan • 3rd: King James I of England • bottom: the artist (Bichitr) Context/Function: • 2nd emperor of Mughal Indian spent several years in Iran in Shah Tahmasp's court → becames fascinated w/ Persian illuminated manuscripts • it's an allegorical portrait of Jahangir • he favors spiritual power over worldly power • sufi shaikh is accepting a book from Jahangir; he's the highest and therefore the most honored • shows strong European influence • emperor on an hourglass throne ("above" time)

Basin (Baptistere de St. Louis)

Form/Content: • decorated with figures, animals, & patterns • contains many violent battle scenes • comprised of friezes of varying heights • inside has hunting & battle scenes • separated by 4 roundels: 2 with monarch on throne, 2 with French coat of arms • upper & lower registers have animals & fantastical creatures; lower frieze has aquatic animals • fish at the bottom indicate its original purpose: to hold water for hand washing Context/Function: • brass bowl originally used for ceremonial hand-washing • ended up in France used for baptisms of royal family • example of an object produced for a ceremonial context but later is appropriated for another purpose • made by Mamluk people • named after King Louis IX who tried to conquer Egypt but was defeated by the Mamluks • outer band: 4 scenes of processions of Mamluk emirs wearing turbans; carrying items to identify their positions • fleur-de-lis separates scenes; appeals to French & Mamluks

Dome of the Rock

Form/Content: • has 4 entrances that face cardinal points; marked by the rounded arch & Roman columns • gilded wood dome = 75 feet tall • columns from Roman monuments (spolia) • axis mundi - staff @ top connects Heaven & Earth • centrally planned • Byzantine artists used for the tile work • similar in size & shape to the Church of the Holy Sepulcher; @ higher elevation (dominance) • heavily influenced by Byzantine design of a Martyrium • alternating piers & columns; creates concentric aisles; allows visitors to circumambulate • text creates frieze around inner wall • no figural representation - vegetal designs may be iconography for paradise • mosaics reflect an artistic tie to the world of Late Antiquity • houses Foundation Stone Context/Function: • oldest building to use writing as decoration • not a mosque • built by Abd al-Malik; most important Umayyad caliph • built on a sacred rock - Adam is buried here, Abraham almost sacrificed Isaac here, & Muhammad ascended to heaven here • contains earliest program of architecture with inscriptions for Islam • 1 manifestation of Islam's view of itself completing the faiths • built as a monument to a holy site but also to celebrate the victory of Islam over other religions • Muslims believe it commemorates the night journey of Muhammad • a shrine - form follows function

Great Mosque of Djenne

Form/Content: • large buttresses look like engaged columns • courtyard • Islamic in design, but African in construction in materials • fluting aids in rain water draining • original was very elaborate & decorative • 3 minarets • ostrich eggs on top of each • minaret - made part of finial (crowning decor) as symbol of fertility & purity • roof top: held up by massive wooden pillars; has several hols covered by terra cotta lids which allow fresh air inside Context/Function: • largest abode building in the world • entire city takes part in the replastering of the mosque • torons (small wooden protruding pieces that were used to attach scaffolds every year for replastering) jut out from the walls on all sides • part of an annual festival • beams made of palm branches to add strength & utility • Monday market - plays an important part of the city's function & history

Shiva as Lord of Dance

Form/Content: • one leg on top of a dwarf = illusion, can leads mankind astray • creating the universe as he dances • Flaming Nimbus = continuous act of destruction & creation of the universe • matted hair indicates his role as a religious ascetic (yogi) • ends of hair are cobra heads • ring of fire is the enclosed cosmos of mass, time & space • holds the damaru (drum) in upper right hand • lower right hand in gesture of the "abhaya mudra" • holds agni (flame) in upper left hand; flame of destruction that annihilates all that the sound of damaru has drummed into existence • statue is literal embodiment of the divine • when the worshipper comes before the statue & beings to pray, faith activates divine energy in the statue & Shiva is present • Shiva's face remains tranquil; third eye Context/Function: • portable art, used in processions • solid bronze casting from Sri Lanka; during this period, a new kind of sculpture is made • perfect physical qualities in the moment of his dance within the cosmic circle of fire that's the continuous creation & destruction of the universe • precise set of measurements for the limbs

Taj Mahal

Form/Content: • water in front makes it appear as though it floats; no visible means to go to upper platform (stairs hidden); symbolic of Paradise • pointed arches lead eye up toward dome • shaped like a crown • 4 minarets & 2 flanking triple domed pavilions enhance & stabilize the soaring form • symmetrical • system of proportion to achieve balance: as wide as it is tall; height of dome=height of facade • design & dimensions symbolic of emperor's absolute power • inscriptions on walls & gateways - from Quran & poems by Shah Jahan • minarets aren't functional • cahr-bagh plan of Iranian garden pavilions, which symbolize the Garden of Parade • intricate detailing & design - inlaid with inscriptions, arabesque, & semiprecious stone • carved imagery is floral to enhance theme of Parade • Tomb Room: 8 levels principle; holds marble cenotaph Context/Function: • NOT A MOSQUE • a tomb • Shah Jahan built this immense mausoleum as a memorial to his favorite wife • glorifies the patron

Bayeux Tapestry

Form/Content: •230 ft long embroidery •annotated in Latin •continous narrative •beasts in upper & lower registers •flat figures, no shadows •illustrates the events that led up to the Battle of Hastings & Norman conquest of England Context: •patron is William the Conqueror's half brother, Bishop Odo •1 day battle for throne of England •William is the main character - justifies his actions •shows favor of the Normans •dining practices are shown •similar to illuminated manuscripts •narrative tradition •serves as art, chronicle, propaganda & evidence of everyday objects

Rottgen Pieta

Form/Content: •expressive exaggeration •late Gothic humanization of religious figures •Chris portrayed as a distorted human •maternal anguish •Mary is paralyzed with grief, her head tilts toward her son •Mary's reaction is different than any other version •emotions emphasize her humanity Context: •from Germany •reflects widespread war, famine, & social strife of 14th century German states Function: •object of focus during prayer •would have been at an altar with other religious art •used as a focal point for contemplation & prayer

Virgin and Child between Saints Theodore & George

Form/Content: •symmetrical •Mary avoids eye contact so as not to take attention away from Christ • Theodore & George looked directly at the viewer to encourage direct pious communication •angels look toward heaven •spatial ambiguity Context/Function: •survived the Iconoclasm b/c it was in an area that had lost control to the Muslim rulers •earliest image known that depicts the Madonna & Child •overly large eyes •naturalism - classical influence; shadows •stylization •compressed space •hierarchy of scale •blend of Greek&Roman aesthetic and merging Byzantine aesthetic •private devotional object

Code of Hammurabi

Form/Content: ◦ figures shown in composite view ◦ used bas relief, a shallow carving ◦ vertical format ◦ written in cuneiform ◦ hierarchic scale Context/Function: ◦ meant for public display ◦ one of earliest law codes ever written (282 laws) ◦ display law codes & give Hammurabi the Divine Right to rule ◦ detail: sun god/god of justice - Shamash →Hammurabi raises hand in respect → Shamash is the right; depicted with flames → some foreshortening, creating the illusion of depth by making some parts seem closer than others → Shamash hands Hammurabi a ring - established Hammurabi's authority

Lamassu from the citadel of Sargon II

Form/Content: ◦ human-headed guardian figures w/ face of the king made from single pieces of stone ◦ 13'10" tall ◦ winged; front legs are front facing, side legs are walking ◦ located at entrance to the Citadel of Sargon II & the throne room ◦ stylized elements & patterns in hair, beard, & wings ◦ naturalistic features in the muscles & facial features Context/Function: ◦ meant to ward off enemies, seen & unseen ◦ artists incorporated cuneiform writing around his legs which reinforces the king's power ◦ manifestation of Sargon's power & authority

Standard of Ur

Form/Content: ◦ mosaic box w/ a trapezoidal form ◦ pieces of stone cut to create the image; limestone for the figures, Lapis Lazuli for background ◦ narrative art ◦ one side shows peace & the other war ◦ registers - horizontal level in a work of multiple levels; this has 3 ◦ historical narrative - tells the historical story of how the Sumerians won & celebrated a great military victory ◦ hierarchy of scale - most important figures are the largest ◦ Peace side depicts Ur at peace w/ a vibrant economy, celebrating with a royal banquet ◦ War side - soldiers bring captives to the king Context/Function: ◦ found in a royal cemetery ◦ misnamed as a standard ◦ Lapis Lazuli - precious stone imported from present day Afghanistan; suggests wealth & power ◦ function was possibly a soundbox of a muscial instrument or a military standard

Statues of Votive Figures

Form/Content: ◦ realistic figures & clear narratives separate it from prehistoric art ◦ women have left shoulder covered ◦ only slaves & prisoners are shown as nude, as nudity was seen as a debasement ◦ hierarchical scale, showing importance by the size of the figure, was used to demonstrate relative importance - formalized art ◦ hands in prayer to indicate piety Context/Function: ◦ these were the tallest found, male is 2'6" (most important) ◦ placed in the cella of the temple & shown as praying ◦ served as a stand in for actual person ◦ considered to perform act of prayer on behalf of the patron ◦ overly large eyes believed to be the windows to the soul & eternal wakefulness to their gods ◦ cups used in the ritual of pouring out precious liquids/oils as a form of sacrifice to the gods

Audience Hall (apadana) of Darius and Xerxes

Form/Content: ◦ stairs lead to apadana - a massive hypostyle hall (room w/ a roof supported by post & lintel construction) ◦ could hold 10,000 ppl ◦ built on a man-made embankment ◦ small rise on the steps made ppl walk slower so the processions would be more regal ◦ form - reliefs have amazing modeling (look 3D) ◦ color - repetition of images & columns ◦ mostly made of mudbrick ◦ floors paved, columns were stone, reliefs were limestone ◦ materials from all over Persian Empire - shows domination Context: ◦ patrons - Darius I & Xerxes I; great Persian rulers ◦ apadana (royal audience/reception hall) was a part of the citadel ◦ complex was less a palace & more of a site of multiple party rooms, all of which held 10,000 ppl ◦ Persians didn't use slave labor, so was very $$ to build Function: ◦ hold ceremonies & celebrations, host ppl from all over the extensive Empire, and demonstrate power & wealth ◦ annual celebration of New Year took place here ◦ king didn't stay here throughout the year ◦ capitals - decorative tops to columns ◦ columns were topped with 2 protomes, capitals which featured the front part of fierce animals; meant to intimidate & show king's power

George Washington

Form/Content: • Neoclassicism • Marble sculpture of George Washington • White marble • Contraposto • Symbolic details • Washington is seen wearing street clothing (fatherly expression) • Symbolized power and authority as he holds his sword • not having the sword in hand = given up his military and presidential careers Context: • Made after the American Revolution • At this time it was popular to commission the depiction of war heroes • Washington's depiction was inspired by his choice to retire from his military position and precedency in order to pursue farming instead and allow his country to develop • Statue ordered = Virginia Governor • Sculpted = French Artist • No practiced American sculptors • French people idealized the fore-fathers of America

Aka elephant mask

Form: Elephant mask composed of colorful cloth and beads Hoodlike face- round eyes with red beads and white cloth- strong navy blue tones in the cloth Cowrie shell decoration on the face and rest of mask Two long panels- represent the elephant's trunk- woven raffia fiber adorns the edges of the trunk Isosceles triangle- geometric designs- sometimes in the shape of an hourglass Two circles- elephants ears . Function: 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" People often added ivory bracelets and rare leopard pelts to adorn these outfits Headdress- symbol of privilege Made of red feathers usually (from the African gray parrot)- left the audience awestruck Purpose was to emphasize the complete power and dominance of the Bamileke king Content: 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

The Horse in Motion

Form: • 12 still photographs combined in a series • horse and jockey are in profile • together the images tell a story • elevates photography from still to motion Content: • 4 rows and 3 columns in a rectangle • each box is a still shot of a racing horse with a jockey • photos create a sense of movement collectively Context: • photographed animal and human movement imperceptible to the human eye • by 1878, exposure time was down to 1/25 of a second - allows moving objects to be captured • patron: CA governor Leland Stanford • hired Muybridge to settle a bet on whether or not horses legs all leave the ground at the same time • he set up 12 cameras at regular intervals • huge influence on the development of motion pictures • used a zoopraxiscope • "persistence of vision" • Degas & Duchamp will incorporate this movement into their work • cinematography is born

Bamiyan Buddha

Form: • 2 statues of Buddha carved in situ • stucco additions represented blended style of Gandhara Art • niche is like a halo (mandorla) around his body • elaborately painted with concentric circles suggesting mandalas • originally covered in gems Context: • area was carved around their feet so worshippers could circumambulate • style reflects international exchange pf ideas - Hellenistic Greek influence • faces of the monuments were removed by radical fundamentalist Muslims in the 1700s • Taliban completely destroyed them in 2001

Feather Headdress of Moctezuma

Form: • 3.8 feet tall • feathers mounted on wooden sticks layered in semi-circles with plates of gold • originally had a gold bird beak • each of the 450 feathers are from a different bird Content: • vibrant colors & rare materials indicate importance & status • extensive trade required to get the feathers • made by amantecas (feather workers) who were highly skilled artists & lived in a special quarter of the capital Context/Function: • acquired by Hernan Cortes • 1st mentioned in European inventory as a "Moorish hat" in 1596 when it was acquired by Archduke Ferdinand • displayed in a museum in Vienna • Mexico has claimed ownership of it and has been asking for its return since 1991 • thought to have ceremonial purpose • performed in as part of a costume • feathers were important part of Aztec economy

Hiapo (tapa)

Form: • Fine lines, detailed geometric designs such as spirals, concentric circles, squares, triangles, and diminishing motifs • Along the edges of the cloth are intricate representations of native plants • Animated freehand drawing process may represent mana • Bark cloth is an involved process, performed entirely by women • Bark is pounded flat with a wooden tool (felting) • Several pieces of bark are stuck together with a paste from plants such as arrowroot • Designs are either pounded in with a carved beating tool or by rubbing over a stencil Function: • Tapa were used for clothing, bedding, and wall hangings • would also be displayed on special occasions • still exist today as parts of funeral rituals and burial rights • Tapestries could function as a type of currency -- they could be exchanged for food and work/services • Worn during rituals, exchanged in marriage or other events, used to wrap babies and sacred objects Content: • Certain designs and textiles were designed for people with high social standing or rank • Important figures and high-ranking individuals would wear these decorated cloths at important stages in their lives • Different cultures and islands would present similar pieces of cloth to places they travel to by boat • Similar pieces of bark cloth have designs representing local wildlife and marine animals (such as jellyfish and starfish) and occasionally depictions of humans • As the designs on a particular piece of tapa cloth are unique to the maker's island, township, or region; all pieces of this type of cloth are unique Context: • The cloth is from Niue, a small Polynesian island country • making of tapa cloth was traditionally seen as a women's art as it is a type of weaving and works with soft materials • In Polynesia, textiles were seen as a woman's wealth

Nan Madol

Form: • Materials are basalt boulders and prismatic columns • Carved basalt stones from volcanic plugs • Transported stones 5-50 tons from mountains to reef without the use of large animals or complex machinery • Thought to be an engineering masterpiece with such little technology available at the time • A system of canals that crisscrosses the ruins • Did not use concrete, but instead, a crisscrossing pattern of horizontal logs called stretchers and perpendicular logs on top of them called headers (similar to post and lintel) Function: • Remote location meant they did not have to devote many resources towards the military • Allowed them to instead concentrate on building a unique capital city complex • Served as a home to over 1,000 inhabitants Context: • Pohnpei, Micronesia • Saudeleur Dynasty • An early example of a centralized political system in the western Pacific • Placed high importance on agriculture and gods 700-1600 C.E. • Inhabitants referred to it as the "Reef of Heaven" • Saudeleur Dynasty fell with increasingly oppressive rulers and offending several deities, eventually fell in 1628. • Now it is an abandoned city with no preservation Content: • A system of crisscrossing canals • Luxurious palaces for the rulers and smaller houses surrounding for their servants • Contained a variety of specialized islets • Some for constructing canoes, holding sacred eels, and preparing coconut oil for sacred ceremonies

Grave Stele of Hegeso

Form: • Stele (upright slabs with relief sculptures) (like a modern day grave stone) • Marble and paint Function: • grave stones Content: • Relief sculpture of Hegeso and servant girl • servant holds a jewelry box, and Hegeso hold and looks at a necklace • now we cant see the necklace because it was painted on the stele and has worn off might represent a dowry • drapery - elaborate forms and swirls very close to her body • She does not touch the ground • her foot is on a pedestal • Inscription on top says Hegeso, daughter of Proxenos (patriarchal) Context: • in the Dipylon cemetery in Athens • resurgence of funerary sculpture in Athens • same time as the sculpture of the Parthenon and other buildings of acropolis • during period of democracy the state was the most important, nobles were not, sculpture showed that • Hegeso - woman; domestic; basically in a house on the stele: two walls and a roof • women were defined by their relationships to men (daughter of __, or wife of __) • noble, her family grave plot was super magnificent • attributed to the sculptor Kallimachos

Lukasa (memory board)

Form: • Varied in size but small enough to hold • Made of large wood plank with metal and smalls beads of various materials Function: • Used as a way to record and remember important times and events in the Luba People's society • 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 council could read the memory boards • These people were known as "men of memory" • Readers would hold it in their left hand and trace patterns with their right index finger Content: • 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 • People in the Luba tribes were specifically trained to read lukasas and their sole job was to remember the oral stories and traditions • It is hard to keep the stories of the Luba people alive because it is oral tradition

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

Form: • abstract, fabricated quality • makes it difficult to discern the subject matter and the action of the scene • color evokes feeling Content: • slave ship sailing directly into a storm, abandoning the slaves that were thrown overboard to drown • fiery sunset, writhing foam and waves • fish with teeth chomping at the slaves' chained limbs • a wall of water and grey clouds dooming the ship to shipwreck (as punishment and vengeance for the death of slaves; upsetting of the balance of nature) • The slaves are thrown overboard so the captain can claim insurance Context: • 20 or so years before Impressionist movement; • • Turner uses techniques that are not yet popular • man vs. nature - popular theme during late 1700s and early 1800s • slavery was banned in Britain, but not in some of the countries it had colonized • based on a poem & reality Function: • Prevent slavery from ever becoming a normalized practice in the future with a harsh reminder • To shock the critics and general audience into seeing just how brutal slavery could be, and why it shouldn't ever come back • Tell a story • Moral of the story being you are morally condemned if you participate in such a horrific, dehumanizing practice • Slave ship is doomed to wreck because of the actions of its captain

Improvisation 28

Form: • black diagonal lines that criss cross • abstract • riders symbolize the Horsemen of the Apocalypse • in the top right is an ideal city on a hill; could be Jerusalem • colors shade around line forms • movement toward abstraction • representational objects are suggested Context: • Kandinsky was one of the 1st painters to create a purely non-objective painting • the insight that color could convey emotion spurred him to take the bold step of regarding realism • wanted to create paintings that could be as abstract & emotional as music • huge influence on Abstract Expressionists of the mid 20th century • based on a literary source • he viewed his work as a way to a more enlightened society emphasizing spirituality

David

Form: • contrapposto • androgynous figure • nonchalant; head lowered to suggest humility • wears a shepherd's hat with laurel leaves • laurel wreaths were given to victors in ancient Greece • young boy in an adult situation, heightens the heroism • eyes are downcast as if contemplating his accomplishment; humble Context: • patron: Medici family • intended for private viewing • nudity & erotic features wouldn't have been approved by the church for public viewing • 1st nude freestanding statue since antiquity • nudity had only been used for educational purposes in the Medieval era • revival of Greek treatment of nude • bronze; rare at the time • example of using religious subject for political purposes • David = symbol of Florentine Republic's love of liberty • conveys idea that strong become weak because of their barbaric inclinations

Peplos Kore from the Acropolis

Form: • female clothed figure • counterpart to Kouros • most are votive statues as offerings to Athena • may be a goddess • female ideal • color comes from encaustic Content: • originally complexly painted • women with arm out (supposed to hold out a oil lamp but hand broken off) • misnamed; may actually be a goddess • metal spokes where a metal crown (diadem) would've been • small - less than 4' • stylistically similar to Anavysos Kouros but the archaic smile is softer & face is more naturalized • clothing shows signs of embroidered animals Function: • art historian don't exactly know what it was used for • in front of temples to "light the way" • votive figure

Alexander Mosaic

Form: • floor mosaic • made from over 1 million pieces of glass & stone Content: • depicts the Battle of Issus - Alexander's defeat of Persian King Darius III • psychological identity; Alexander - young, brave, confident; Darius - horrified, fleeing • crowded, lots of movement • use of tesserae (glass/tiny stone cut to size) • amazing foreshortening Context: • found in a home - art was used in Rome to show the taste & education of the owner • based off a Greek painting • characterizes most of Western art from Renaissance onward • Alexander isn't depicted in his typical form here but is more natural Function: • piece of art aristocrats would have invested in for enjoyment

Augustus of Prima porta

Form: • idealized, contrapposto • breastplate = warrior/soldier • judges robes = civic ruler • barefoot = sacred ground (b/c he is divine) • back isn't carved - meant to be placed against a wall • cupid riding a dolphin = divine lineage from Venus; victory in naval battle Content: • cuirass (breast plate) depicts gods & the return of Roman standards from the Parthians • associates Augustus w/ the sun god • Pax Romana • idealized statue of him, very young & attractive Context: • Augustus was always depicted this young • over 300 statues placed around the empire • Augustus used art as propaganda & to further his agenda • based off of Doryphoros • divine right to rule is displayed in the cupid & Apollo on his cuirass • represents the change in rule from Senate --> elders --> Caesar --> youth • Augustus was the sole ruler in the imperial Roman period Function: • propaganda • expresses Augustus's connection to the past, his role as a military victor, his connection to the gods, & his role as the bringer of the Roman Peace

The Coiffure

Form: • in the style of Japanese ukiyo-e prints • light brushstrokes • sketchy • reproducible print • Cassatt used a different technique to attain precise lines & subtle color harmonies Content: • female nude • she's sitting in a chair, facing a mirror • woman fixing her hair • decorative prints were a sign of Asian influence Context: • because of social restrictions on women, Cassatt was not able to paint the same things as her male counterparts • her subjects include scenes of women & children - not idealized or erotic • glimpses into the private lives of 19th century women • title references the 17-18th century ideas of beauty • has roots in Old Master paintings of women bathing • aquatint process - etching that allows for painting • curves contrast with the straight lines of the mirror • limited color palette enables us to focus on form Function: • Cassatt wanted to make art accessible to all classes • she created easily reproducible prints • Cassatt was advised against this, the critics said it would make her art less valuable

Composition with Red, Blue, and Yellow

Form: • lines establish rhythms • values & hues create a sense of depth • not painterly, but some brushstrokes • asymmetrical Function: • wanted to create reality on the surface • elimination of all feeling and emotion • wanted to create a sense of peace Context: • Mondrian was interested in opposites & balance • based his style on lines & rectangles • he viewed subject matter as an impurity that limited the possibilities of a painting • one of the first artists to get rid of the picture frame • founded Neo-Plasticism, exact opposite of Expressionism • relied completely on design & elimination of all feeling and emotion • pure abstraction using only the primary colors, white, & black • inspired by Cubism

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 • Panathenic Way - ceremonial road that makes its way through the Agora; used during important festival in honor of Athena • large fountain house to provide water for surrounding homes & admin buildings Context: • 600-150 BCE • Athens, Greece • represents the beginnings of democracy • demonstrates the connection b/t religious beliefs & civic identity; the development of structures to facilitate domestic life & public political & market (stoa) buildings • stoa - covered colonnade with a wall on either side • tholos - circular temple • Pericles - the patron; oversaw many additions • Phidias - sculptor; oversaw sculptural decorations

Doryphoros (Spear Bearer)

Form: • lots of counter balances to create harmony • closed stance (not a lot of negative space) • looks natural but is very complex & organized • conveys notion of balances & self-restraint (reinforced by calm countenance) • contrapposto stance Content: • classical, restrained, no emotion • represents someone who is athletic, a warrior • head was 1/7 of the body as per the canon • naked = celebrates nature of the human body • face isn't individualized Context/Function: • sought to portray the perfect man & to impose order on human movement; demonstrates the Pythagorean theory that underlying harmonic proportions could be found in all nature • beauty was in harmonic ratios • Roman & Renaissance artists will use this as their model • this is a marble copy of the original bronze • found in a palaestra (gym) in Pompeii; served as a model for athletes • example of Polykleitos's treatise, "The Canon" - ideal body • showcase of beauty of the human body • meant to be a standard from which all other statues were judged

The Kiss

Form: • made out of limestone • simple and block-like • emphasizes the material of the stone • hair is archaic • stone has a rough texture Content: • intertwined figures with interlocking forms • woman on the right is slightly thinner; bulge = breasts • structure of the limestone stays true, leaving the surface raw & archaic • return to a primitive form after the polished stone of Renaissance & Baroque • eyes join together to create a single eye in the middle Context: • Brancusi redefined sculpture in the modern age • he was from Romania and moved to Paris • he was devoted to finding the simplest & most elegant way to express the essence of his chosen subject • briefly worked in Rodin's studio • many versions of this work Function: • to express a subject in its most pure form • created in response to a commission from John Quinn

Ludovisi Battle Sarcophagus

Form: • marble • high relief • most similar to modern coffins than any other ancient burial chamber • horror vacui - filling of an entire surface with detail • deep carvings made w/ a drill create harsh contrast b/t light & dark Content: • 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 • Romans vs. Goths • hero is the man in the top center - focal point Function: • tomb • mark the grave of a rich, unidentified Roman Context: • indicates a shift in Roman burial methods; Republican & early Imperial Rome cremated the dead • influenced by the Etruscans & Greeks • only front & sides are carved

The Scream

Form: • mixing traditional tempera paint with everyday cardboard • vibrant, strong color contrast • non-naturalistic, skewed proportions • everything swirls into itself • lots of movement & uncertainty Content: • androgynous, elongated figure screams with hands pressed to its face • 2 figures walk along the bridge in the background • sea swirls into the sky Function: • semi-autobiographical • expression of the themes that preoccupied Munch's life - death, relationships, & dread • recounts an experience he had when walking with friends • a study in different mediums • part of a series of four renditions of the same scene Context: • Symbolism • Munch wanted to describe the conditions of "modern psychic life" • has a big influence on German Expressionists • evokes an emotional response through his contortions of the figure & color usage • 3 areas: bridge, landscape, & sky • symbolist: unseen forces of life, dreams, & inner experience are sources of inspirations • produced unprecedented images of the innermost feelings & mental anguish of modern man

Hunters in the Snow

Form: • new subject • still maintains the symbolism • sign over the inn = it's under the protection of St. Hubert • many consider this a comment on the severe winters that were set around this time • juxtaposition of fun with danger & implications • not a successful hunt Context: • a series for a dining room in Antwerp for a wealthy merchant; each painting represents 2 months • beginning of landscape painting without religion • comes from the tradition of Book of Hours • commissioned by a wealthy patron • meant to depict the seasons of the year • Bruegel is best known for his landscape & his focusing on the life & mannerisms of peasants • no linear perspective - but aerial • contrast of the 2 sides of winter

Pantheon

Form: • original approach from a colonnaded courtyard • originally raised in a platform so someone walking in would only see the pediment • facade is traditional w/ 8 Corinthian column • architect was unknown; Hadrian was the patron Content: • walls of the cupola (dome on a drum) are 20 feet wide • concrete is made w/ heavy, hard basalt at the base & transitions to lighter pumice stone at the top • thickness of the dome thins as it approaches the oculus; lessens the weight of the dome • reflects the Imperial Roman view of the emperor as both head of state & church as this building connects the heavens & earth • walls were originally covered in marble • represents height of Roman building technology • perfect sphere • oculus - round openings; the only light source • contrast of circles & squares • coffer - decorative sunken panel in a celing, dome, etc. Context: • best preserved ancient Roman monument • most influential building in architecture in the Renaissance

Seagram Building

Form: • set back from the street on a wide plaza that's balanced by reflecting pools • the bronze veneer gives the building a monolithic look • this model of skyscraper became the main model after WWI Content: • less is more • reflection of the minimalist movement in painting • interplay of vertical & horizontal lines • clean space & white lines • no ornamentation or paint applied to the exterior Context: • International Style of architecture • thought that a house should be a "machine for living" • the internal structure is a skeleton system that holds the building up from within Function: • symbol of corporate power • office building

Colosseum

Form: "amphitheater" two Greek theaters put together (facing each other) to create the oval-shaped amphitheater (stadium) Inner ring made from concrete required less skill, time, and money to quarry, transport, and build with concrete Romans were the first to master and employ the widespread use of concrete as a building material Outer ring (external wall) made from travertine (a limestone) Extensive use of vaults and the Roman arch could hold 50,000 to 80,000 spectators construction began in 70 CE, lasted until 80 CE (completed in 10 years) very impressive feat considering its massive size Content: massive, ellipse/oval-shaped ring four main levels (can be thought of as registers!) levels 1-3 had evenly-spaced, arched windows around the entire circumference of the amphitheater level 4 had a solid exterior wall, no windows this, being the highest section of seating, would be where the lower classes would sit (slaves, foreigners, women) there would have been statuary figures in each window arch on levels 2 and 3, but not on level 1, because those arches served as doors that people would walk through to enter the amphitheater above the 4th level, the upper rim of the colosseum was lined with bronze shields/spears a glorious, dramatic, and impressive-looking decoration could be considered a 5th 'register'? however, not a separate floor of seating, only an independent register in the visual sense flat stage filled with sand in center sand was to absorb blood and other bodily fluids from the fighting seats angled up from the stage in every direction (shallow funnel) the "hypogeum" the underground part of the Colosseum, which included animal pens, trapdoors, and a network of tunnels, was called the 'hypogeum' Function: Public Entertainment (similar function as sports stadium) Romans came to watch gladiator fights, wild animal fights, mock naval battles, etc. Context: Original name was Flavian Amphitheater named after the family/dynasty who paid for its construction Emperor Vespasian (r. 69-79 CE) was the first Emperor of the Flavian Dynasty "Colosseum" is just a nickname given later (in the Middle Ages?), because of the amphitheater's proximity to a colossal statue of the sun god. Vespasian built the amphitheater as a gift to the people of Rome, to win their favor back after the greedy, insane, unpopular Nero (previous Roman Emperor before Vespasian) Concept of Urban Planning unlike Greeks, who shaped their cities around the geography, Romans made the landscape work for them more aggressive builders power of man over nature also necessitated better engineering concrete! arches! their used to be a lake where the Flavian Amphitheater was built drained the lake because they wanted a building there much more similar to how we (in western, urban cities) approach urban planning now Focus on interior space shift from ancient Greek focus on exterior space best example is the Pergamon Roman Social Status/Citizenship Discrimination was not based on color of skin, but on citizenship If you were a Roman citizen, race didn't matter Rome was a very multi-ethnic empire If you were not a citizen (woman, slave, etc), you were virtually nothing

Veranda post of enthroned king and senior wife (opo ogoga)

Form: - One of four carved wooden posts, painted with unknown pigment Function: - Veranda post, architectural, structural support for palace at Ikere Content: - Depicts king seated (focal figure) - Senior wife behind, crowning him, large scale and pose underscore her importance: participating in coronation and political advisor to king - Small figures at feet of king represent a junior wife, trickster god Esu playing the flute, and and at one point a fan bearer, now missing - Emblematic of Olowe of Ise's style; exaggerated proportions, 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 Diagonal line of breasts continues in king's jaw and is repeated in his arms Patterns of beads in queen's bracelet repeated in King's crown Context: - Influential style in Yoruba culture for centuries - Olowe considered by many the best Yoruba carver ever, died in 1938 - Most important of the four veranda posts commissioned, focal point of entry

House in New Castle County

Form: - Wood frame - Post-modernist Content: - Rear façade: 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) - Irony of using classical elements Context: -Robert Venturi, John Rauch, Denise Scott Brown 1978-83 -Delaware, USA -Post modernism: whimsical, fun, playful "less is a bore"(modernist doesn't embody what the world is really like)

Spiral Jetty

Form: - earthwork: mud, salt crystals, rocks, water coil - 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 Context: - Great Salt Lake, Utah -site-specific - made by Robert Smithson in 1970

The Jungle

Form: - gouache on paper mounted on canvas - more dense on top, more open on the bottom of the work - 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 -intended to communicate a psychic state 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 made this in 1943 - made during WWII in Cuba -influenced by Freud

White Temple and its ziggurat

Form: - mud brick -collosal scale -built to resemble mountain -corners face the cardinal points Content: - sloping walls, bent access (ramp up to enter the altar), 3 entrances -mosaic surface Function: - temple that is a meeting place for humans and gods in the center of the city -votive figures and dedicated to Anu the sky god -top temple was only for royals or clergy to enter -roof used as an observatory -average people worshipped outside -featured a bent axis plan - couldn't approach the cella in a direct line Context: - Uruk; Modern day Warka, Iraq -Sumerian - 3500-3000 BCE

Church of Sainte-Foy

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 Function: - pilgrim church, people come to see -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)

Portrait of Sor Juana Ines de la Cruz

Form: - style: enlightenment -baroque: billowing red curtain -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

Navigation Chart

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

Chartres Cathedral

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 -knowledge, nature, light -limestone, stained glass Content: -stained glass- triforium -narrow passageway -jamb figures -relic: Mary's dress -X design shows that groin vaulting is used to create transverse arches -triforium (narrow passageway above the arcade) eliminates the need for so much masonry 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 Context: -Chartres, France 1145-55 CE reconstructed in 1194 because of a fire Roman> Gothic

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 eachother Context: -1902-04 -Southern France, post impressionism -Cezanne broken down reality to see the underlying geometry in nature -huge influence on Picasso -painted Plein Air

Self-Portrait with Saskia

Form: -Dutch Baroque -difference in emphasis on the figures -exists in 3 different states -rich tonal quality -abrupt spatial construction -etching (exposing metal) -genre: private movement between husband and wife -small scale Content: -Rembrandt and wife in historical clothing -wife, Saskia died at the age of 30 (only piece he did of her) -Rembrandt drawing his drawing -exploring who he is Function: -self portrait/marriage portrait -role playing -private purposes Context: -Rembrandt 1636 -he is mostly a portrait maker -Dutch, Amsterdam -Dutch Baroque

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) -Gothic style Function: -where the House of Lords and Commons meet -rebuilt because a fire burned down old palace that was originally there Context: -London, England -Across from River Thames -Among Houses of Parliament in London Built in the early Victorian era -architect: Charles Barry -designer: Augustus Pugin -1840-70 CE

The Gates

Form: -Mixed-media installation - 7503 saffron-colored fabric panels stretched across two beams to created a 16ft tall gate - gates make a 23 mile pathway through Central Park Function: - wanted to create "a golden ceiling creating warm shadows" after the struggling times NY was going through after 9/11 - 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 Context- - Christo and Jeanne-Claude. - took from 1979-2005 to make and was put up for only 16 days - Central Park, NYC

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

Chavin de Huantar

Form: -U-shaped temple -sunken relief -powerful curving -stone architecture -hammered gold alloy -granite sculpture Content: -only priest and high officials could see the Lanzon (human/jaguar) Lanzon statue: -enormous, shape of agricultural tool, dark tunnels lead to the illuminated statue -nose ornament: status symbol, serpent shape relief: jaguar Function: -ceremonial center for the Chavin people Context: -Northern Highlands, Peru Chavin People -900-200 BCE Center of Chavin culture

Transformation Mask

Form: -animal and human share -symmetrical Content: -pull string causing mask to open up -bird=crow Function: -used in Potlatch -Potlatch: used to memorialized the dead, mark union of families through marriage -help tell a story, dance around Context: -Kwakiutl (N. Coast of Canada) -late 19th century CE

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

The Swing (after Fragonard)

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

The 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

Mosque of Selim II

Form: -brick and stone -similar to Hagia Sophia -dome, squinches, piers, apses -richly decorated dome from the inside -centralized, octagonal mosque -geometric clarity Content: -slender, tall minarets -centralized with 8 piers -courtyard and prayer hall -school, market, libraries, & a cemetery -madrassa (college for Islamic instruction) -souk: shops in the mosque -Qibla wall faces outwards showing openness -decorated dome reinforces the symbolism of the Dome of Heaven -Arabesque -fusion of an octagon & a dome covered square with 4 half domes at the corners -precise numerical ratios Function: -mosque made to replace Hagia Sophia Context: -Edirne, Tukey: Ottoman -made by architect, Sinan, in 1568-1575 CE -part of a complex

Santa Sabina

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 -nave: center aisle -depiction of crucifix on doors -3 aisled basilica -columns from temple of juno in Rome (spolia) Function: -basilica- diverse building -used aisle for law courts -early Christian church Context: - Rome, Italy 422-432 CE -Late Antique Europe

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)

Frontispiece of the Codex Mendoza

Form: -codex -city laid out in 4 sections -text -ink and color on paper Content: -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 Function: -made for Spanish viceroy -historical account for the Aztecs Context: -Aztecs 1541-42 CE

Forum of Trajan

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

Night Attack on the Sanjo Palace

Form: -combining image and text -Yamato-e: high vantage points, strong angles, cropping, narrative scroll -read right to left -strong angles -handscroll -extraordinary detail Content: -rival families (Fujiwara and Minamoto) attack the Taira clan and defeat them -establish shotgun empire -battle: 1159 -extreme detail of armor, weaponry, war tactics -struggles between emperor and rising shogons Function: -turning point in Japanese history Context: -piece made 1250-1300 CE -Karamkura Period, Japan

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 -intellectual scholar -seated in specific chair Function: -respect for one's elders and ancestors -officially honors for his distinguished service @ court and loyalty to the King during hard times -portrait cherished by descendants Context: -Imperial Bureau of Painting, Korea -1417-1475 CE -during a time of stability & progress -facial features are individualized

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

Old Man's Cloth

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

Memorial Sheet for Karl Liebknecht

Form: -german expressionism -lamentation, woodcut Function: -honors the communist without depicting his ideologies so people would know she wasn't a communist -depicts this with great compassion Content: -densely packed with figures (multitudes coming to show their respects) Context: -artist: Kathe Kollwitz, approached by family to make this

Travelers among Mountains and Streams

Form: -hanging scroll (see all at once) -ink and colors on silk -in proper scale -Neo-Confucianism ideals 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

Mesa Verde Cliff Dwellings

Form: -indigenous North America -geometric designs on murals -sandstone 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: -residential places -storage places -ritual places -Kiva: communal gathering, ritual purpose for men Context: -Montezuma, County, Colorado -450-1300 CE -pueblo people, descendants are Hopi and Zuni -Anasazi tribe

Bahram Gur Fights the Karg

Form: -ink, opaque watercolor, and gold on paper -shown wearing European clothing but background looks Chinese (combination of cultures) -spatial recession; shadowless -image dominates over text 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: -folio from the Great II-Khanid -1330-1340 CE (Islamic/Persian) -from the Book of Kings -Shahnama is a Persian epic poem that charts the history of the Iranian world from its creation to the fall of the Persian Empire in the 600s

White and Red Plum Blossoms

Form: -ink, watercolor, gold leaf -swirling illusion of expansion -byobu: painted screen -rich colors/gold Content: -swirling water -nature/flowers alongside -early spring -two flowering trees -vantage points -turns simple landscape theme into dream vision Function: -rimpa school painting -painted screen Context: -1710-16 CE Japan -artist: Ogata Korin -Edo period

Merovingian looped fibulae

Form: -interlacing (zoomorphic) -bowed -filigree 2-4" -silver gilt (thin layer of gold) Content: -animals (fish represents Christ and eagle represents St. John) -cloisonne: using thin medal to separate colored areas on metal -zoomorphic Function: -clip for holding fabric -clasp that hold fabric to the shoulder Context: -mid 6th century CE -Frankish kingdom -found in tomb of rich woman

Nadar Raising Photography to the Height of Art

Form: -lithograph: process of making a design on stone block 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

Entombment of Christ

Form: -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) Content: -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) Function: -altar piece -doesn't look Renaissance Context: -artist: Jacob de Pontorina -Florence, Italy 1525-1528 -family chapel

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 ZeusContext: -175 BCE - Asia Minor, Turkey

A Book from the Sky

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 Context: -Xu Bing- artist: grew up in society where everything was structured

The 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

Self-Portrait

Form: -oil on canvas -portrait -light brushwork and colors (Rococo style) -Enlightenment -simple clothing; naturalism 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 -direct eye contact with the viewer Function: -shows that she is a painter -several different version Context: -artist: Elizabeth Louise Vigee Le Brun -1790 CE, Rococo-Neoclassicism (in between) -she was trained by her father & admitted into the Academy -she had to escape France b/c of her royal connection during the Revolution -this was done in Rome while in exile

The Arnolfini Portrait

Form: -oil on wood -super detailed -juxtaposed secular & religious themes Content: -betrothal (engagement) -dog represents wealth and fidelity -barefeet- something sacred taking place -Patron saint of domesticity (St. Margaret -Vaneyck signature and reflection in mirror -witnesses of the marriage shown in the mirror Function: -shows status, wealth, power Context: -artist: Van Eyck -1434 CE (15th century) -Flanders

Female pwo mask

Form: -smooth, brown surface with rich patina created by red clay and oil -eyes nearly closed -long thing nose -thick braided hair -high forehead -symmetric -naturalistic form with slightly geometric abstraction -protruding ears with earrings Content: -older female role model -beautiful, archetypal woman -forehead and right cheek are marked with cosmogram tear marks -danced by mean with fiber costumes, bookbs, and carries flywhisk Function: -entertainment -expression of female beauty -initiation ceremony for young men to separate from theirs mothers Context: -Chokwe people (Congo) -19th-20th century CE

Ikenga (shrine figure)

Form: -tall -zoomorphic & anthropomorphic -abstracted male figure -wood -prominent horns = aggressiveness & ambition -holding swords -expresses strength Content: -a person object associated with an individual -male power of the right hand -large horns -right hand holds the sword -seated -left hand holds severed trophy head Function: -given to young males -Igbo person shrine figure -guards & protects the patron Context: -Igbo people -highlight a goal one wishes to achieve -reflects the great value the Igbo people place on individual achievement -ikenga means "strong right arm"

Madonna and Child with Two Angels

Form: -tempera on wood -3D figures -sense of space -elegant lines/curves -humanism Content: -all humanized (mischievous look) -Mary's halo slowing going away (divinity fading) -Mary youthful/beautiful -landscape through window (Flemish background) -pearls (symbol of immaculate conception Function: -relate more to viewers by making humanistic images -connect us to Mary and Jesus Context: -artist: Fra Filippo Lippi (monk of Carmelite order) teacher of Botticelli -1465 CE Early Renaissance Italy

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 -happy theme in funeral context: etruscan funeral rites were festive with the aim of sharing a final meal with the deceased as they transitioned to the afterlife Function: -keep record of domestic life -holds ashes (crematorium) and any other offerings to the dead Context: -part of a necroplis - an Etruscan burial chamber -mainly elite members of society participated in funerary rituals -Tarquinia, Italy -Estruscan 480-470 BCE

Malagan display and mask

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

Jade cong

Form: Carved Jade, there were geometric carvings using shapes and carved lines to provide contrast for this decorative element. Function: This carving was a developed skin and this jade is a precious metal/stone material, so therefore this is one of the first found examples of a status symbol and showing the switch to neolithicism by the formation of social hierarchy. Content: This features a sculpture of a jade rock carved into a cube with circular decorative cut outs. Context: Found in Liangzhu, China this piece is considered to be in the Asian Neolithic time period this specific pieces estimated time of creation was 3300-2200 BCE. This piece shows the continuation of neolithic ideologies by the developing of skills outside of vitality, and therefore social status and social hierarchy led to the desire for more such elaborate and non-vital material goods such as the jade cong. Audience: This piece was used as a status symbol to further the social status of someone, the audience was meant to be people of authority and power as well as people in lower social statuses to prove and exemplify the social hierarchy of the given society through this symbol.

Pyxis of al-Mughira

Form: • 16 cm tall • ivory is durable, smooth & elegant; easily carved • highly portable Content: • decorated with 4 eight-lobed medallions; surrounded by figures & animals • each medallion has princely iconograph • horror vacui, anthropomorphic, zoomorphic • uses kufic script - identifies owner & asks for Allah's blessings • left: 2 men collecting eggs from the nests of falcons, symbol of Umayyad legitimacy • right: lute player flanked by 2 figures, one of whom holds the braided specter & flask of the Umayyads, while other holds a fan (symbolizes Abbasids) Context/Function: • cylindrical box used for cosmetics and/or perfumes • coming of age gift for al-Mughira, 18 year old daughter of the caliph of the Umayyad dynasty • best surviving example of carved ivory tradition in Islamic Spain

Olympia

Form: • Imperfect, harsh style depicting a woman in a manner that does not fit the classical "ideal" and ethereal image of the body • Flatly painted, poorly contoured, abrupt shift in tonality, lacking depth and washed out • No vanishing point or recognizable perspective- hard to understand in space • Loose, choppy brush strokes (clearly a painted representation) Function: • Rebel from previous convention and depict harsh realities of Parisian life • Ordinary people and unglamorous prostitution • Commentary on racial divisions and the class system in Paris Content: • Nude woman reclining on a chaise lounge with a black cat at her feet • She stares with a cold, stark, indifferent expression at the viewer • A black female servant stands behind her holding a bouquet of flowers (a gift for the prostitute from a client) • Highlights the french colonial mindset and injustice in society • the stark contrast of the black skin from the white highlighted racial division • Depicted marginalized people in society rather than the traditional Bourgeois and aristocratic subjects Context: • This is a salon painting (academic painting) that defied tradition creating an artistic revolution • This received extreme negative reviews from critics in 1865 at the Parisian Salon • Both a nude prostitute and a black maid was seen as inferior and animalistic sexuality • Manet mocked the revitalization of classical style by using a contemporary, ordinary subject. He suggested that the classical past no longer had relevance in the modern world. • Time of the industrial revolution • Manet referred to as the father of impressionism, his "rebellious" style inspired future work

Ardabil Carpet

Form: • silk and wool carpet • central sunburst medallion creates illusion of a heavenly dome with lamps reflection in a pool of water full of lotus flowers • slightly symmetrical • 18' x 35' Content: • two different lamps suspended from the ceilings • one panel with inscription that tells you who made it and when • very high knot content allows for great detail • natural dyes: pomegranate, indigo • gold medallion in center dominates the design • Chinese-style clouds animate the straight-edged floral borders • border framed with cartouches & has space for calligraphy; maqsud of Kashan's name, the artists, @ is woven into the design on the edge Function: • made for the funerary shrine of Safi al-Din Ardabil • prayer carpet • carpets are a fundamental part of Islamic art Context: • one in a pair of carpets • world's largest & oldest dated carpet • made for an important Sufi mystic shrine for which the rug was made • patron is Shah Tahmasp • set up royal factories for carpet weaving, making it a national industry • from Ardabil, Iran

the Kaaba

Form: • the Masjid al-Haram is the largest mosque in the world • in the large open courtyard surrounded by colonnades • 7 minarets - more than any other mosque • considered a safe haven • only Muslims allowed to enter • important unifying point for Muslims around the world Content: • holiest shrine in Islam • tawaf - pilgrims circumambulate counterclockwise 7 times around it in hopes of kissing/touching the Black Stone embedded in the corner • corners roughly align with cardinal points Context: • orig. built by Adam as God's house on earth • pre-Islamic Kaaba held the Black Stone & statues of pagan gods • Muhammad cleansed it of idols upon his return to Mecca, but kept the Black Stone • modified over time • door raised to prevent intruders & protect it from flood waters • the mosque w/ colonnade around it was added in 650 to accommodate growing number of pilgrims • 600s - covered with black cloth that's replaced annually • Black Stone is the most sacred object in Kaaba; given to Ibrahim by Gabriel • door is made of solid gold; added in 1982 • inside it is the only place on earth that one can pray facing any direction

Arena Chapel

Form: •Fresco •this chapel is COMPLETELY covered in fresco ceiling included. •narrative scenes, flat figures trompe l'oeil (fools the eye) •fake marble panels separate scenes. Whole thing is fresco •Lapis Lazuli for the bright blues •very expensive. •secco fresco •dry fresco Function: •Atone for the sin of usury •Enrico Scrovegni paid for the chapel as a "good work" to try and guarantee a spot in heaven worried about afterlife, so paid for huge work of art •his father was included in Dante's inferno, so he had good reason to be worried •Private, devotional art Content: •3 registers of narrative •top: Yoakim and Anna (Christ's maternal grandparents) and birth and life of Mary •middle: scenes of Christ's life (the miracles, etc) •christ is moving forward in the scenes •there is a rhythm to the scenes •bottom: the Passion •Wall Fresco: Last Judgement •Enrico (the patron) is on the side of the blessed, giving the chapel to Mary •transitionary work from Middle ages to Renaissance •illusionism - inserting architectural elements to give a more earthly setting •not just the typical gold background from the normal Medieval •Christ being mourned by Mary and followers •We see actual grief— BIG DEAL •medieval scenes usually had characters being divine and not that upset •big deal to have figures with their back to us. very new for the medieval period (naturalism) •add to illusion of space •symbols •dead tree— will grow again (analogy to Christ's resurrection) •Mary Magdalene at Christ's feet w/ typical red hair (she anointed christ's feet so it's fitting) •the mountain carries over into the next scene of the resurrection Context: •Painted by Giotto •Called Arena Chapel because it's next to a Roman Arena •This is one of the first works that shows divine figures acting in humanist ways •the medieval style was figures that were not real looking, backgrounds were gold and basic, and the figures were unemotional •this chapel transitions us into the renaissance style figures are interacting with each other, which has basically not happened yet •figures face each other •they interact with each other— kissing, showing grief, Holding each other •Foreshortening used •3D: the figures have weight to them, not floating like typical medieval •architectural elements in some of the scenes pre linear perspective, but perspective is attempted •we see Giotto's attempt at providing depth and backgrounds •earthly settings for the divine scenes

Hagia Sophia

Form: •plain exterior hides the the massive interior •combines the axial & centrally planned church •nave is made up of the main dome & 2 supportive domes •4 piers support the dome •vertical emphasis •half domes of the apse flow outward from the central dome, both to carve out space & support the main dome •the galleries & buttresses behind the exedra wall serve to support the dome by piling up masonry that counteracts the outward thrust of the dome Content: •mystical quality of light •architects wanted to create a mystical interior that outshone any other comparable structures •windows on dome create "floating" dome that adds to the mysticism & spirituality •all structural supports are hidden on the inside Context: •architects were a mathematician & a physicist •1453 - turned into a mosque •patrons were Justinian & Theodora •held many important relics Function: •site of emperors' coronations •meant to communicate imperial power & glorify Christianity

Catacomb of Priscilla

Form: •underground network of passageways & chambers designed as cemeteries •developed b/c Christianity was forbidden & they had to hide their burials •images are often framed in lunettes, or semicircular Orant fresco: •orant - praying figure depicted with wide arms & serving as a symbol of faith or the church itself •includes New & Old Testament scenes •realistic tradition of Roman art is combined with signs & metaphors that suggest life goes beyond earthly •used for Christian burials Greek Chapel: •square shape with an arch •apse depicts the Last Judgement •stressed that (for Christians) burial is just a temporary movement while they wait for final resurrection Good Shepard fresco: •Christ represented as a young, beardless Roman •Roman influence •naturalism rather than symbolism •story of Jonah is depicted in the lunettes •reinforces the idea that faith in Jesus leads to salvation & the idea of Christ's Resurrection Function: •showing Christians what a good Christian life was like •demonstrated important aspects of life Christians must experience, road to salvation •enclosed with a lunette at the back of the cubiculum •not a place of worship

Fruit and Insects

Form: Still-Life paintings Context: Renaissance art was at its peak--> artists began to challenge the societal norms (accepted artistic styles and elements of the time) Artists reinvented the way art was portrayed --> led to a new form of art Vibrant colors (red and green) Uncommon subjects 1648 = Netherlands became independent from Spain (economic prosperity) Flourishing international trade = newly affluent middle class Wealthy merchants created a new kind of patronage and art market = producing directly for buyers (rather than work commissioned by the church) Historical, mythological, or religious paintings were no longer desired = buyers wanted portraits, still-life, landscapes, and paintings of everyday life Artworks that would reflect their success Rachel Ruysch became known as one of the greatest floral painters of her time Content: Possessed elegant skill and technique (element of sensitivity) She used bold and dynamic colors and textures Parallel to the growth of the Dutch industry and science of botany Flowers became newly appreciated simply for their beauty and fragrance Desirable status symbols for the wealthy However this work speaks to fruits and insects Subject = fruits, vegetables, harvest, and insects Grapes = blood of Christ Animals = naturalism Corn, Squash, Chestnuts Also Wheat = Eucharist (christian symbolic value) Attention to detail (particularly leaves and flowers) Less symmetrical and much more lively Curves (a sense of movement) Less formalized and orderly

Wall plaque, from Oba's palace

Form: • 2 x 2 feet • used lost wax casting: relief sculptures that are almost free-standing • hierarchy of scale • Oba = king Content: • the Oba is both the spiritual & secular leader; considered a direct descendant of the legendary founder of the dynasty • depicts mainly the Oba and the royal court & the Oba's victorious battles; distinctive coral beaded regalia denotes Oba • Oba is riding side saddle on a horse and stepping on a defeated enemy Context: • British Punitive Expedition (1897) • 200+ plaques covered the walls of the royal palace • indicates trade w/ Portugal Function: • decorated the palace walls • order of their placement would have told the history of the royal lineage of Obas • were strictly for the Oba • any visitor would see the wealth of the kingdom

'Ahu 'ula (feather cape)

Form: • Made with feathers and olona fiber (netting made in straight rows) • Feathers were attached to the netting in overlapping rows • Exterior = red feathers from the 'i'iwi bird, black and yellow feathers from the 'o'o bird • Dimensions: 64 x 15 1/2 in. (162.6 x 39.4 cm) • 500,000 feathers - some birds had only seven usable feathers • Coconut fiber used as a base Function: • Male nobility wore feather cloaks and capes for ceremonies and battle (they were called 'ahu'ula aka red garments) • Only high-ranking chiefs or warriors of great ability were entitled to wear these exceptional garments • Neckline - curved shape to best fit the wearer • The cloaks and capes were given as gifts to sea captains and their crews • created by artist who chanted the wearer's ancestors to imbue their power on it • Protected the wearer from harm Content: • A feather cloak - yellow and red • Red = associated with gods and chiefs across Polynesia • Yellow = valuable because of their scarcity in the Hawaiian Islands • Semi-circular cape is a later development from the trapezoidal shape • Feather cloaks and capes were symbols of power and social standing in Hawaiian culture Context: • Earliest European visitors to Hawaii • unknown who brought this cape to England as many of the items given as gifts were passed onto wealthy patrons to get them to finance their voyage • This cape was apparently retained by Captain Cook's widow and inherited by the descendants of her cousin, Rear Admiral Isaac Smith

Monticello

Form: • Marble Greek looking portico goes into a crucifix-like building • There is a dome in the middle (closer to the entrance), but it is not massive • Long, rectangular windows are on the walls • Everything is symmetrical around the central axis line of the door (vertical axis) Function: • The building is meant to be lived in • By helping to introduce classical architecture to the United States, Jefferson intended to reinforce the ideals behind the classical past: democracy, education, rationality, civic responsibility Content: • Took inspiration from Classical and Neoclassical buildings in France when he was ambassador • Remodeled the original two-story pavilion based on the Hôtel de Salm in Paris • symmetrical single-story brick home under an austere Doric entablature • two-column deep extended portico contains Doric columns that support a triangular pediment that is decorated by a semicircular window • balustrade (the fence thing on the roof) that circles the roofline provides a powerful sense of horizontality • Classical European Structure = basilica plan • Steps = ancient Etruscan temples • Gardens = French imitation Context: • he was never formally trained as an artist • Jefferson hated Britain, so he tried to stay as far away from British architecture as possible • He was a Francophile - he loved France

Pisupo Lua Afe (Corned Beef 2000)

Form: • Mixed Media • flattened cans of corned beef • interest in Polynesian heritage • static sculpture with small wheels at the feet to move it easily • life size Function: • theme of recycling emphasized by the reuse of cans Content: • canned corned beef was a favorite in New Zealand • canned beef was given as a gift on special occasions in Polynesia • contributed greatly to Polynesian obesity Context: • the introduction of canned beef caused a fall in traditional cultural skills of fishing and farming • part of modern sculpture • threw out marble to experiment with new materials

Oath of the Horatii

Form: • Neoclassical • Simplistic and Symbolic • Rejection of Rococo • Organized and structured • Male Figures = constructed with geometric shapes • Female Figure = organic/realistic shapes Function: • Show 3 sons taking an oath to their father Content: • Depiction of a Roman Myth • 3 brothers swear on their swords to their father • Women sits to the right grieving • Figures are placed in a columned hall Context: • Legend of Horatti • Conflict between Rome and city of Alba • Instead of declaring war, they sent 3 representatives to settle dispute • Typical for battles to be won as men remain standing • Held moral value in Roman culture • Sacrifice for the defense of your city is a noble case • France was on the verge of its Revolution and the end of the monarchy • David picked up on the independent ideas resurfacing all over the world (revolutionary thinking)

Fountain

Form: • Readymade sculpture • Signed by R. Mutt as a pun Function: • Irony • Both ironic for its being upside and the signature as a plan on a cartoon strip of the time, Mutt and Jeff Content: • An upside down urinal Context: • Made or rather found during the Dada movement • Dada literally means hobby horse but was meant as a nonsense, random word • was a reaction against the horrors of WW1 • Dadaists rejected conventional methods and manners • They abandoned oil and canvas in favor of readymades and works on glass • They accepted the dominate of the artistic concept over the execution

Dancing at the Louvre

Form: • acrylic on canvas with fabric borders • American slave art- as seen in the quilt- to create her work • combines the traditional use of oil paint with the quilting technique • NY born African American artist Function: • quilt has a narrative element and is not meant to be put on a bed • quilts were meant to be both beautiful and useful • acting out a history that may not have actually taken place Content: • Willia Marie Simone (made of character) takes her friend and three daughters to the Louvre museum and dances in front of three paintings by Leonardo DaVinci • feminist issues dominate -quilting is usually seen as a woman's work Context: • part of modern painting • represented in the use of acrylic paint • take a very little time to dry and do not

Preying Mantra

Form: • mixed media on mylar • 2006 • Kenya-born NY based artist • Collaged female figures composed of human, animal, object, and machine parts Function: • commentary on the female persona in art history Content: • woman reclined in a relaxed position • green snake interlocks with her fingers • bird feathers on the back of her head • left ear lobe has chicken feet, insect legs, and pinchers • ironic twist on the praying mantis -religious rituals -mantis means "prophet" in Greek -insects use camouflage: this figure seems camouflaged

Tamati Waka Nene

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

Horn Players

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 -Words as shapes -Picasso-inspired faces -"ORINTHOLOGY", "DIZZY", "PREE", "TEETH" repeated Function: -African American history -black Jazz musicians Context: -1983 CE -Artist: Jean-Michel Basquiat; based in NY (famous for graffiti there) -"the black Picasso"

Marilyn Diptych

Form: -Aimed at young people -Emphasis on sex, sarcasm, comedy -Pop art -Photo reproduction -Monumental scale (6 x 9ft) -2 silver canvases artist silkscreened images on Content: -Marilyn Monroe's image 50 times -Image slowly disappears to the right Function: -Tribute piece -The "mask" of a celebrity -Illusion of commercial desires -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 Context: -artist: Andy Warhol -After Marilyn has died from an apparent suicide -"diptych" references early Christian art

Vietnam Veterans Memorial

Form: -Black Granite -Typography (words as art) Content: -Located between Washington Monument and Lincoln Memorial (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) -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, 1982 CE -Washington D.C, USA

Black on black ceramic vessel

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 -shiny surface from burnishing before firing -not watertight -suggests a bird in flight Context: -Maria and Julian Martinez, New Mexico mid-20th century -depict forces of nature -the community decorated pots & Martinez signed them so everyone could benefit from the art market -art rather than utilitarian -represents work of the entire community -Maria made the pots, Julian painted the pots

MAXXI National Museum of XXI Century Arts

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

Earth's Creation

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

Dream of a Sunday Afternoon in the Alameda Park

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 -3 periods of Mexican history over 400 years (Conquest, Porfirio of Diaz dictatorship, revolution of 1910) -Historical figures in the government/ revolution Context: -Diego Rivera, 1947-48 -Diego's memories of the park (moved to Mex. City at age of 10) -very controversial -Surrealism -Alameda Park was originally an Aztec marketplace in Tenochtitlan

Pink Panther

Form: -Glazed porcelain -Cartoonish -Kitsch: cute, cliché, gaudy, tasteless but ironically compelling/moving -Highly polished -Life-size Content: -Hollywood star and pink panther cartoon thrown over her shoulder Function: -Take a cheap cartoon and make it into a permanent delicate and priceless object -This kitsch thing treated as high art -Idealized woman stereotype: big breasts, very blonde, red lips and fingernails -Commentary on celebrity romance, sexuality, commercialism, stereotypes Context: -Porcelain from best porcelain factory in Germany -American artist: Jeff Koons 1988

Stadia II

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

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

Summer Trees

Form: -Paint movement (abstract expressionism) -Korean tradition of ink -Ink wash painting (ink blend together) Content: -Abstract group of pine trees -Parallel brush strokes Function: -Modern but rooted in tradition -Song's exploration of tone -Reference to "literati painting" (ink wash painting) -Express her Korean identity -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

Sunflower Seeds

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

Lying with the Wolf

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)

Guggenheim Museum Bilbao

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

Buk (mask)

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

The Crossing

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

Folio from a Qur'an

Form: -ink, color, and gold on parchment -wide page rather than vertical like normal -vowels marked with red dots -each chapter marked with a rectangular box & title is written in gold ink Content: -brown Arabic ink read from right to left -vegetal and geometric motifs because animal and human figures not allowed -vegetal & geometric motifs -biofolium (2 page spread) -written in kufic -each page contains 9 lines; indicates material wealth of the owner -the regularity & precision reveals the skill of the scribes & the importance of the text; each page was calculated before the paper was cut & text situated Function: -made for a wealthy patron -Mus'haf: a codex Qu'ran (bound version) Context: -Arab, North Africa, or Near East- Abbasid -8th-9th century -from the Quran

Portrait mask (Mblo)

Form: Oblong face shape is black in color with triangular brown markings Traces of orange and red paint remain near the lips, eyes, and nose Nose is long and mouth is closed Ears are rounded nubs on either side of the face Ribbing goes down from the ears and across the jawline and chin There are curved markings around the hairline, possibly representing hair A crown-like addition is attached to the head A rectangular shape has shapes poked into it; a cross-like set of curved triangles is centered with circles punched in on either side There are six pieces coming off of the top of the rectangle Function: Part of a masquerade called a gbagba in the village of Kami in the early 1900s Includes drummers, singers, dancers The masks are concealed until a climactic moment when they are revealed (are worn on a face) Masks kept out of sight when not in use Not meant to be hung on a wall Has power to act with simply its presence-- communicate with ancestors and spirits Meant to honor a respected member of Baule society Content: 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 High forehead and small mouth → convey intelligence and posture Left eye is slightly higher than right eye → gives feeling of complexity Tubular pieces above head → are just decorative (no symbolism) The folds near the mouth → conveys age The brass → would shine in the sunlight to represent health Could be a slight representation of animals with the horns The horns represent abstract hair, although the hair is usually not abstract -- represents Moya Yanso's inner beauty

Alhambra

Form: • Whitewashed adobe stucco, wood, tile, paint, and gilding • built @ human scale that visitors find inviting • plain outer walls contrasted with intricately carved stucco inner walls • heavily guarded • palace designed for security in maze-like complex Function: • Palace for Spanish Sultans • fortress for protection Content: • Palace of the Nasrid sultans of Southern Spain; light, airy interiors; built on a hill overlooking the city of Granada; • Contains palaces, gardens, water pools, fountains, etc; small low bubbling fountains in each room provide cool temperatures in the summer; • Court of the Lions: thin columns support heavy roofs; a feeling of weightlessness; intricately patterned and sculpted ceilings and walls; central fountain supported by protective lions; animal imagery permitted in secular monuments; parts of wall are chiseled through to create vibrant patterns within; • Hall of the Sisters: 16 windows at top of hall; light dissolves into honeycomb of stalactites that dangle from the ceiling; abstract patterns; 5,000 muqarnas refract light; carved into stucco on ceiling; highly sophisticated and refined interior; perhaps used as a music room Context: • 1354-1391 • threat of attack from Christians • patron: Nasrid Dynasty; last ruling Islamic dynasty in Spain

Lipstick (Ascending) on Caterpillar Tracks

Form: Cor-ten steel aluminum and cast resin Function: Platform for public speakers (Anti-Vietnam era protests) Content: Erected secretly; Tank shaped platform base with lipstick ascending (anti-war); male and female forms unite; themes of death, power, desire, and sensuality; Sculpture made of inexpensive and perishable materials (plywood and vinyl balloon)Refurbished with steel, aluminum, and fiberglass; first monumental sculpture by Oldenburg Context: 1969-1974 Claes Oldenburg Period/Culture: Pop Art

Lindisfarne Gospels

Form: Hiberno-Saxon illuminated Manuscript w/ Gold vellum - Codex book form - Mallakai comes from europe, skins from france, lapis blue from Afghanistan Function: Gospel Books Context: Lindisfarne Priory on Holy Island, The Shrine of St. Cuthbert ; earliest interpretation of the Bible in English Translated by Aldred: oldest surviving translations of the Bible in the English language Probably Illustrated by Bishop Eadfrith Content: Lindisfarne is a monastary in England where there was a monastery of monks from Greece and Italy who brought greek and latin books to Ireland. The monks didn't impose their will on the people. - Designs are anglo-saxon - someone translated these into old english

Vienna Genesis

Form: Illuminated manuscript (Tempera, gold, and silver ink on purple vellum) Illuminated means it has pictures Purple was very expensive Continuous Narrative (classical) Manuscript= hand-written Function: •depict the first book of the Bible •illuminted manuscripts not only aimed to depict stories of the Bible but be a symbol of the owner's piety Context: 6th Century CE Likely made in Constantinople Bibles weren't made at this time because they'd be too big and expensive, people instead owned specific parts of the Bible Content: - Codex replace scrolls - Byzantines introduced books to disseminate information - Books are in Greek, which was the language of the Byzantines Rebecca and Elizer at the Well: - figure reclining is a river goddess - seems classical, but proportions are odd - Camels kneel down and Abraham's servant seeks a wife for Isaac. The servant waits for the first woman to offer water to the camels, that woman becomes Isaac's wife. - Follows the bible closely

Yaxchilan

Form: Limestone architecture: Stone platform, steep stairs, corbeled vaulting, stone with relief carvings of ELITES not GOds usually, roof combs to emphasize height as a headdress worn by rulers, Function: Lintel of queens vision which reaffirms that her bloodline is the rightful ruler Content: - City commissioed by Shield Jaguar II -Glyphs on top show date to the weekday of Lady Xok's vision and notes the date of Shield Jaguar II's ascension to the throne in October 681. -Sheojaguar is the male ruler on the left - Lady Xok is pulling a thorny rope through her toungue, her husband, Shield Jaguar II holds a lit torch abover her - loss of blood and burning incense produced hallucinations which transformed Xok to a shaman state - Stands in an underground area Torch Mayan Culture - Lacked a central government - A culture that developed - Series of separate city states that were often at war - Share their God's and belief systems Complex writing system Context: Mayan Mexico, Indigenous Americas, (725C E), site specific for Lady Xok's temple, Yucatan Peninsula

Il Gesu

Form: Mannerism/ ProtoBaroque facade's form recalls classical architecture - ○ Entablature, pediment, pilasters, engaged columns, projecting cornice ○ Transitional Piece between renaissance and baroque -Pediment within a pediment - Scroll volutes add motion and movement and rich ornamentation - ambiguous borders - painted shadows Function:Mother Church of the Jesuit Order (The spiritual Exercise of St. Ignacio's wants the reader to find god with senses, touches and smells, the artwork in this church assists in the believer's sensual experience) Content: - Fresco itself is called "Triumph of the Name of Jesus" - Alexander Farnasia's (patron) name across facade -Vignola does the plan, Giacomo della porta does the façade, Gaulli is most important (ceiling fresco) - IHS = sacred monogram of Jesus, marks the church as Jesuit (iota-eta-sigma), on facade, ceiling, apse - shows heaven with light and damned figures (ignorant, non-believers) falling to hell opposite of the shining heaven Context: Jesuit, Church - Council of Trent (1545-1563)

City of Cusco, including Santo Domingo (Spanish colonial convent), and Walls at Saqsa Waman (Sacsayhuaman)

Form: The city was divided into to stratified sections that coincided with Inkan social classes, and further divided into quarters that represented the four provinces of the empire. Used typical ashlar masonry to fit together stones of varying shapes and sizes. Function: Practical and symbolic, it has fully inhabited but was also a miniature map of the Inkan empire that displayed imperial power to shape and control its inhabitants. Content: The stones are slotted such that they have slight freedom to move, which is essential in an area ravaged by earthquakes. Context: Girls and young women were drawn from across the empire to the capital to serve as cloistered acllas ("chosen women"): to weave fine cloth for gods and nobles and to make corn beer (chicha) for religious rituals, to serve gods in shrines, and in some cases to be given to Inka favorites in marriage. Young men were also brought to Cusco to be educated and raised in the Inka culture. When they returned to their homes, they would be valuable advocates for Inka traditions and power. In addition to the Inka gods and ancestor mummies kept in the capital, there were also the captured gods of subject peoples, brought there as another means of controlling their followers. Traditions: The Inka drew heavily from the earlier Chavin culture, particularly in their use of ashlar masonry, they were not to have a successor.

Les Demoiselles d'Avignon

Form: oil on Canvas Function: Art for Art's sake Content: First work of cubism; influenced by Cezanne and possibly African masks; Represents 5 prostitutes in a bordello on Avignon street in Barcelona, each posing for a customer; Poses are awkward, expressionless, and uninviting; Three on left are more traditional and 2 on right are more radical (represents Picasso's dichotomy); Multiple views expressed at the same time; no real depth; influenced by Gaugin's primitivism Context: 1907 Pablo Picasso Period/Culture: Cubism

Isenheim Altarpiece

Form: oil on wood, diptych (two panels/wings) Content: -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 Function: - made for a hospital to relate their suffering to Jesus' suffering in order to make them feel better Context: - no longer in situ - Boarder of France and Germany -Made by Matthias Grunewalkd in 1512-1516 CE

Untitled (#228), from the History Portraits series

Form: photograph Function: Comments on gender, identity, society, and class distinction Content: New Jersey born artist; Artist appears as the photographer, subject, costumer, hairdresser, and makeup artist; Series sheds a modern light on the great masters; Uses old master paintings as a starting point, but the works are not derivative; this image explores the theme of Salome decapitating St. John the Baptist; Richness of costuming and setting acts as a commentary on late 19th century versions of this subject; Richly decorative drapes hang behind the figure; Salome lacks any emotional attachment to the murder that has taken place; St. John the appears mask-like and alert Context: 1990 Cindy Sherman Period/Culture: Modern Painting and Sculpture

Staff god

Form: wood, tapa, fiber, and feathers Function: Represents the soul of the god by polished pearls and red feathers Content: Large column-like wooden shaft placed upright in a village common; Large head placed on top; several smaller heads carved below it; in the form of an elongated body; Central carved wooden shaft around which a roll of tapa is placed; pearls and feathers placed inside the bark cloth next to the interior shaft; most were destroyed; only the top ends kept as trophies; Context: late 18th to early 19th century Period/Culture: Cook Island

Electronic Superhighway

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

Sika dwa kofi (Golden Stool)

Forn: -carved from a single piece of wood -gold over wood -four corner posts and open central post -saddle shaped seat -gold leaf -retangular base Content: -Story of Golden Stool (priest named Anoyke had power to bring stool from the sky into lap of Osei -gold in Ashanti culture= trade material -at death, ancestral stools are blackened and kept in special shrine rooms Function: -symbolic stool signifying divine royal power (soul of the ashanti people) Context: -Ashanti royalty in Kumasi -South central Ghana -1700 CE

David Vases

Function: • part of a pair of altar vases & incense burner • donated to a Daoist Buddhist temple • a prayer for peace, protection, & prosperity for donor's family Form/Content: • good luck symbols • phoenixes & dragons represent prosperity/masculine energy • natural elements at the top & elephants from foreign interests at the bottom • originally the vases had porcelain rings attached through the elephant shaped handles • rare because of the inscription around the neck - dates it to exactly 1351 Context: • the cobalt blue color is a result of China's trade with Persia • Turkish style pottery; Chinese imagery • first global luxury product • Chinese ceramics were the most advanced in the world • named after their owner in the 1800s • most vases were made for an export market, these are an exception • mass produced for the wealthy

The Tete a Tete

Hogarth. 1743 CE. oil on canvas

Nadar Raising Photography to the Height of Art

Honore Daumier, lithograph, 1862

George Washington

Houdon. 1788-1792. Marble.

All-T'oqapu tunic

Inka. 1450-1540 C.E. Camelid fiber and cotton.

Maize cobs

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

Great Mosque (Masjid-e Jameh)

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

The Valley of Mexico

José María Velasco. 1882 C.E. Oil on canvas

Stadia II

Julie Mehretu. 2004 C.E. Ink and acrylic on canvas.

Night Attack on the Sanjo Palace

Kamakura Period, Japan. c. 1250-1300 C.E. Handscroll (ink and color on paper).

Darkytown Rebellion

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

Memorial Sheet for Karl Liebknecht

Kathe Kollwitz; 1919-1920 CE; woodcut

Lakshmana Temple

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

Lying with the Wolf

Kiki Smith. 2001 C.E. Ink and pencil on paper.

Power figure (Nkisi n'kondi)

Kongo peoples (Democratic Republic of the Congo). c. late 19th century C.E. Wood and metal.

Ndop (portrait figure) of King Mishe miShyaang maMbul

Kuba peoples (Democratic Republic of the Congo). c. 1760-1780 C.E. Wood

Transformation Mask

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

Ryoan-ji

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

Great Hall of the Bulls

Lascaux, France. 16000-14000 B.C.E. (Paleolithic) Rock Painting

Ludovisi Battle Sarcophagus

Late Imperial Roman. c. 250 C.E. Marble.

Rottgen Pieta

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

Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preparation for Passover)

Late medieval Spain. c. 1320 C.E. Illuminated manuscript (pigment and gold leaf on vellum)

Bandolier Bag

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

Last Supper

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

Jowo Rinpoche, enshrined in the Jokhang Temple

Lhasa, Tibet. Yarlung Dynasty. Believed to have been brought to Tibet in 641 C.E. Gilt metals with semiprecious stones, pearls, and paint; various offerings.

jade cong

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

Palace of Westminster

London. Barry and Pugin. 1840-1870. Limestone masonry and glass. Romanticism.

Versailles

Louis Le Vau and Jules Hardouin-Mansart. begun 1669. masonry, wood, iron, stone, and gold leaf; gardens. Versailles, France

Allegory of Law and Grace

Lucas Cranach the Elder. c. 1530 C.E. Woodcut and letterpress.

The Great Wave off Kanagawa

Made by Katsushika Hokusi. Japanese. 1831 Ce. Polychrome woodblock print on paper.

Great Stupa at Sanchi

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

Androgyne III

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

Great Mosque of Djenne

Mali. Founded c. 1200 C.E.; rebuilt 1906-1907. Adobe.

Pure Land

Mariko Mori. 1998 C.E. Color photograph on glass.

Navigation Chart

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

The Coiffure

Mary Cassatt. 1890-1891 C.E. Drypoint and aquatint.

Angel with Arquebus, Asiel Timor Dei

Master of Calamarca (La Paz School). c. 17th century C.E. Oil on canvas.

Temple of Minerva and sculpture of Apollo

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

Isenheim Altarpiece

Matthias Grunewald. 1512-1516 CE. Oil on wood

Virgin and Child between Saints Theodore & George

Early Byzantine Europe. 6th or early 7th century C.E. Encastic on wood.

Liberty Leading the People

Eugene Delacroix, 1830, oil on canvas

Composition with Red, Blue, and Yellow

Piet Mondrian. 1930 C.E. Oil on canvas.

King Menkaure and queen

Mortuary Temples of Hatshepsut

Tutankhamun's Tomb, innermost coffin

Great Serpent Mound

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

Marilyn Diptych

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

Chairman Mao en Route to Anyuan

Artist unknown; based on an oil painting by Liu Chunhua. c. 1969 C.E. Color lithograph.

Sika dwa kofi (Golden Stool)

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

Portrait mask (Mblo)

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

Forbidden City

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

Jahangir Preferring a Sufi Shaikh to Kings

Bichitr. c. 1620 C.E. Watercolor, gold, and ink on paper.

The Crossing

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

Angkor Wat

Cambodia. Hindu, Angkor Dynasty. c. 800-1400 CE. stone masonry, sandstone

Calling of Saint Matthew

Caravaggio. c. 1597-1601 C.E. Oil on canvas.

The Kiss

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

Dream of a Sunday Afternoon in the Alameda Park

Diego Rivera. 1947-1948 C.E. Fresco.

David

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

Dancing at the Louvre

Faith Ringgold. 1991. Acrylic on canvas, tie-dyed, pieced fabric border

Travelers among Mountains and Streams

Fan Kuan. c. 1000 C.E. Ink and colors on silk.

Madonna and Child with Two Angels

Fra Filippo Lippi. c. 1465 C.E. Tempera on wood.

The Portuguese

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

Arena Chapel

Giotto di Bondone. chapel: 1303 CE; fresco: 1305 CE. Padua, Italy. unknown architect. fresco and brick.

The Bay

Helen Frankenthaler. 1963 CE. acrylic on canvas.

Seated Boxer

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

Ikenga (shrine figure)

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

Portrait of Sin Sukju

Imperial Bureau of Painting. c. 15th century C.E. Hanging scroll (ink and color on silk).

Pantheon

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

Pink Panther

Jeff Koons. 1988 C.E. Glazed porcelain.

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

JMW Turner. 1840 C.E. Oil on canvas.

The Migration of the Negro, Panel no. 49

Jacob Lawrence. 1940-1941 C.E. Casein tempera on hardboard.

Entombment of Christ

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

Oath of the Horatii

Jacques-Louis David. 1784 C.E. Oil on canvas.

Still Life in Studio

Jacques-Mande Daguerre. 1837 CE. daguerreotype

The Arnolfini Portrait

Jan van Eyck. c. 1434 C.E. Oil on wood.

Trade (Gifts for Trading Land with White People)

Jaune Quick-to-See Smith. 1992 C.E. Oil and mixed media on canvas.

La Grande Odalisque

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

Horn Players

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

Dome of the Rock

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

Woman Holding a Balance

Johannes Vermeer. c. 1664 C.E. Oil on canvas

A Philosopher Giving a Lecture on the Orrery

Joseph Wright of Derby. c. 1763-1765 C.E. Oil on canvas.

Olympia

Manet, 1863, oil on canvas

Ardabil carpet

Maqsud of Kashan. 1539-1540 CE. silk and wool.

Fountain

Marcel Duchamp, 1917, Dada, porcelain

Black on black ceramic vessel

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

Vietnam Veterans Memorial

Maya Lin; 1982 CE; granite

Lukasa (memory board)

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

the Kaaba

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

Object (Le Dejeuner en fourrure)

Meret Oppenheim. 1936 C.E. Fur-covered cup, saucer, and spoon.

Pisupo Lua Afe (Corned Beef 2000)

Michel Tuffery. 1994 C.E. Mixed media.

Portait of Sor Juana Ines de la cruz

Miguel Cabrera. 1750. oil on canvas.

Mesa Verde Cliff Dwellings

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

Basin (Baptistere de St. Louis)

Muhammad ibn al-Zain. c. 1320-1340 C.E. Brass inlaid with gold and silver.

Electronic Superhighway

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

Apollo 11 Stones

Namibia, Africa 25,000B.C.E. Charcoal on stone

Todai-ji

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

Seagram Building

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

Hiapo (tapa)

Niue. c. 1850-1900 C.E. Tapa or bark cloth, freehand painting.

Les Desmoiselles d'Avignon

Pablo Picasso. 1907 C.E. Oil on canvas.

Mont Sainte-Victoire

Paul Cezanne. 1902-1904. Oil on canvas

Where Do We Come From? What Are We? Where Are We Going?

Paul Gauguin. 1897-1898 CE. oil on canvas.

Nan Madol

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

Villa Savoye

Poissy-sur-Seine, France. Le Corbusier (architect). 1929 C.E. Steel and reinforced concrete.

Doryphoros (Spear Bearer)

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

House of the Vettii

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

Alexander Mosaic from the House of Faun

Pompeii. Republican Roman. c. 100 B.C.E. Mosaic.

Palette of King Narmer

Pre-Dynastic Egypt. c. 3000-2920 BCE. Greywacke.

San Vitale

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

Self-Portrait with Saskia

Rembrandt van Rijn. 1636 C.E. Etching.

Head of a Roman Patrician

Republican Roman. c. 75-50 B.C.E. Marble.

Spiral Jetty

Robert Smithson. 1970. Great Salt Lake, Utah. earthwork

Bayeux Tapestry

Romanesque Europe (English or Norman). c. 1066-1080 C.E. Embroidery on linen.

Bundu Mask

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

Birth of Venus

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

Seated Scribe

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

Rebellious Silence, from the Women of Allah series

Shirin Neshat (artist); photo by Cynthia Preston. 1994 C.E. Ink on photograph.

Terra Cotta Fragments

Solomon Islands 1000 BCE terra cotta (incised)

Summer Trees

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

The Oxbow

Thomas Cole, 1836, oil on canvas

Monticello

Thomas Jefferson. 1768-1809. Brick, Glass, Stone, and Wood. Virginia

Pyxis of al-Mughira

Umayyad. c. 968 C.E. Ivory.

The Jungle

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

Woman I

Willem de Kooning. 1950-1952 C.E. Oil on canvas.

Stonehenge

Wiltshire, U.K. 2500-1600 B.C.E. (Neolithic) Sandstone, megaliths

Camelid sacrum in the shape of a canine

central Mexico 14,000-7,000 BCE bone

Tlatilco female figurine

central Mexico, site of tlatilco 1200-900 BCE ceramic

Last Judgement of Hu-Nefer

from his tomb (page from book of the dead). New Kingdom, 19th Dynasty. c. 1275 BCE. Painted papyrus scroll.

Statues of votive figures

from the Square Temple of Eshnunaha, (Modern Tell Asmar, Iraq) Sumerian. c. 2700 BCE. Gypsum in laid shell and black limestone.

Standard of Ur

from the royal tombs Summerian. c. 2600-2400 B.C.E. Wood inlaid with shell, lapis, lazuli, and red limestone.

Standard of Ur

(modern Tell el-Muqayyar, Iraq) Sumerian. c. 2600-2400 BCE. wood inlaid with shell, lapis lazuli, and red limestone.

Temple of Amun- Re and Hypostyle Hall

Taj Mahal

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

Sunflower Seeds

Ai Weiwei, 2010-2011, Sculpted and painted porcelain

Adam and Eve

Albrecht Durer, 1504, engraving

The Steerage

Alfred Stieglitz. 1907 C.E. Photogravure.

Running Horned Woman

Algeria. 6000-4000 B.C.E. Pigment on rock(cave painting) ochre/charcoal

Angkor Wat

Angkor Thom, Cambodia. Hindu. Angkor Dynasty. c 800-1400 CE. stone masonry, sandstone.

Niobides Krater

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

Folio from a Qur'an

Arab, North Africa, or Near East. Abbasid. c. eighth to ninth century C.E. Ink, color, and gold on parchment.

Anthropomorphic Stele

Arabian Peninsula 4000-3000 BCE sandstone

Anavysos Kouros

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

Peplos Kore from the Acropolis

Archaic Greek. c. 530 B.C.E. Marble, painted details.

Athenian Agora

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

Bamiyan Buddha

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

Pazzi Chapel

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

Yaxchilan

Chiapas, Mexico Maya 725 CE Limestone

Untitled (#228), from the History Portraits series

Cindy Sherman. Rome, Italy. 1990 C.E. Photograph

Screen with Siege of Belgrade and hunting scene

Circle of the González Family. c. 1697-1701 C.E. Tempera and resin on wood, shell inlay.

Lipstick (Ascending) on Caterpillar Tracks

Claes Oldenburg. 1969-1974 C.E. Cor-Ten steel, steel, aluminum, and cast resin; painted with polyurethane enamel.

The Saint Lazare Station

Claude Monet. 1877 C.E. Oil on canvas.

Church of Sainte-Foy

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

Hagia Sophia

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

Templo Mayor

Content: Main temple of the Mexica people Design is inspired by Mexica mythology Either side of the temple was dedicated to and represented the two primary gods Wooden statues of the two gods were inside of the two temples God of war and sun on one half Huitzilopochtli Included sacrificial stone and standard bearer figures and serpants This side of the temple represents snake mountain or Coatepec South side of the temple Painted red → symbolic of the dry season during the winter solstice Steps leading to Huitzilopochtli's were painted bright red, symbolizing war and blood Stairs also had sculptures of snake heads with feathers God of rain/agriculture on the other half Tlaloc Included altar of the frogs and chacmool sculpture to receive offerings This side of temple symbolized the mountain of sustenance, which produced rain and allowed crops to grow North side of the temple Painted with blue stripes → symbolic of the wet season during the summer solstice Stairs leading to Tlaloc temple were blue and white, again representing water Stairs also had sculptures of snake heads with blinkers These halves were very contracting to each other, showing a value in balance and harmony of opposites in nature from life and death, peace and violence, power and humility. Function: A place of worship for their gods, Tlaloc and Huitzilopochtli Rituals, ceremonies and reenactment of their myths Panquetzaliztli ("Banner raising") performed Honored Huitzilopochtli's triumph over Coyolxauhqui Gifts were offered to Huitzilopochtli Tamales were eaten and there was dancing Reenact the myths associated with Coatepec A representation of Aztec warfare and conquest as well as their power Context: Aztec empire was from 1345 - 1521 CE Tenochtitlan, Mexico (present day mexico city) Sacred precinct and center of former mexica empire On on island in the middle of lake Texcoco Means "The Greater Temple" A UNESCO world heritage site Taken apart and destroyed by the Spanish in 1521, remains were buried When the Coyolxauhqui stone was found, the site of Templo Mayor was also rediscovered Now the temple is an excavation site of ruins Thousands of ritual objects have been recovered related to the temple Included objects from other cultural traditions showing the Mexica awareness, value, and appreciation of past culture, such as the Olmec mask The aztec Invasion of neighboring territories to spread Aztec ideas and religion Tenochtitlan dominated smaller city states to establish itself as the capital around the 12 cent CE Constant threat of military intervention maintained the order Tenochtitlan could hold 200,000 people by the 16th century Was a Trade center Gold, pottery, food exports Coyolxauhqui Stone Form: C. 1500 Volcanic stone Found in Templo Mayor in 1978 A Monolith relief carving and was originally painted red orange white and blue Content: Connected to warfare and the sun→ was located at the base of the huitzilopochtli side of temple Depicts the Aztec goddess Coyolxauhqui (Bells-Her-Cheeks), sister of the patron god, Huitzilopochtli (Hummingbird-Left), who was killed by her brother when she attempted to kill their mother. Graphic imagery depicts themes of death and chaos. She is beheaded and dismembered Items mark her status, but the goddess is naked connecting to motherhood but Also symbolizes Humiliation and defeat Function: A sacrificial stone Used to transformed temple into a symbolic coatepec ("snake mountain") by placing it at bottom of structure to reenact their myths to honor Huitzilopochtli During the monthly festival of panquetzaliztli, war captives were killed and rolled down the structure so that they landed on the monolith to reenact and symbolize the defeat of Coyolxauhqui who fell off the snake mountain Ritual was to assert power and authority over enemies of Mexica and make them fear Mexica War captives were killed in a way that mirrored the death of Coyolxauhqui Calendar Stone Content: angry face resembles sun with open mouth and ear spools to symbolize elite. Possibly of Tonatiuh the Aztec sun god Related to aztec myths of the five suns which is the creation all previous eras of the world including the current, or fifth era/ sun called four movement Prophesied the 5th era will end in death by earthquakes, relating to the volcanic landscape 20 symbols → the days of the calendar Arrows point in cardinal directions to symbolize quadrants of the universe Tenochtitlan was also divided into four quadrants, capital represents center of universe Fire Serpents represent time→ carry sun across the sky Includes a Symbol of Montezuma II→ dates to his reign Function: Records the origins order and structure of the universe Tells story of cosmos History of creation and time Olmec-style mask Form: Small Polished sculpture made of jadeite Recovered at the site of Templo Mayor From Olmec culture, before the Aztecs In Gulf coast of mexico→ distant in geography and time Content: Human face comparable to a baby's with distinct Olmec style Function: Was and Offering buried in the temple in 1470 Aztec collected them and ritually buried them to offer to gods Aztec collected objects from many different culture→ connection between cultures Shows the vast trade networks of mesoamerica Context: It was from 1000 years prior to Mexica's existence in Teotihuacan → Mexica people saw it as valuable and historically significant Shows Aztecs revered past culture and cared about history Olmecs thrived and had enormous pyramids that the Aztecs admired and believed the fifth sun was born

Pazzi Chapel

Context/Function • contrast to the dynamics & decor of Gothic architecture • attached to the Basilica Santa Croce • Bruenelleschi developed linear perspective • central plan by emphasizing the dome over the middle • patron: Pazzi family • Loggia: a gallery open to air on at least one side; has 6 Corinthian columns • funerary chapel for the Pazzi family Form/Content: • Loggia is barrel-vaulted with a central dome; decorated with rosettes on the entablature • space is divided into geometric formulas • pietra serena - serene stone; muted tones • the rationality is clarified is clarified by the stone moldings - trademark of Brunelleschi • 12 ribbed dome • Roman arches & barrel vaults on the sides • Brunelleschi used the pietra serena to emphasize the geometric design & rational proportions • humanist • tondi - rounded medallions; depict the 4 evangelists • small square apse called scarsella is covered by a dome decorated w/ a fresco reproducing the sky

Great Zimbabwe

Context/Function: • a huge trade center & royal complex • objects from China, Persia, & Portugal found there • skillful stone masons built massive dry-stone walls • walk single file Conical tower: • part of the Great Enclosure → designed to preserve the privacy of royal families & set them apart from and above commoners • shape of the tower represents a grain bin = wealth, protection, & generosity of the ruler • social hierarchy: walls hide the view of the elites from the commoners • chikuva - a platform next to the tower that was used as part of the burial process; considered the burial place of ancestors • monolithic soapstone images of birds of prey on columns were placed on top of the walls; symbolic of the power of Shona kings as benefactors to their people Circular wall: • high level of craftsmanship • no straight lines or right angles • 36 feet tall • walls are thought to have been a symbolic show of authority • walls were fitted without the use of mortar; used layers to produce a stabilizing inward slope • not meant for defense

Todai-ji

Context: • Buddhism was brought to Japan by a Korean emissary • Emperor Shomu realized realized religion was only means to heal the country → he and his wife fused Buddhist doctrine & political policy → he established a national system of monasteries • was a central monastery • mixes the spiritual & pragmatic • built with money from a special tax that forced contributions • roof topped with shibi, mythical sea creatures intended to protect building from fire • functioned as training of monks & admin center • Shinto influence: emphasizes simplicity & naturalness • Chinese in its orderly, symmetrical layout & bracketing system Nio guardian statues: • on either side of gate • dramatic contrapposto • masculine, scary imagery that protect the Buddha • originally painted • 26 feet tall • multiple pieces of wood block, no nails • 1 has mouth open, the other has mouth closed Great Buddha • circumambulate it • Vairocana (celestial) • largest metal statue of Buddha in the world • snail curl hair is a sign of Buddha's divinity • entire complex was burned in 1180

Last Supper

Context: • patron - Duke of Milan • located in a dining hall • da Vinci experimented with the oil & tempera mix to maximize luminosity so it would dry slower - did not work • typical High Renaissance composition: balanced, calm, stability; formal structure doesn't stand out b/c of the emotive qualities • depicts a religious with psychological intensity • light source is the same as if the light was coming through the real reflectory windows; only Judas is in shadow Form: • linear perspective • no halos • window behind Christ acts as a halo • tapestries on the wall in perspective add depth • each figure is individualized Content: • depicts the moment just after Jesus has told them that one of the disciples would betray him

Great Mosque of Cordoba

Cordoba, Spain. Umayyad. 785-786 CE. Stone masonry

Ecstasy of Saint Teresa

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

The Stonebreakers

Courbet, 1849, Realism, oil on canvas

House in New Castle County

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

Las Meninas

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

Shibboleth

Doris Salcedo, 2007-08, installation, Tate Modern

Lamassu from Citadel of Sargon II

Dur Sharrukin (modern Khorsabad, Iraq). Neo-Assyrian. c. 720-705 B.C.E. Alabaster.

The Horse in Motion

Eadweard Muybridge. 1878 C.E. Albumen print.

Vienna Genesis

Early Byzantine Europe. early 6th century ce. illuminated manuscript (tempera, gold, & silver on purple vellum)

Lindisfarne Gospels

Early Medieval (Hiberno Saxon) Europe. c 700 CE. Illuminated Manuscript (Ink/Pigment/Gold on Vellum).

Merovingian looped fibulae

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

Mosque of Selim II

Edirne, Turkey. Sinan (architect). 1568-1575 C.E. Brick and stone.

Wall plaque, from Oba's palace

Edo peoples, Benin (Nigeria). 16th century C.E. Cast brass.

The Scream

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

Old Man's Cloth

El Anatsui. 2003 C.E. Aluminum and copper wire.

Earth's Creation

Emily Kame Kngwarreye. 1994 C.E. Synthetic polymer paint on canvas.

Palazzo Rucellai

Florence, Italy. Leon Battista Alberti. 1450 CE. stone, masonry

The Court of Gayumars

Folio from Shah Tahmasp's Shahnama. Sultan Muhammad. c. 1522-1525 CE. Ink, opaque watercolor, and gold on paper

Bahram Gur Fights the Karg

Folio from the Great Il-Khanid Shahnama. Islamic; Persian, Il'Khanid. c. 1330-1340 C.E. Ink and opaque watercolor, gold, and silver on paper.

Angkor Wat

Form & Function: - largest religious monument in the world - 400 kilometers large - contains various capitals of the Khmer empire from 9th to 15th century - includes temple of Angkor Wat in Angkor Thom - full of temples, monuments, hydraulic structures (basins, dykes, reservoirs, canals) and communication routes - villages sprinkled throughout park are still inhabited today - built entirely out of stone, and almost all surfaces covered with high relief ornaments and bas relief images - Buddhist monks and nuns still worship there today - Angkor temple dedicated to Vishnu, the protector or preserver Content: - ancient sanskirt and khmer texts say that temples should be organized to be in harmony with nature - planned according to sun and moon, calendar of the year - plan of the universe or mandala - expansive enclosure wall separates the temple grounds from the moat - the temple is comprised of three passageways running around the temple, also known as galleries and a central sanctuary, marked by 5 stone towers - 5 stone towers mimic Meru, the mythical home of the gods in both Hinduism and Buddhism - stacked nature of temple supposed to literally represent mountains to invite the gods, hallmark style of architecture - galleries create empty spaces that represent the mountain ranges and oceans surrounding the mountain - Meru is considered an axis-mundi or an axis connecting heaven and Earth - so this temple is like a lavish home for Vishnu - 1200 square meters of carved bas relief - represent 8 different hindu stories - more prominent one is Churning of Ocean of Milk (below) - shows the beginning of time and the creation of the universe (links King to Gods in direct line since creation of the world) Context: - has become Cambodian national symbol; on the national flag - Siem Reap region of Cambodia - name means "City Temple" in Khmer (national language of Cambodia) although this is likely not the original name - strangely no texts that mention the city by name - built by King Suryavarman II (1113-1145/50 C.E.) "protector of the sun" - many scholars believe that the temple was also intended to serve as a mausoleum after the King's death --> Cross cultural connection: Taj Mahal - construction started shortly after he took the throne and was finished shortly after his death - based on inscriptions found and the style of architecture - building temples was used by Khmer kings to legitimize their rule and gain protection from the gods - needed to prove that the gods did not support his predecessor, assert that their temple was where they would choose to live on Earth - probably used 300,000 workers, including architects, construction workers, stone masons, sculptors, and servants to feed them

Lakshmana Temple

Form : • Made of fine sandstone and ashlar masonry • Nagara style Hindu Temple • Consists of a shrine known as vimana and a flat-roofed entry porch known as mandapa • The shrine of Nagara temples include a base platform and a large superstructure known as sikhara which viewers can see from a distance • Chandela style temple Content: • The central deity is an sculpture of Vishnu in his three headed form known as Vaikuntha who sits inside the temple's inner womb chamber • Sculpture has a harmonious integration with the architecture • Figures are sensuous with revealing clothing • Depicts idealized female beauty was important for temple architecture and considered auspicious, even protective • Sculptures of loving couples known as mithuna (the state of being a couple) appear on the temple as symbols of divine union and moksha, the final release from samsara (the cycle of death and rebirth) • Erotic poses symbolize regeneration Context: • first of several temples built by the Chandella kings in their newly-created capital of Khajuraho • Yashovarman sought to build a temple to legitimize his rule over these territories, though he died before it was finished. • His son Dhanga completed the work and dedicated the temple in 954 C.E. • At one point in time over 80 temples existed at this site, including several Hindu temples dedicated to the gods Shiva, Vishnu, and Surya. Function: • The temple is not a hall for congregational worship instead it is the residence of a God • Devotees approach the Lakshmana temple from the east and walk around its entirety and this known as circumambulation

Anavysos Kouros

Form: • rigidly frontal • human size • originally painted with encaustic (hot wax mixed with pigment for color); best way to paint stone for adherence • symmetrical Content: • archaic smile - represents transcendence • not a portrait, more naturalistic than earlier Kouros • ideal male youth • beardless young man represents an age when they must undergo training to become citizens of Athens • considered elite ideology of noble beauty Context: • discovered at a grave in Anavysos • thousands were made • this kouros was a young man named Kroisos who died heroically in war around 530 BCE; family had it made for him Function: • used as a funeral markers • replaced use of large vases as grave markers • heroically immortalized the deceased in stone

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

Birth of Venus

Form: -tempera on canvas -curvy body (flexibility) -neoplatonic love (classical and Christian) -sense of pattern and beauty Content: -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 Function: -probably wedding gift Context: -artist: Sandro Botticelli 1484-86 CE -Medici commission -Venus is goddess of love -Early Renaisasnce -rebirth of Classical myths

Rebellious Silencee, from the Women of Allah series

Form: Ink on photograph. Large photos (3ft. high) - text is written on the photograph in marker Function: Self-portrait. Look at western stereotypes of Iranian women Content: - in a series called "Women of Allah" - text is in Farsi - Gun bisects the composition in the foreground - Chador with exposed face - features the poem, "the Journey of the Awakened," homage to the Iranian revolution - displayed with its description in English in another room Artist: Shirin Neshat - Iranian - defiant gaze back at viewer (like Olympia) Context: 1994 - aftermath of the 1979 Iranian Islamic revolution from which she escaped

The Swing

Fragonard. 1767. Oil on canvas. Rococo.

And There's Nothing to be Done

Francisco de Goya. 1810-1823. etching

Triumph of the Name of Jesus

Giovanni Battista Gaulli. 1676-1679. Il Gesu. Rome, Italy. fresco and stucco.

Great Pyramids (Menkaure, Khafre, Khufu) and the Great Sphinx

Giza, Egypt. Old Kingdom, Fourth Dynasty. c.2550-2490 BCE. cut limestone.

Dedication Page with Blanche of Castle and King Louis IX of France, Scenes from the Apocolypse from Bibles moralisées.

Gothic Europe. c. 1225-1245 C.E. Illuminated manuscript.

Tamati Waka Nene

Gottfried Lindauer. 1890 C.E. Oil on canvas.

Alhambra

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

The Kiss

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

Funeral Banner of Lady Dai

Han Dynasty, China 180 BCE Painted silk

'Ahu 'ula (feather cape)

Hawaiian. Late 18th century C.E. Feathers and fiber.

Winged Victory of Samothrace

Hellenistic Greek. c. 190 B.C.E. Marble.

Goldfish

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

Shiva as Lord of Dance (Nataraja)

Hindu; India (Tamil Nadu), Chola Dynasty. c. 11th century C.E. Cast bronze

Shiva as Lord of Dance

Hindu; India (Tamil Nadu), Chola Dynasty. c. 11th century C.E. Cast bronze.

Augustus of Prima Porta

Imperial Roman. Early first century C.E. Marble.

Longmen Caves

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

Virgin of Guadalupe

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

Audience Hall of Darius and Xerxes

Persepolis, Iran. Persian. c.520-465 BCE. Limestone.

Chavin de Huantar

Peru, Chavin. 900-200 BCE. stone

City of Cusco, including Santo Domingo (Spanish colonial convent), and Walls at Saqsa Waman (Sacsayhuaman)

Peru. Inca. 1440 CE. andesite

Henry IV Receives the Portrait of Marie de' Medici, from the Marie de' Medici Cycle

Peter Paul Rubens. 1621-1625. oil on canvas

Moai on platform

S: monolith; statues C: one of the earliest datable artworks in oceania and are also the largest; monumental sculptures; 50 ft tall and weighs 4 tons; most of the moai of huge blocky figures with fairly planar facial features: large staring eyes, strong jaw, straight nose with carefully articulated nostrils and elongated ear lobes; a number of moai have pukao (small red scoriac, a local volcanic stone cylinders that serve as a sort of top knot or hat); moarian platform; backs are facing the sea; 900 statues are still there F: carved to commemorate ancestors; the backs are facing the sea so that they could keep watch over the island; represents power; many scholars believe lineage chiefs of their sons erected the moai and sculptures depict ancestral chiefs; Easter Islanders believed they had the ability to accommodate spirits or gods; statues mediate between chiefs and gods along with between the natural and cosmic worlds; burial; sacred

Starry Night

Vincent Van Gogh. 1889 CE. oil on canvas. Post-Impressionism

Preying Mantra

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

Annunciation Triptych

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

A Book from the Sky

Xu Bing. 1987-1991 C.E. Mixed-media installation.

Calling of Saint Matthew

• 1 of 3 paintings illustrating the life of St Matthew in a chapel dedicated to him by the Contarelli family • light comes in from 2 sources on right, creating a tenebroso effect on figures • diagonal shaft of light points directly to St. Matthew, who points to himself as if unsure that Christ would select a tax collector • depicts a moment in time • Christ's hand similar to Adam's on the Sistine Chapel • figures in Baroque fashion • sensual figures, everyday charcteristics • naturalist approach to the Baroque

Stonehenge

◦ built in 3 phases (gradually over time): 1. circular ditch about 6 feet deep was dug with a bank of dirt within it; ditch & bank together = henge; 56 pits that were originally filled with wooden beams 2. 100-200 yrs later; wooden posts; used for burial - 50+ healthy men were buried there 3. 500 yrs later; remaining bluestones & wooden beams which had been placed in the Aubrey holes remained; hard sarsen stones were erected; stones were capped with 30 lintel stones ◦ each standing stone was 13ft tall & weighed 25 tons ◦ a ring of stones enclosed 5 sarsen trilithons ◦ megalith - large stone that forms a prehistoric monument ◦ post & lintel ◦ mortise & tenon ◦ may predict eclipses ◦ may have been the center of ceremonies concerning death & burial

AP ART HISTORY - everythang

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