AP Art History Exam May 2019 (ALL 250 PIECES)

El Anatsui 2003 C.E. Aluminum and copper wire

#245: Old Man's Cloth

Yayoi Kusama Original installation and performance: 1966 C.E. Mirror balls *Although Kusama was not officially invited to exhibit, according to her autobiography, she received the moral and financial support from Lucio Fontana and permission from the chairman of the Biennale Committee to stage 1,500 mass-produced plastic silver globes on the lawn outside the Italian Pavilion. *The tightly arranged 1,500 shimmering balls constructed an infinite reflective field in which the images of the artist, the visitors, the architecture, and the landscape were repeated, distorted, and projected by the convex mirror surfaces that produced virtual images appearing closer and smaller than reality. *The size of each sphere was similar to that of a fortune-teller's crystal ball. When gazing into it, the viewer only saw his/her own reflection staring back, forcing a confrontation with one's own vanity and ego. *During the opening week, Kusama placed two signs at the installation: "NARCISSUS GARDEN, KUSAMA" and "YOUR NARCISSIUM [sic] FOR SALE" on the lawn. *Acting like a street peddler, she was selling the mirror balls to passers-by for two dollars each, while distributing flyers with Herbert Read's complimentary remarks about her work on them. She consciously drew attention to the "otherness" of her exotic heritage by wearing a gold kimono with a silver sash. *The monetary exchange between Kusama and her customers underscored the economic system embedded in art production, exhibition and circulation. The Biennale officials eventually stepped in and put an end to her "peddling." But the installation remained. *Her interactive performance and eye-catching installation garnered international press coverage. This original installation of Narcissus Garden from 1966 has been frequently interpreted by many as both Kusama's self-promotion and her protest of the commercialization of art. *Since then, Kusama's oeuvre has become integrated into the canon of art history, and popular with art institutions around the world. In 1993, Kusama was officially invited to represent Japan at the 45th Venice Biennale. *Her Narcissus Garden continues to live on. It has been commissioned and re-installed at various settings, including the Brazilian business tycoon Bernardo de Mello Paz's Instituto Inhotim (left), Central Park in New York City, as well as retail booths at art fairs. *The re-creation of Narcissus Garden has erased the notion of political cynicism and social critique; instead, those shiny balls, now made of stainless steel and carrying hefty price tags, have become a trophy of prestige and self-importance. *Originally intended as the media for an interactive performance between the artist and the viewer, the objects are now regarded as valuable commodities for display. *The profound narcissistic undertone however has been ironically amplified not only by the artist's pervasive ostentation, but also by the viewership in the age of Internet. *Seduced by his/her own reflective images on the convex surfaces, viewers snap photographs with a smart phone and instantly upload them to social media for the rest of the world to see. *The urge to capture and disseminate the moment one's own image coalesces onto a privileged object in a privileged institution seems to motivate the obsession with the self. *To further accentuate the effect of gazing at one's multiple selves, many installations now take place on the water where the original Narcissus from the Greek mythology fell in love with his own reflection and eventually drowned.

#148: Narcissus Garden

Jean-Honoré Fragonard 1767 C.E. Oil on canvas *Rococo painting, enjoyed by the Aristocracy *Poof of pink and lacy white at center of painting *Woman sits on red velvet seat, *Pink slipper is popped off and into the air *Her lover is hidden in the bushes and an older man pushes her on the swing *She appears to look mischievous. *Angel sculpture has his finger up to his lips, as if he were shushing the lover in the bushes *Behind a villa/palace (architecture in distance), indicates the location of this in a garden *Lightning in background indicates a natural indication of passion *Under woman, two cupid-like figures on a beehive (the "stings" of love) *Dog in bottom right corner yaps, may be giving away a secret. Dog is a symbol of fidelity. *Pre-French Revolution. Symbolises the pleasure of the French aristocracy during this time.

#101: The Swing

Charles Barry and Augustus W. N. Pugin (architects) London, England 1840 C.E. Limestone masonry and glass *To replace destroyed Palace of Westminster *Government buildings *Attached to Westminster Abbey *A design was chosen that related to the only existing building on the site after the fire, Westminster Hall Barry and Pugin's choice helped to solidify English Gothic as a national style of British architecture. *This building complex, designed in the English *Perpendicular Gothic style, was a collaboration

#112: Palace of Westminster (House of Parliament)

Auguste Rodin 1884 C.E. Bronze *In 1885, Rodin was commissioned by the French city of Calais to create a sculpture that commemorated the heroism of Eustache de Saint-Pierre, a prominent citizen of Calais, during the dreadful Hundred Years' War between England and France (begun in 1337). *Six men covered only in simple layers of tattered sackcloth; their bodies appearing thin and malnourished with bones and joints clearly visible. *Each man is a burgher, or city councilmen, of Calais, and each has their own stance and identifiable features. However, while they may stand together with a sense of familiarity, none of them are making eye contact with the men beside them. Some figures have their heads bowed or their faces obscured by raised hands, while others try to stand tall with their eyes gazing into the distance. They are drawn together not through physical or verbal contact, but by their slumped shoulders, bare feet, and an expression of utter anguish. *Rodin followed the recounting of Jean Froissart, a fourteenth-century French chronicler, who wrote of the war. According to Froissart, King Edward III made a deal with the citizens of Calais: if they wished to save their lives and their beloved city, then not only must they surrender the keys to the city, but six prominent members of the city council must volunteer to give up their lives. *The leader of the group was Eustache de Saint-Pierre, who Rodin depicted with a bowed head and bearded face towards the middle of the gathering. To Saint-Pierre's left, with his mouth closed in a tight line and carrying a giant set of keys, is Jean d'Aire. *The remaining men are identified as Andrieu d'Andres, Jean de Fiennes, and Pierre and Jacques de Wissant. *Unbeknownst to the six burghers, at the time of their departure, their lives would eventually be spared. However, here Rodin made the decision to capture these men not when they were finally released, but in the moment that they gathered to leave the city to go to their deaths. *Instead of depicting the elation of victory, the threat of death is very real. Furthermore, Rodin stretched his composition into a circle causing no one man to be the focal point which allows the sculpture to be viewed in-the-round from multiple perspectives with no clear leader. *Rodin spent most of his young life looking for approval and recognition. He was denied entry into the prestigious École des Beaux-Arts in Paris three times, and yet he continued to push forward until he could finally gain professional recognition. So, imagine his delight in 1885, when he was asked to create a monument for Calais. The only problem was he wanted to do it his own way. *It was common in the nineteenth-century to depict an event with a single heroic figure. For example, Rodin's later sculpture Monument to Balzac (1891-97), where the French playwright and novelist, Honoré de Balzac, is shown standing tall and alone with his head held high. This is similar to what the city of Calais was inevitably expecting from Rodin. As a result, they were displeased with Rodin's concept—they wanted only one statue; the one of Eustache de Saint-Pierre. Instead, Rodin included all six men from Froissart's account. *While these six men, at first glance, may look fragile, the heavy, rhythmic drapery that hangs from their shoulders falls to the ground like lead weights, anchoring them and creating a mass of strong, unyielding bodies. *In fact, the fabric appears to almost fused to the ground—conveying the conflict between the men's desire to live and the need to save their city. Rodin included raised portions of the floor under the men's feet which would have, ultimately, made some of the men appear higher than others, yet they are all sculpted to be around the same height, that of an adult male. *The burghers were not meant to be viewed in the form of a hierarchal pyramid with Eustache de Saint-Pierre at the top, which would have been typical in a multi-figure statue, but as a group equal in status. By bringing these men down to 'street level,' Rodin allowed the viewer to easily look up into the men's faces mere inches from his/her own; enhancing the personal connection between the viewer and the six men. *Because the patrons wanted a heroic quality, with a raised pedestal that would place the figures in a God-like status high above the viewers, Rodin presented the city of Calais with The Burghers of Calais complete with a pedestal. *However, the raised pedestal did not allow an audience to view the work of art as Rodin had intended. Therefore, he created a second version, one lacking a pedestal, to be placed at the Musée Rodin at the Hôtel Biron in Paris. *Rodin's goal was to bring the audience into his sculpture of The Burghers of Calais, and he accomplished this by not only positioning each figure in a different stance with the men's heads facing separate directions, but he lowered them down to street level so a viewer could easily walk around the sculpture and see each man and each facial expression and feel as if they were a part of the group, personally experiencing the tragic event.

#119: The Burghers of Calais

Louis Sullivan (architect) Chicago, Illinois, U.S. 1899 C.E. Iron, steel, glass, and terra cotta *Was a department store *Diverged from the traditional vertical effect of the ideal skyscraper *Steel-frame skyscraper *Tripartite- Infinite number of stories for offices *Industrial materials by the Art Nouveau decorative program *Cast-iron ornamentation cover the corner entryway and ground-level exterior

#124: Carson, Pirie, Scott, and Company Building

Ashanti peoples 1700 C.E. Gold over wood and cast-gold attachments *Osei tu-tu 1700 --> Prampi, 1800 C.E. exiled *Coming of age, giving a voice. The stool is given to the children once they're old enough. *The British wanted the stool so they could sit on it. This is strictly against the Ashanti people. The stool is so sacred to them that not even their King sits on it. *The British exiled King Prampi and demanded the stool. Women in the group were able to hide it, and kept it a secret. They were successful. Backstory of Stool: *Tu-tu received the stool from the heavens. It fell into his lap. It is more sacred than any member of the Ashanti peoples. *Sum-sum: Soul of all the entire Ashanti nation People>Royalty>Stool>Heavens *The Stool provided military victory *You don't speak directly to the heavens. You're only a vessel.

#170: Golden stool

Kuba peoples 1760 C.E. Wood *Ndop- Commissioned by the living King so he could make sure he was depicted accurately. *Name of artist is not on the piece *The Kuba peoples during this time were mostly blacksmiths and carvers *Representational of King, but stylized with a hierarchy of scale *Shows King's generosity *Shiny wood=smooth skin, beauty, perfection *Shody- Headpiece. Represents a farming too, food is life, so is agriculture is important. *Big head, large brain indicates a higher level of power and spirituality *Arm bands *Right hand holds a drum and a chalice, showing the King's generosity *Left hand holds a "peace knife" *Eyes appear to look like cowrie shells, which were used a currency

#171: Ndop of King Mishe maMbul

Kongo peoples 19th century C.E. Wood and metal *Cowrie shell belly button *Tall, powerful presence *Ikul- Peace Knife *When Europeans came to colonize and convert people in the Congo, they forced them to burn such statues *Nkisi- Medicine *Created with a "nganga" who is a doctor/shaman *Believe their Gods gave healing powers only to their Kings

#172: Power figure

Mende peoples 19th century C.E. Wood, cloth, and fiber *Coming of age moment for women. They leave and take on an adult role. They are educated on their bodies and have their clitoris removed (mutilated). *Sande Society, three years *Repeated patterns and geometric designs *Polished skin, high forehead *The top is a headpiece *Used as an educational tool during the Bonding Period *Contrast of textures *Female mask created a performed by women Headpiece: *Rolls of fat, crisalis, cowrie shells *Scarification in patterns on face *Face, childlike/youthful *Downcast eyes, indicating modesty in this piece Body: *Organic *Face, childlike/youthful

#175: Bundu mask

Igbo peoples 19th century C.E. Wood *Transformation/zoomorphic piece *Range in size *Personal shrine- Honors an individual's powers/skills *2 Large Horns, Fierce *Human and animal attributes *Human trophy head in left hand, symbol of distant past *In each hand, something shows up *Piece knife in right hand *Male *Sculpture in the round (multi-sided) *Head hunters (historically)

#176: Ikenga

Giza, Egypt Old Kingdom, Fourth Dynasty 2550 B.C.E. Cut limestone *Khufu, Khafre, Menkuara *Built over a period of dynasties by powerful leaders *Stone, tombs, statues, animal symbolism *Sub-Pyramids for primary wives *Triangle structure represents "Ben Ben," the story of creation/ascending to the heavens

#17: Great Pyramids and Great Sphinx

Bamiyan, Afghanistan Gandharan 400 C.E. (destroyed in 2001) Cut rock with plaster and polychrome paint *High relief sculptures *Western Buddha (Varaichona), 175 Feet Tall *Eastern Buddha (Shakqamuni) 120 Feet Tall *Located in valley which was on the Silk Route

#182: Buddha

Saudi Arabia Islamic Pre-Islamic monument Rededicated by Muhammad in 631 C.E. Multiple renovations Granite masonry, covered with silk curtain and calligraphy in gold and silver-wrapped thread *Represents one of the 5 Pillars of Islam (Hajj, visiting Mecca) *Before Muhammad, housed Pagan figures *Pre-Islamic object which was rededicated by Muhammad

#183: The Kaaba

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

#188: Basin (Baptistère de St. Louis)

Old Kingdom, Fourth Dynasty 2490 B.C.E. Greywacke *Stiffness in structure indicates power, but also how little knowledge there was of human anatomy *King's headdress = Cobra (Which in this headpiece is in the attack/protect position) *The Queen is either (real reason for placement is unknown): *1. Behind the King because she is lesser than him (supported by title). 2. Emulating the Goddess Hawthorne (supported by placement and similar, masculine, build to King Menkaura)

#18: King Menkaura and queen

Sultan Muhammad 1522 C.E. Ink, opaque watercolor, and gold on paper *Illustration of the Shahnama Persian Epic Poem telling of the History of the Persian Empire *1 page of the 258 page book *Harmony Humans and Nature *First King of the Gayumars enthroned before his people *Son on his left *Grandson on right *Angel Surush warns that his son will be murdered by the son of a demon *Court surrounds the King/ identifiable by clothing/ leopard skins *Miniature details/ rich colors *Frame within the page

#190: The Court of Gayumars, folio from Shah Tahmasp's Shahnama

Qin Dynasty 221 B.C.E. Painted terra cotta *Site was not uncovered until 1974 *All figures are small and different there are horses, chariots, and weapons *The urban plan of the capital, Xianyan and the center of the complex is designed to mirror Qin, unifier of China *Qin is buried around famous terra cotta warriors

#193: Terra Cotta warriors from mausoleum of the first Qin emperor of China

Sailendra Dynasty Central Java, Indonesia 750 C.E. Volcanic-stone masonry

#198: Borobudur Temple

Matthias Grünewald 1512 C.E. Oil on wood *Moveable altarpiece *Served as a central object of devotion in an Isenheim hospital built by the Brothers of St. Anthony (monks) *Center panel: Crucifixion of Christ *Bottom panel: Lamentation of Christ *Outer panels include psychedelic colors and zoomorphic creatures (similar to demons) *Golden exterior

#77: Isenheim Altarpiece

Liangzhu, China 3300 B.C.E. (NEOLITHIC) Carved jade *Circles, lines, faces, and animals *At this point, there was no material harder than jade *Found at burial sights, some had more than others *Symmetry/Balance in universe and straight lines

#7: Jade cong (cong is pronounced "song")

Viceroyalty of New Spain 1541 C.E. Ink and color on paper *The most famous codex (ancient manuscript in book form) from colonial Mexico *Named for Antonio de Mendoza, the first viceroy of Mexico (1535-1550), who commissioned it c. 1542. Mexica [may she kah], the dominant sub-group of the Aztec Empire *71 pages are divided into three parts -A history of the Mexica rulers and their conquests a tribute list (probably copied from a pre-Hispanic one, now lost) -Account of daily life. *Intended for King Charles V of Spain, never reached him, rediscovered in 1831 *Summarizes Mexica history *Reference to the Spanish conquest 1519 *Painted on European paper pages cut and bound at the edge *Spanish glosses (annotations) - to help Charles V interpret the pictographs and imagery *Mythic founding of the Mexica capital, Tenochtitlan [ten oshteet lahn] *Finding an eagle on a prickly pear cactus was foretold in Mexica mythic history: after a long journey the Mexica would see their patron deity *Huitzilopochtli in this bird form, pinpointing the place from which they would conquer all. *A map of Tenochtitlan surrounds the eagle, four parts symbolically populated by the ten founders of the city (sitting on mats and wearing long cloaks with pictographs of each of their names tethered to their heads by thin lines). The first one, Tenoch, for whom the city was named, is directly to the eagle's left. His face is darkened like a stone, representing his name "Stone Cactus Fruit" (note the prickly pear next to his head). *The Mexica depicted hieratically large warriors, brandish obsidian-bladed war clubs and round feather shields while holding their victims' hair in the classic indigenous American victory pose. *The toppling and burning temples serve as further evidence of defeat. *A series of rectangular cartouches run around the page's edges, each standing for a date. In the lower right corner an explosive puff of steam appears above the cartouche that represents 1521, the year the Spanish took Tenochtitlan by siege. *Early Colonial art necessarily hybridizes the two opposing cultures involved in negotiating a new third culture=New Spain.

#81: Frontpiece of the Codex Mendoza

Imperial Roman Early first century C.E. Marble *Augustus was the first emperor of the Roman Empire, depicted in his youth *Barefoot, more natural *Contrapposto, seen in the round *Most likely a copy of bronze sculpture *Used to be painted *Idealized army outfit with: Cupid (ascended from the Gods) and dolphin (naval victory over Mark Anthony and Cleopatra, how he came into power) *"Canon of proportions" *Pax romana- "State of peace" *Augustus refused to be a God nor a dictator *Cuirass (a piece of armor consisting of breastplate and backplate fastened together) indicates a god of sky/goddess of Earth (divine gods) *Calm and still *Propaganda portrait to show Rome's superiority, for people of Rome to see *Found in his wife's house, was created after his death

#43: Augustus of Prima Porta

Chiapas, Mexico (MAYAN) 725 C.E. Limestone *The name "Yaxchilán" means "Split-Sky Place" because the city looks across a river toward a valley/gap between two mountains to the east. *On the summer solstice the sunrise from the valley hits the central doorways of Structures 41 and 33, illuminating the image of the current ruler, connecting the leader with the sun at its strongest, on the longest day of the year. (This intentionally connects the ruler with the solstice and the power to control the alternation of rainy and dry seasons). *Structure 33 was rebuilt last by Bird Jaguar IV, ruler of the site between 752 and 768 C.E. *Images of Bird Jaguar IV playing "The Ballgame" (the first rubber ball based ritual game in world history) is carved into the walls lining the staircase. Steep steps are a feature in Mayan architecture. *The Lintel of Lady Xoc from Structure 23 at Yaxchilán Queen's palace and tomb: downhill, smaller than the structure 22 *Features: platform, rectangular, doorways leading into small, dark rooms, tall "roof comb", doors embellished with carved lintels visible to a select entrants (those who entered had to take a subservient low pose to view the lintels from below). *Mayan rulers were typically male, however women related to them by blood or marriage were also empowered. A blood relative/wife like Lady Xoc elevated the status of the ruler Shield Jaguar I, his most important principal wife and queen. *Lintel 25, which celebrated the ruler's accession day, was placed at the central doorway *Glyphs line the scene and tell the story: depicts the day the ruler Shield Jaguar I acceded to the throne in 681 C.E. *Lady Xoc entranced by a Vision/Serpent (due to blood-letting ritual) *The kneeling queen faces a huge two-headed snake (similar to the way viewers stare at the From the snake's mouth emerges her husband's "lineage founder," known as "Progenitor Jaguar," dressed as a warrior with a spear and shield. He is also wearing the mask of the rain god, Chaac. *Burning blood-spattered paper strips in the basket in front of her (indicating she conducted a She holds another basket to indicate that she and the ruler had just sacrificially bled themselves. *Bloodletting was a royal Maya duty: women from their tongues, men from their penises. Blood and rain were considered interchangeable liquids; the ancient *Maya believed royal blood would bring rain. Snakes are often seen during visions that result from blood loss and other means. *Lady Xoc as Shaman or spiritual conduit *She wears a very elaborate long Maya blouse, called a huipil ([wee PEEL] and jade jewelry (see Pair ofearflares, Head pendant, Headband ornaments of royalty and ritual *Snake imagery common in Indigenous Americas. -Hair of the Lanzon of Chavin, serpent/whisker nose ornament -Serpent Mound -Snakes represent the ability of rebirth and can be -dangerous/beautiful at the same time

#155: Yaxchilán

Ambum Valley, Enga Province, Papua New Guinea 1500 B.C.E. (MONOLITHIC) Greywacke *Anteater head, fruit bat ears (sonar navigation), and marsupial body *Greywacke is an easy to carve stone, popular in Egypt *Zoomorphic creature *Used as a mortar and pestle to grind things, has a continued history

#9: The Ambum Stone

Wifredo Lam 1943 C.E. Gouache on paper mounted on canvas *The cluster of enigmatic faces, limbs, and sugarcane crowd a canvas that is nearly an 8 foot square. *Lam's bold painting is a game of perception. The artist haphazardly constructs the figures from a collection of distinct forms—crescent-shaped faces; prominent, rounded backsides; willowy arms and legs; and flat, cloddish hands and feet. *When assembled these figures resemble a funhouse mirror reflection. The disproportion among the shapes generates an uneasy balance between the composition's denser top and more open bottom—there are not enough feet and legs to support the upper half of the painting, which seems on the verge of toppling over. *Another significant element within Lam's game of perception is how he places the figures within an unorthodox landscape. *Lam's panorama excludes the typical elements of a horizon line, sky or wide view; instead this is a tight, directionless snapshot, with only the faintest sense of the ground. *One part of the flora in this scene—sugarcane—is alien to the jungle setting suggested by the painting's title. Sugarcane does not grow in jungles but rather is cultivated in fields. In 1940s Cuba, sugarcane was big business, requiring the toil of thousands of laborers similar to the cotton industry in the American South before the Civil War. *The reality of laboring Cubans was in sharp contrast to how foreigners perceived the island nation, namely as a playground. Lam's painting remains an unusual Cuban landscape compared to the tourism posters that depicted the country as a destination for Americans seeking beachside resorts. *While northern visitors enjoyed a permissive resort experience, U.S. corporations ran their businesses, including sugar production. *Though Cuba gained independence from Spain at the end of nineteenth century, the United States maintained the right to intervene in Cuba's affairs, which destabilized politics on the island for decades. *During the interwar period in Paris, Lam befriended the Surrealists, whose influence is evident in The Jungle. *Surrealists aimed to release the unconscious mind—suppressed, they believed, by the rational—in order to achieve another reality. In art, the juxtaposition of irrational images reveal a "super-reality," or "sur-reality." *In Lam's work, an other-worldly atmosphere emerges from the constant shifting taking place among the figures; they are at once human, animal, organic, and mystical. *This metamorphosis among the figures is also related to Lam's interest in Afro-Caribbean culture. When the artist resettled in Cuba in 1941, he began to integrate symbols from Santería, an Afro-Cuban religion that mixes African beliefs and customs with Catholicism, into his art. *During Santería ceremonies the supernatural merges with the natural world through masks, animals, or initiates who become possessed by a god. These ceremonies are moments of metamorphosis where a being is at once itself and otherworldly.

#142: The Jungle

Jean-Antoine Houdon 1788 C.E. Marble *After the successful conclusion of the American Revolutionary War, many state governments turned to public art to commemorate this momentous occasion. *Given his critical role both in Virginia and the colonial cause, it is unsurprising that the Virginia General Assembly desired a statue of George Washington for display in a public space. *1784, the Governor of Virginia, Benjamin Harrison V, asked Thomas Jefferson, a Virginian who was then in Paris as the American Minister to France, to select an appropriate artist to sculpt Washington. *Seeking a European sculptor—and for Jefferson whose Francophile sympathies were clear, preferably one who was French—was a logical decision given the lack of artistic talent then available in the United States. *Through basic necessity, then, this portrait of an American hero needed to be made by a foreigner. Jefferson knew just the artist for this task: Jean-Antoine Houdon. *Trained at the Académie Royale de Peinture et de Sculpture and winner of the prestigious Prix de Rome in 1761 when only twenty years of age, Houdon was, by the middle of the 1780s, the most famous and accomplished neoclassical sculptor at work in France. *Jefferson commissioned Houdon to complete a monumental statue of Washington. *Given Houdon's skill and ambition, the sculptor likely hoped to cast a larger than life-sized bronze statue of General Washington on horseback, a format appropriate for a victorious field commander. *In time, however, Houdon would be disappointed if his aspiration was to forge an equestrian bronze, the final product, delivered more than a decade later, was comparatively simple standing marble. *Evidence suggests that Houdon was to remain in Paris and sculpt Washington from a likeness Charles Willson Peale had drawn. Dissatisfied, and uncomfortable with carving in three dimensions what Peale had rendered in two, Houdon made plans to visit Washington in person. *Houdon departed for the United States in July 1785 and was joined by Benjamin Franklin—who he had sculpted in 1778—and two assistants. The group sailed into Philadelphia about seven weeks later and Houdon and his assistants arrived at Mount Vernon—Washington's home in Virginia—by early October. *There they took detailed measurements of Washington's body and sculpted a life mask of the future president's face. *While in Virginia, Houdon created a slightly idealized and classicized bust portrait of the future first president. Unfortunately, Washington disliked this classicized aesthetic and insisted on being shown wearing contemporary attire rather than the garments of a hero from ancient Greece or Rome. *With clear instructions from the sitter to be depicted in contemporary dress, Houdon returned to Paris in December 1785 and set to work on a standing full-length statue carved from Carrara marble. *Although Houdon dated the statue 1788, he did not finish it until about four years later, and the statue was not delivered to the State of Virginia until May of 1796 when the Rotunda of the Virginia State Capitol was finally completed. *In time, this statue of George Washington has become one of the most recognized and copied of images of the first president of the United States. *Houdon not only perfectly captured Washington's likeness—John Marshal, the second Chief Justice of the Supreme Court later wrote, "Nothing in bronze or stone could be a more perfect image than this statue of the living Washington"—Houdon also captured the essential duality of Washington: the private citizen and the public solider. *Washington stands and looks slightly to his left; his facial expression could best be described as fatherly. *He wears not a toga or other classically inspired garment—as the neoclassically inclined Houdon would have no doubt preferred—but instead his military uniform. *His stance mimics that of the contraposto seen in Polykleitos' Doryphoros. *Washington's left leg is slightly bent and half a stride forward, while his right leg is weight bearing. His right arm hangs by his side and rests atop a gentleman's walking stick. *His left arm—bent at the elbow—rests atop a fasces, a bundle of thirteen rods that symbolizes not only the power of a ruler but also the strength found through unity. *This visually represents the concept of E Pluribus Unum—Out of Many, One—a congressionally approved motto of the United States from 1782 until 1956. *Rather than hold his officer's sword, a symbol of military might and authority, it instead benignly hangs on the outside of the fasces, just beyond Washington's immediate grasp. *This surrendering of military power is further reinforced by the presence of the plow behind Washington. This refers to the story of Cincinnatus, a Roman dictator who resigned his absolute power when his leadership was no longer needed so that he could return to his farm. *Like this Roman, Washington resigned his power and returned to his farm to live a peaceful, civilian life. *The statue, still on view in the Rotunda of the Virginia State Capitol, is a near perfect representation of the first president of the United States of America. In it, Houdon captured not only what George Washington looked like, but more importantly, who Washington was, both as a soldier and as a private citizen. *The enormously talented Houdon wisely accepted Washington's advice. Indeed, Washington knew it was better to be subtly compared to Cincinnatus than to be overtly linked to Caesar, another Roman, who unlike Cincinnatus, did not surrender his power.

#104: George Washington

Hindu, Chandella Dynasty Khajuraho, India 930 C.E. Sandstone

#200: Lakshmana Temple

Alfred Stieglitz 1907 C.E. Photogravure *Part of ship reserved for people with cheapest tickets *Poorest travellers on a ship from United States to Europe *Stieglitz's gallery emphasized the challenges of immigration *Shows the social divisions of society and photography as a fine art

#127: The Steerage

Rarotonga, Cook Islands (central south Pacific), central Polynesia 18th century C.E. Wood, tapa, fiber, and feathers *Feather, 7 figures (succession of family), face of deity, and tapa *Feathers are related to high level of spirituality *Function is not well known *Masculine and feminine energy is balanced *Spirituality with wrapping pieces of cloth around bark *Only surviving Staff God *British destroyed others

#216: Staff god

Torres Strait (Mabuiag Island, between Australia and New Guinea) 19th Century C.E. Turtle shell, wood, fiber, feathers, and shell *Tortoise was actively traded between the colonies and the Torres Strait, it went almost entirely extinct *The tortoise shell was shaped with a hot stone to a desired shape *Three Registers (Frigate-bird, Hero/Spiritual Face, Surrounding Piece)

#218: Buk (mask)

Niue 1850 C.E. Tapa or bark cloth, freehand painting *Tapa cloth was/is used in rituals and burials as a spiritual wrapping piece *References to nature *Wall tapestry and bedding *Used at weddings *Tapa comes from paper mulberry trees *1774- Captain Cook came to Nive *1835- London missionaries arrived *Sketched out bark, used stencils with pigments and dyes, sometimes perfumed

#219: Hiapo (tapa)

Near Luxor, Egypt New Kingdom, 18th Dynasty 1473 B.C.E. Sandstone, partially carved into a rock cliff, and red granite *Temple is backdrop to celebrate her life *Tried to shed her feminine identity (broke blood line) *Married Thumose II (her half-brother) *She was the ruler in place of the infant King *They tried to hide her reign

#21: Mortuary temple of Hatshepsut

Gottfried Lindauer 1890 C.E. Oil on canvas *101.9X84.2 cm. *His face is tattoed with a style called "moko." In this tribe, when boys became men, it was done to make them "attractive." *The axe has a carving below the grip with a sandstone that looks like an eye. *Nene signed the Treaty of Waitangi *Nene looks peaceful *Shows Nene's status, and preserve history

#220: Tamati Waka Nene (Chief of the Ngāti Hao People)

Marshall Islands, Micronesia 19th century C.E. Wood and fiber *Sticks, reeds, shells, natural fibers *Intersecting lines create shapes *Used+created by sea captains *Help record populated fishing spots, islands' locations and wave spews and currents

#221: Navigation chart

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

#238: Electronic Superhighway

Bill Viola 1996 C.E. Video/sound installation

#239: The Crossing

New Kingdom, 18th Dynasty 1323 B.C.E. Gold with inlay of enamel and semiprecious stones *Wasn't incredibly influential as a ruler *Claim to fame is finding his tomb fully intact *Abandoned monotheism and replace it with polytheism *Animal Motifs *Ruled for ten years (18-28 years old)

#23: Tutankhamun's tomb, intermost coffin

Marcel Duchamp 1950 C.E. (original 1917 C.E.) Readymade glazed sanitary china with black print *Small series which was overseen by Duchamp *Went to a Plumbing Supply House and signed and dated the urinals he purchased *It was rejected by The Society of Independent Artists *A ready-made sculpture which was transformed perceptively *Separated craftsmen-ship from aesthetic *Opens up philosophic questions "What is art?" and "What is considered art?"

#144: Fountain (second version)

Constantin Brancusi 1907 C.E. Limestone *Romanian artist who made his way to Paris *Brings primitive truth to Paris. In Romania, there was a long tradition of wood and stone cutting. *Attempt to retain materiality *Right angles in arms are arranged with corners of the block *Without middle separating line, there were be no way to tell the difference between the two figures *Single eye and mouth *Structure of limestone is shown through simplicity of carving. There is an honoring of the material used to carve with. *Primitive and archaic tradition

#129: The Kiss

Uruk Sumerian 3000 B.C.E. Mud brick *Anu, Sumerian Sky God (Primary God) *2 Spiritual Waiting Rooms *Horizontally Oriented *Religious leaders and King were only people with access to inner room. Leaders were ordained/chosen by the Gods. *Early step pyramid *Originally white washed *Utilized natural hardscape, created stable structure, low-bearing walls

#12: White Temple and its Ziggurat

Georges Braque 1911 C.E. Oil on canvas *Cubist piece *Fragmented forms describe their subject *Braque experimented with perspective

#130: The Portuguese

Willemde Kooning 1950 C.E. Oil on canvas *Agitated, abstracted cross between an ancient fertility 'idol' and pin up girl *Most celebrated work and it took him almost two years to complete it *Rich surface—layers, drippings, scrapings, scratchings, slashes *Action Painting, aggressive, applying paint *Dutch, classical and commercial art training, *Abstraction when he moved to New York City in his mid-20s *Painted a series of Women after meeting his wife Elaine in 1940 *Counter-reaction to ready-mades of the same time

#145: Woman, I

Frida Kahlo 1939 C.E. Oil on canvas *This year, Kahlo divorced the painter Diego Rivera after he was unfaithful to her *Left Frida: Wears European attire, more bleeding than right Frida, weaker heart. This Frida represents her divorce. Holds scissors *Right Frida: Comfy attire, full heart (Mexican peasant) *Kahlo believed in spiritual dream imagery *High born peasant lady *Her painting was an outlet for her mental and physical pain. She had recently lost her leg to polio. *Surrealist piece, captures a dream-like state. It is expressive, folk propaganda *Blood stain on left Frida looks like the pattern on a dress

#140: The Two Fridas

Honoré Daumier 1862 C.E. Lithograph *Created in response to a court decision in 1862 permitted photography to be considered a work of art. *Nadar was famous for taking aerial photos of Paris since 1858 C.E. He's depicted as a bizarre, daring photographer; his hat is flying off and in his excitement, he almost falls off the balloon. *A realist piece *Lithograph- Printing from a stone or smooth metal plate to produce mass images *Known for his satirical comedy, Daumier mocks the new declaration that photography can be considered equal to "high art." He depicts a belief that photography will never be true art. *It appeared in a journal called "Le Boulevard" *Mocks Nadar's heights to capture "high art"

#114: Nadar Raising Photography to the Height of Art

Central highlands, Peru (INKA) 1440 C.E. Andesite *Inka capital city *The shape of a giant animal, a puma (mountain lion, cougar). Although no walls or ground lines delineate it, the cat's head was considered the Saqsa Waman, temple complex on a hill above the city. The tail was where two canalized rivers merged in the modern-day neighborhood of Puma Chupan [poo ma choo pahn], or the "Puma's Tail." *The main plaza was the space between the legs, and the rest was the cat's body. *"Cusco": "navel or center"/"puma at the center of the world" *The Inka associated with the puma as the top mountain predator *Some of the original city remains visible today. *The current main plaza, with the cathedral *The plazas hosted royal ceremonies involving the living ruler and queen, plus the dead rulers' mummies (mallquis [mahl keys]). *The Inka plazas were originally covered in coastal sand, into which shell and metal offerings were buried, representing the reach and wealth of the empire. *The high-quality stonework showcased in royal sector. The famous 12-angle stone's shape was tightly fitted around neighboring stones, without mortar The stonework of the elite featured coursed walls (rectangular blocks in horizontal rows, each stone slightly different). *Coursed masonry characterizes the remaining walls of the acllawasi, ([ahk lee ah wah see], or "House of the Chosen Women"), where captured expert weavers who wove the best cloth, such as the All-T'oqapu tunic, lived and worked. *Saqsa Waman: vast temple complex built above Cusco. Often called a fortress, it was only used defensively during the Spanish invasions. Three levels of zigzagging monolithic walls (semi-dismantled now) stood in front of three tall towers. The walls and their shadows seem to consciously echo the mountains beyond. *In front of the walls, a wide plain used for ceremonies leads to a large rock outcrop (Rodadero Hill orSuchuna [sue choo nah]). Near the top, abstract steps known as the "Inka Throne" were carved into the living rock. Probably used for gold and textile offerings and as a royal viewing platform, the Throne reflects the widespread Inka manipulation of boulders (e.g. Machu Picchu).

#159: City of Cusco

Christo and Jeanne-Claude New York City, U.S. 1979-2005 C.E.

#224: The Gates

Thomas Jefferson (architect) Virginia, U.S. 1768 C.E. Brick, glass, stone and wood *European, neoclassical home with basilica plan (colonnades, pediments, Persian windows) *Symmetrical home *Long, rectangular windows *Marble Greek looking portico goes into a crucifix-like building *There's marble fencing around the roof, it goes all around *Lived in and created by Thomas Jefferson. He lived in this house with 130 slaves, including Sally Hemmings (who had six children with Jefferson) who he may have had a relationship with (secret bedroom was recently discovered). *Dome (not massive), similar to dome and columns at "The Pantheon," another basilica plan *He rebuilt it many times over *Western garden facade *Palladio, an Italian architect, influenced Jefferson's home. Palladian windows are in the home. *Building reinforces ideas of classical past: Democracy, education, rationality, and civic responsibility. *Jefferson HATED England, but LOVED France. He chose to create a building as far from UK architecture as possible. *Jefferson created the Constitution and designed the University of Virginia.

#102: Monticello

Édouard Manet 1863 C.E. Oil on canvas *Erotic female nude *Traditions of Greek Venus sculptures and references "Venus of Urbino" directly *Strips away veil of mythology *Challenges Academic Art. Her features aren't idealized/perfected. *Academic Art- Stamp of government approval, formulaic. Based of Classical and Renaissance art. *Looks directly at us, she is confronting as and thinking as we view her. There is no way to pretend it's about her beauty. *The reality of beauty. *Olympia was a common name for prostitutes in Paris during this time. So, she is most likely a highly-paid prostitute (due to setting). *It's as though we've walked into her room as a paying customer. *Frightened cat and servant *Filthy hands, subdued shadow on body.

#115: Olympia

Claude Monet 1877 C.E. Oil on canvas *Trains and space were incredibly modern (impressionist). Unlike Neoclassical paintings, there are no lines. *Wide boulevards and other infrastructure was created to accomodate the new middle and middle upper classes. *Optical/subjective experience. Light pours through top of shed, which makes it blurry. *Presented at independent impressionist salons. *During this time, impressionist artists focused on human figures, so this piece was very different. In this painting, such people are reduced to brush strokes. *Big machine is hidden by light *Bridge in background *Steam created from coal covers many structures in back, including new apartments *Heavily worked canvas, caked up paint *The Saint-Lazare Station is one of many in Paris

#116: The Saint-Lazare Station

Joseph Wright of Derby 1763 C.E. Oil on canvas *Dark background, shadow, oil paints. Accurate human figures, and geometric piece of technology *Two young boys, gazing over the edge of the contraption in playful wonder. A teenage girl, her arms resting on the machine, in quiet contemplation. A young man shielding his eyes from the brilliance of the light emanating from the center, and a young woman staring unblinkingly. *A standing man taking copious notes on the proceedings. Another man leaning back in his seat, listening intently to the gray-haired lecturer, captivating his audience like a magician. *To depict one moment the Enlightenment, a philosophical shift in the eighteenth century away from traditional religious models of the universe and toward an empirical, scientific approach. *The provincial English painter Joseph Wright of Derby became the unofficial artist of the Enlightenment, depicting scientists and philosophers in ways previously reserved for Biblical heroes and Greek gods. Joseph Wright of Derby's place in The Enlightenment: Wright was known for his deft depiction of the contrasts between light and dark, also known as chiaroscuro, and his unflinching portrayal of the true personalities of his subjects. *This trait caused his downfall when he attempted to work as a portraitist—few wanted a portrait, warts and all. In the 1760s Wright began to explore the traditional boundaries of various genres of painting. According to the French academies of art, the highest genre of painting was history painting, which depicted Biblical or classical subjects to demonstrate a moral lesson. *This high regard for history panting was adopted by the British—Benjamin West's *The Death of General Wolfe is a prominent example. *Although each of the figures in the painting is clearly modeled on a specific person, Wright's work was not meant to be a conversation piece in the eighteenth century sense of the word, and so we can only guess at the identities of each person. *Most likely the man standing and taking notes is Wright's friend Peter Perez Burdett, and the man seated at the far right may be Washington Shirley, 5th Earl Ferrers, the initial owner of the work. *Orrery- A mechanical model of the solar system, a miniature, clockwork planetarium. Each planet, with its moons, is a sphere attached to a swing arm which allows it to rotate around the sun when cranked by hand. *When in motion, the orrery depicts the orbits of each planet, as well as their relative relationship to each other. The orrery depicted by Wright has large metal rings which can simulate eclipses, and give the model a striking and exciting three-dimensionality.

#100: A Philosopher Giving a Lecture on the Orrey

Jacques-Louis David 1784 C.E. Oil on canvas *Accurate human figures, and geometric piece of technology *Two young boys gaze over the edge of the contraption in playful wonder. *A teenage girl, her arms resting on the machine, in quiet contemplation. *A young man shielding his eyes from the brilliance of the light emanating from the center, and a young woman staring unblinkingly. *A standing man taking copious notes on the proceedings. Another man leaning back in his seat, listening intently to the gray-haired lecturer, captivating his audience like a magician. *Depicts one moment the Enlightenment, a philosophical shift in the eighteenth century away from traditional religious models of the universe and toward an empirical, scientific approach. *The provincial English painter Joseph Wright of Derby became the unofficial artist of the Enlightenment, depicting scientists and philosophers in ways previously reserved for Biblical heroes and Greek gods. *Wright was known for his deft depiction of the contrasts between light and dark, also known as chiaroscuro, and his unflinching portrayal of the true personalities of his subjects. *This trait caused his downfall when he attempted to work as a portraitist—few wanted a portrait, warts and all. In the 1760s Wright began to explore the traditional boundaries of various genres of painting. *According to the French academies of art, the highest genre of painting was history painting, which depicted Biblical or classical subjects to demonstrate a moral lesson. This high regard for history panting was adopted by the British—Benjamin West's The Death of General Wolfe is a prominent example. *Although each of the figures in the painting is clearly modeled on a specific person, Wright's work was not meant to be a conversation piece in the eighteenth century sense of the word, and so we can only guess at the identities of each person. *Most likely the man standing and taking notes is Wright's friend Peter Perez Burdett, and the man seated at the far right may be Washington Shirley, 5th Earl Ferrers, the initial owner of the work. *Orrery- A mechanical model of the solar system, a miniature, clockwork planetarium. Each planet, with its moons, is a sphere attached to a swing arm which allows it to rotate around the sun when cranked by hand. When in motion, the orrery depicts the orbits of each planet, as well as their relative relationship to each other. The orrery depicted by Wright has large metal rings which can simulate eclipses, and give the model a striking and exciting three-dimensionality.

#103: The Oath of the Horatii

Elisabeth Louise Vigée Le Brun 1790 C.E. Oil on canvas *Natural gaze and posture, smiling *With the help of her commissioners, Marie Antoinette and Louis XVI, she was 1 of 4 women accepted into the French School of Art *She honestly portrays her features (discoloration of cheeks) and appears to look professional *She was successful at escaping from court during the French Revolution *Clothing is more subdued, hair is natural, messy

#105: Self-Portrait

Francisco de la Goya 1810 C.E. (published 1863 C.E.) Etching, dry point, burin, and burnishing *Published after his death in 1863 *Series was created at the height of his artistic ability Spanish citizens were engaged in guerrilla warfare in the face of occupation. *The French Emperor had seized control of the country in 1807 after he tricked the king of Spain, Charles IV, into allowing Napoleon's troops to pass its border, under the pretense of helping Charles invade Portugal *Installed his brother, Joseph Bonaparte, as ruler of Spain, bloody uprising, Spaniards were slaughtered in cities and countryside. *Goya worked as a court artist for Joseph Bonaparte, though later denied involvement with the French "intruder king." *He had the status of serving as a court painter and created a suite of satirical prints called Los Caprichos, well positioned to communicate the chaos he witnessed through his etching. *In October 1808, aged 62, Goya was summoned by General José Palafox y Melci to Zaragoza, to Aragon not far from his birthplace where he had trained as an artist. Palafox had become a national hero after inspiring thousands of Spaniards to resist French troops. *Brutality and fatal consequences of war *The series is divided into three groups: -Prints of wartime 'disasters' responding to the Napoleonic invasion of Spain -Record of the famine in Madrid of 1811-12, in which more than 20,000 people died -Caprichos lampooning the repressive government of Ferdinand VII

#106: Y no hai remedio (And There's Nothing to Be Done), from Los Desastres de la Guerra (The Disasters of War), plate 15.

Jean Auguste-Dominique Ingres 1814 C.E. Oil on canvas *Balanced and colorful surface *Romanticism *Most perfect example of a figure *Smooth feet and skin in general *Unattainable beauty (meant to objectify women), arm moves beautifully into folds of the curtain *Glazing is applied in thin, transparent layers. This allows lights to travel through layers of paint, creating a luminous surface. *Inhuman spine, few straight lines (very fluid) *Chiaroscuro present

#107: La Grande Odalisque

Eugène Delacroix 1830 C.E. Oil on canvas *Realistic setting, contrast between light and dark, darker colors vs. central light colors *Darkened day sky, men with firearms, a French Flag, dead men, central woman with emphasize through lighting *Propaganda created to represent the July Revolution of 1830, an event that replaced the abdicated King Charles X (r. 1824-30)—a member of the Bourbon family and the younger brother of the guillotined King Louis XVI (r. 1774-1792)—with Louis Philippe I (r. 1830-48), the so-called Citizen King. This uprising of 1830 was the historical prelude to the June Rebellion of 1832. *Different types of Revolutionaries in the image: The nude to waist female figure wears a yellow dress has which has fallen from her shoulders, as she holds a bayoneted musket in her left hand and raises the tricolor—the French national flag—with her right. This red, white, and blue arrangement of the flag is mimicked by the attire worn by the man looking up at her. *She powerfully strides forward and looks back over her right shoulder as if to ensure those who she leads are following. Her head is shown in profile—like a ruler on a classical coin—and she wears atop her head a Phrygian cap, a classical signifier of freedom. The man on the far left holds a briquet (an infantry saber commonly used during the Napoleonic Wars). *His clothing—apron, working shirt, and sailor's trousers—identify him as a factory worker, a person in the lower end of the economic ladder. His other attire identifies his revolutionary leanings. The handkerchief around his waist, that secures a pistol, has a pattern similar to that of the Cholet handkerchief, a symbol used by François Athanase de Charette de la Contrie, a Royalist soldier who led an ill-fated uprising against the First Republic, the government established as a result of the French Revolution. *The white cockade and red ribbon secured to his beret also identify his revolutionary sensibilities. This factory worker provides a counterpoint to the younger man beside him who is clearly of a different economic status. *He wears a black top hat, an open-collared white shirt and cravat, and an elegantly tailored black coat. Rather than hold a military weapon like his older brother-in-arms, he instead grasps a hunting shotgun. These two figures make clear that this revolution is not just for the economically downtrodden, but for those of affluence, too. *On the left, a fallen adolescent who wears a light infantry bicorne and holds a short saber, struggles to regain his footing amongst the piled cobblestones that make up a barricade. The more famous of the pair, however, is on the right side of the painting.

#108: Liberty Liberty the People

Thomas Cole 1836 C.E. Oil on canvas *Cole founded landscape painting *Did his work at the Hudson Valley River School *From left: Dead trees, frantic birds. Appears to look like the sublime. *From right: Ambitious and calm metamorphosis of what America will become. The New land is like Eden. *Hebrew word "shaddai" may be on mountain in background on a mountain, inverted. Word means almighty, and might be there to refer to land being a part of God's plan. *Water is the bend of the Connecticut river. *At the bottom of the painting in the front, is Cole painting a picture, surrounded by his supplies. *Near Cole is a tomb, indicating a passage of time.

#109: The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm)

Louis_Jaques-Mandé Daguerre 1837 C.E. Daguerreotype *Anatomy of a daguerrotype; one-of-a kind image on a highly polished, silver-plated sheet of copper *Powerful scientific tool *Medium of artistic expression *Used Niépce's basic principle of photography *Image of other works of art, sculptures, painting. *Photo is made of natural asphalt, created from Dead Sea

#110: Still Life in Studio

Joseph Mallord William Turner 1840 C.E. Oil on canvas *Bright colors, intense brush strokes, complementary colors, vibrant *Human figures in water, ship in distance, a fiery sunset *Slaves were thrown into the ocean by merchants and killed by the powerful sea *Conveys powerlessness of individuals, evoke emotion

#111: Slave Ship (Slavers Throwing overboard the Dead and Dying, Typhoon Coming on)

Gustave Courbet 1849 C.E. (destroyed in 1945 C.E.) Oil on canvas *Realism (worked outdoors in nature, broke away from Neoclassical studio work) *Paint is applied in thick layers *For the time, it was considered to be unfinished work, which meant little show time.

#113: The Stone Breakers

Vassily Kandinsky 1912 C.E. Oil on canvas *Expressionism *Abstract representation of objects *Named works as musical compositions *Line, color, movement, rhythm *Abstracted image of horse and rider appears in many of his works: *Artist's role to that of a rider who must harness his talent - his horse: "I have trained myself... to bridle the force operating within me, to guide it. The horse carries the rider quickly and sturdily. The rider however guides the horse. The artist's talent carries him to great heights...".

#132: Improvisation 28 (second version)

Eadweard Muybridge 1878 C.E. Albumen print *Realist Piece *16 Still Photographs in a combined series. Horse and jockey in profile for each. *Muybridge was originally a landscape artist *Albumen print used a device called a "zoopraxiscope" *Each still captures a different moment in the horse's stride *The artist wanted to take photos to see if all four of the horse's legs went up at the same time. *Photography had advanced far enough to capture movement *Motion of racing horse and jockey establish impressiveness and potential of photography to bridge the gap between still photography and moviemaking.

#117: The Horse in Motion

Jose María Velasco 1882 C.E. Oil on canvas *Velasco scientifically studied plants, cloud formations, trees. That research is represented in his hyper-realistic cloud formations and sky. *Mexico city had once been the Aztec capital *From left to right: Two volcanic peaks, Hill of Tepeyac, Basilica of Guadalupe, Mexico City, towers of Cathedral *European romanticism, landscape *Weather is different in areas of the painting (on the right, there are rain clouds) *National identity since 1821 C.E. independence *1531, at the Basilica of Guadalupe, vision of Don Juan Diego

#118: The Valley of Mexico from the Hillside of Santa Isabel (El Valle de México desde el Cerro de Santa Isabel)

Vincent van Gogh 1889 C.E. Oil on canvas *Harmony between land and sky *Bright colors *Abstract *Describes the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an ideal village

#120: The Starry Night

Mary Cassatt 1890 C.E. Drypoint and aquatint *Painter was influenced by Japanese paintings, shown through the floral patterns and designs *The woman is topless, but it's not emphasized like in other nude paintings done by men (NOT a sexualized painting)

#121: The Coiffure

Edvard Munch 1893 C.E. Tempera and pastels on cardboard *Materials mixed traditional, high-quality paint with flimsy cardboard *Vibrant with strong color contrast *Non-naturalistic proportions (swirly) *Androgynous, elongated figure screams with hands pressed to its face in the front *Two figures walk along the bridge behind the screaming focal point *Recounts an experience Munch had with friends while walking in nature *Face=Melancholy *Sea swirls into the sky, calls to power of natural forms calling to an individual *Synesthesia-Synthesis of the sense. May reflect some understanding of the relation to synesthesia. *Expresses internal emotions through art.

#122: The Scream

Paul Gaugin 1897 C.E. Oil on canvas *Continuous narrative, like fresco/friezes *Multi-perspective view in background *All figures are partially clothed in non-Western fashion *From left to right, it shows the life cycle: Infancy, Adulthood, Old Age *Colorful *Symbolic meaning, expressive, non-naturalistic *Private work, meaning was meant for Gaugin *Tahitian natives are shown in life stages *Hindi Gods are present in background

#123: Where Do We Come From? What Are We? Where Are We Going?

Paul Cézanne 1902 C.E. Oil on canvas *At 3317 feet (1011 meters) high, the limestone peak of Mont Sainte-Victoire is a pigmy compared to the giants of, say, Mount Fuji and Mount Rainier. *But, like them, it still exercises a commanding presence over the country around it and, in particular, over Aix-en-Provence, the hometown of Paul Cézanne. *Thanks to his many oil paintings and watercolors of the mountain, the painter has become indelibly associated with it. Think of Cézanne and his still-lifes and landscapes come to mind, his apples and his depictions of Mont Sainte-Victoire. *Paul Cézanne, Bathers at Rest, 1876-77, oil on canvas, 82 x 101 cm (The Barnes Foundation, Philadelphia) Steeped in centuries of history and folklore, both classical and Christian, the mountain—or, more accurately, mountain range—only gradually emerged as a major theme in Cézanne's work. In the 1870s, he included it in a landscape called The Railway Cutting, 1870 (Neue Pinakothek, Munich) and a few years later it appeared behind the monumental figures of his Bathers at Rest, 1876-77 (The Barnes Foundation, Philadelphia), which was included in the Third Impressionist Exhibition of 1877. But it wasn't until the beginning of the next decade, well after his adoption of Impressionism, that he began consistently featuring the mountain in his landscapes. *Writing in 1885, Paul Gauguin was probably thinking of Mont Sainte-Victoire when he imagined Cézanne spending "entire days in the mountains reading Virgil and looking at the sky." "Therefore," Gauguin continued, "his horizons are high, his blues very intense, and the red in his work has an astounding vibrancy." Cézanne's legend was beginning to emerge and a mountain ran through it.

#125: Mont Sainte-Victiore

Pablo Picasso 1907 C.E. Oil on canvas *The Spanish painted was in Paris when he created this. *d'Avignon is a street in Barcelona *Was created in a brothel *Goes back to Manet's painting "Olympia" *Foundation of cubism, deconstruction of 3D form and then scattering it *Modernism shatters Renaissance beliefs *Confrontational painting *Originally, men were included in this painting, but were taken out in order to make the women's sexuality the focal point *Look at body analytically *Moralizing reminder that the pleasures of life are short *Women facially appear to look like African mask, which Picasso had been deeply studying during this time *Space becomes 3D and on several planes

#126: Les Demoiselles d'Avignon

Gustav Klimt 1907 C.E. Oil and gold leaf on canvas *Painting is almost a perfect square *Patterning becomes a halo around faces *Modern example of Byzantine and Medieval paintings *Geometric pieces are emphasized with gold *Time of modernization in Vienna, where piece was created *Emergence from evil into affection *Bodies aren't present, disguised/covered by decorative patterns *Female has deep interior feeling seen through her closed eyes and relaxed arm

#128: The Kiss

Henri Matisse 1912 C.E. Oil on canvas *Goldfish were introduced to Europe from East Asia in the 17th century. *From around 1912, goldfish became a recurring subject in the work of Henri Matisse. They appear in no less than nine of his paintings, as well as in his drawings and prints. *Goldfish, 1912 belongs to a series that Matisse produced between spring and early summer 1912. However, unlike the others, the focus here centers on the fish themselves. *Fauvism- A group of early twentieth-century modern artists whose works emphasized painterly qualities and strong color over the representational or realistic values retained by Impressionism. *Matisse wanted to create serenity, comfort and beauty in a time of great turbulence (WWI).

#131: Goldfish

Ernst Ludwig Kirchner 1915 C.E. Oil on canvas *Kirchner created their manifesto, a woodblock print that was to be widely disseminated as a call to arms: "We call all young people together, and as young people, who carry the future in us, we want to wrest freedom for our actions and our lives from the older, comfortably established forces." *Spurred on by their confidence and their belief that they lived in an age of great change, the Brücke artists set about creating an entirely new way of being artists. *Kirchner was a great admirer of the German philosopher Friedrich Nietzsche. Nietzsche's book, Thus Spoke Zarathustra uses the bridge as a metaphor for the connection between the barbarism of the past and the modernity of the future. *The Brücke artists considered themselves the inheritors of this idea, and created art that looked to the past and the future at once. *Another important influence on the Die Brücke artists was so-called "primitive" art (art and ritual objects from ancient cultures or nonwestern societies, particularly in Africa and Central Asia). *This art was perceived to be more honest and direct, more natural than work produced by artists from industrialized Western European nations. *There was also interest in the so-called "folk art" of Europe, particularly the art and craft found among rural populations. It is important to note that Germany remained a major colonial power in Africa through the First World War. *There is, therefore, a complex heirarchy that frames this cultural appropriation. While uncomfortable from the perspective of the 21st century, it is nevertheless undeniable that this "primitive" aesthetic (despite the fact that it is a modernist construction), had a strong impact on Expressionist art. *The Brücke artists were inspired to adopt the "natural" state that they perceived in "primitivism" in their lives and their art. Paintings created outside, in nature, together with the unidealized nudes were hallmarks of the group's work. *The roughly sketched, long forms and tapered limbs of the nude model in Self-Portrait as a Soldier is representative of the style of Kirchner's nudes from this period and can be seen in his prints as well as paintings. *Although the Brücke disbanded in 1913, two years before Self-Portrait As a Soldier, each artist continued to develop individually and Kirchner's Self-Portrait dates from one of his most highly regarded periods of artistic production. *Just a few years earlier he painted his iconic and dark Berlin street scenes (Potsdamer Platz and Street, Berlin), which employ a similar "primitive" style jarringly set into a modern metropolis. *The young artist was coming into his own, but everything in Kirchner's world was about to be interrupted by a cataclysmic event: the First World War. *Kirchner volunteered to serve as a driver in the military in order to avoid being drafted into a more dangerous role. *However, he was soon declared unfit for service due to issues with his general health, and was sent away to recover. Self-Portrait was painted during that recovery. *These circumstances distinguish the 1915 canvas from other avant-garde projects of the period such as Otto Dix's print series The War (1924), in which the artist depicted the horrors he had witnessed first hand. Kirchner never fought, and this painting is instead an exploration of the artist's personal fears. *The severed hand in Self-Portrait As a Soldier is not a literal injury, but a metaphor. *This differentiates it in important ways from other depictions of wartime amputees, such as Dix's many representations of wounded veterans designed to shame politicians with a grotesque view of the soldiers who were abandoned when they were no longer considered "useful" to the nation. *Kirchner's is a metaphoric, self-amputation—a potential injury, not to the body—but to his identity as an artist. *Self-Portrait As a Soldier can perhaps be best understood by comparing it with an earlier painting by the artist with similar subject-matter, his Self-Portrait with Model (1907/26). *Here, a rounder, healthier-looking Kirchner stands confidently in his studio in a jaunty striped robe. He holds a brush and palette and seems to be wearing less clothing than the model seated behind him, clearly suggesting a sexual relationship. *Even the warm colors give the work a sensuous atmosphere. This is the artist at the height of youthful confidence. Compare that with the sallow, angular artist we see in the Self-Portrait as a Soldier. *The later painting features darker, colder colors, and the glassy-eyed model looks more like a carved statue than an actual person. *Even the skinny, limp cigarette seems to stand in opposition to the robust pipe that the artist smokes in the earlier portrait. Kirchner the soldier stands impotently in his studio, surrounded with everything he would need to make art, were he able to do so. *During the war, Kirchner suffered from alcoholism and drug abuse and for a time his hands and feet were partially paralyzed. In a sense his fears about the war were self-fulfilling. Kirchner recovered and his work was exhibited internationally to much acclaim during the interwar period. *Adolf Hitler persecuted artists who painted in a style that he considered outside of the Aryan ideal soon after he became Chancellor of Germany in 1933. The Degenerate Art (Entartete Kunst) exhibition of 1937 was a grand spectacle that the Nazis organized to mock the modernist art they hated. This was a humiliating time for Kirchner. *At least thirty-two of his works were exhibited in the Degenerate Art exhibition. In addition, more than 600 of his works were removed from public collections. He committed suicide in 1938.

#133: Self-Portrait as a Soldier

Käthe Kollwitz 1919 C.E. Woodcut *14 x 19.5 in *Honor the working class and promote peace *Female artist: theme of mother and child *Political and social tensions of Germany during the interwar years through personal lens Liebknecht was a populist who was assassinated by government agents in 1919 after he led the people in a revolt. His family invited Kollwitz to draw him. She made sketches, lithographs, and etchings before she chose the medium of the woodcut for his memorial. *Expressionist woodcut *Halo effect around Liebknecht's head and the strong *White horizontal of his body *Based on the Christian iconography of the lamentation over Christ *Substituted a dignified frieze of workers *Inscription "Der Lebenden dem Toten" (the living for the dead). *Became a pacifist after she lost a son in combat. *Her first success as an artist was political *Weaver's Revolt, allied herself with the cause of the workers *Social justice, war, and death. *Kollwitz was the first woman to be admitted to the Prussian Academy of the Arts, revoked when Hitler came to power in 1933.

#134: Memorial Sheet for Karl Liebknecht

Le Corbusier (architect) Poissy-sur-Seine, France 1929 C.E. Steel and reinforced concrete *During this decade, Corbusier worked to articulate the essence of modern technology into architecture *Located outside of Paris, it offered an escape from the crowded city for wealthy citizens *Corbusier considered the nature of modern life and architecture role in the new machine age. *"The house should be a machine for living in." *Location allowed for total creative freedom *A function house and sculpture

#135: Villa Savoye

Piet Mondrian 1930 C.E. Oil on canvas *Mondrian called his style Neo-Plasticism or "The New Plastic Painting," the title of his famous 1917 essay promoting abstraction for the expression of modern life. Don't be confused by Mondrian's use of the term "plastic." He uses it to refer to the plastic arts—media such as sculpture, that molds three-dimensional form, or, in Mondrian's case, painting on canvas. *For centuries, European painters had attempted to render three-dimensional forms in believable spaces—creating convincing illusions of reality. See for an example—Vermeer's Young Woman with a Water Pitcher (below). In contrast, Mondrian and other modernists wanted to move painting beyond naturalistic depiction to focus instead on the material properties of paint and its unique ability to express ideas abstractly using formal elements such as line and color. *Mondrian believed his abstraction could serve as a universal pictorial language representing the dynamic, evolutionary forces that govern nature and human experience. In fact, he believed that abstraction provides a truer picture of reality than illusionistic depictions of objects in the visible world. Perhaps this is why Mondrian characterized his style as "abstract real" painting. *Mondrian's earliest paintings were quite traditional in both subject and style. He studied at the art academies in the Hague and in Amsterdam in his home country of the Netherlands. *Mondrian was inspired by Cubism, a movement led by Pablo Picasso and Georges Braque that explored the use of multiple perspectives. Mondrian began experimenting with abstracted forms around the time he moved to Paris in 1912. *His use of the term "composition" (the organization of forms on the canvas) signals his experimentation with abstract arrangements. *Mondrian had returned home to the Netherlands just prior to the outbreak of the First World War and would remain there until the war ended. While in the Netherlands he further developed his style, ruling out compositions that were either too static or too dynamic, concluding that asymmetrical arrangements of geometric (rather than organic) shapes in primary (rather than secondary) colors best represent universal forces. *Moreover, he combined his development of an abstract style with his interest in philosophy, spirituality, and his belief that the evolution of abstraction was a sign of humanity's progress. *Some art historians have viewed Mondrian's painting as an expression of his interest in dialectical relationships, ideas advanced by the early nineteenth-century German philosopher Hegel that art and civilization progress by successive moments of tension and reconciliation between oppositional forces.

#136: Composition with Red, Blue, and Yellow

Varvara Stepanova 1932 C.E. Photomontage *Stepnova was a central figure in Russian Avant-Gard movement *Graphic Design/Collage/Propaganda/Re-assembled (metaphor) *Influenced by Cubism and Futurism *Illustrates the 5 year Soviet plan to increase agriculture and industry production (1928-1932) *Communist Red dominates *CCCP (Abbreviation for Russia) *Lenin dominates to symbolize patriotism

#137: Illustration from The Results of the First Five-Year Plan

Meret Oppenheim 1936 C.E. Fur-covered cup, saucer, and spoon *Surrealist *Inspired by a conversation between Oppenheim and artists Pablo Picasso and Dora Maar at a Paris cafe. *Admiring Oppenheim's fur-covered bracelet, Picasso remarked that one could cover anything with fur, to which she replied, "Even this cup and saucer." Soon after, when asked by André Breton, Surrealism's leader, to participate in the first Surrealist exhibition dedicated to objects, Oppenheim bought a teacup, saucer, and spoon at a department store and covered them with the fur of a Chinese gazelle. In so doing, she transformed genteel items traditionally associated with feminine decorum into sensuous, sexually punning tableware.

#138: Object (Le Déjeuner en fourrure)

Frank Lloyd Wright (architect) Pennsylvania, U.S. 1936 C.E. Reinforced concrete, sandstone, steel, and glass *Wright-Developed schools of architecture in Mid-West and South-West *Originally, a private home. Now, it's a small museum. *Built over and next to a waterfall. So, you can hear water throughout the home.

#139: Fallingwater

Jacob Lawrence 1940 C.E. Casein tempera on hardboard *Flat, movement, minimal color use *Male figures, gold fencing which separates the painting into two *Shows the migration of blacks to the north, and the separation of races during a polarizing time in the United States *Unity in one painting of races, depicts figures equally to emphasize equality

#141: The Migration of the Negro, Panel no. 49

Diego Riviera 1947 C.E. Fresco *Frida Kahlo, La Catrina, Yin and Yang, a Police Officer, other characters through 400 years of Mexican History.

#143: Dream of a Sunday Afternoon in the Alameda Park

Ludwig Mies van der Rohe and Philip Johnson (architects) New York City, U.S. 1954 C.E. Steel frame with glass curtain wall and bronze *Building is set far back to create a separation between it and other buildings *der Rohe moved to the US from Germany. He looked to balance old and new. *Bronze was used, and is an incredibly expensive material *Built for a Canadian liquor company. They did well as a business because they smuggled their alcohol during Prohibition. *Curtain wall building- All glass *Vertical length building with "mullions" between windows as decoration. Vertical length also adds light and depth. *Vertical striation and simple form *One a year, the bronze on the building is rubbed with oil so it won't rust *Bronze clad work mades it classical *Reflecting pools in front of building *Decorated like "The Pantheon," classical simplistic with details

#146: Seagram Building

Maqsud of Kashan 1539 C.E. Silk and wool

#191: The Ardabil Carpet

Andy Warhol 1962 C.E. Oil, acrylic, and silkscreen enamel on canvas This is one of Andy Warhol's Seminal Works 1962- important year in the art world and pop culture world Pop Artists' goals were to change the viewers definition of art Pop art was often commentary on industry and pop culture Marilyn Monroe's suicide in 1962 by overdosing on sleeping pills had a very big impact on pop culture due to her massive fame Warhol was inspired by the obsession of celebrity and fame objectification of the time period The subject of this piece fame and death and we see this in the form of the painting. A diptych is a painting, especially an altarpiece, on two hinged wooden panels which may be closed like a book Having this piece in Diptych form is sending the message on the "celebrity cult" and saying that Monroe was defied or treated like a god. Another important thing worth noting is the repetition of Monroe. This was a 195 publicity shot of Monroe and they are stacked like advertised products This repitition can be compared to like his soup cans piece and this is making a statement of Monroe being seen as a product of the industry rather than a human being Power of Repitition

#147: Marilyn Diptych

Helen Frankenthaler 1963 C.E. Acrylic on canvas *Art for art's sake (no set function) *Painted on an unprimed canvas (so that paint could absorb better) *Color field painting, popular during the 1960s *Landscape is base of the imagery *Worked in an avant-garde New York School *2D Looking (no depth)

#149: The Bay

Claes Oldenburg 1969 C.E. Cor-Ten steel, steel, aluminum, and cast resin; painted with polyurethane enamel *First installed in New Haven 1969 *Platform for speakers and protestors of Vietnam war Antiwar symbolism: death, power, masculine/feminine, power/seduction *Intentionally made with materials that would deteriorate/refurbished later *Monumental sculpture typical of this artist

#150: Lipstick (Ascending) on Caterpillar Tracks

Great Salt Lake, Utah, U.S. Robert Smithson 1970 C.E. Earthwork: mud, precipitated salt crystals, rocks, and water coil *Smithson hired several people to help him *Terminal basin with no outlet. Water is dense with minerals, meaning it is quite salty. Little sea life can life there. The water at the area when he created it was a reddish-pink color due to the algae that lived there. *Land and water meet one another in this piece. However, now that there is a drought in Utah, there is little water present. Now, it is just sand. *The shape of the Jetty has shown up in petroglyphs through history *Early reference to "Earth Day" and the growing industrial United States against the vast beauty of the nature of the country *Art in the outside world becomes part of the process of natural. Cannot be bought or sold.

#151: Spiral Jetty

Robert Venturi, John Rauch, and Denise Scott Brown (architects) Deleware, U.S. 1978 C.E. Wood frame and stucco *Woman designed collaboratively with two men *Located in a rural area with rolling hills and a forest *Post-modern style in reaction against International style *Private residence for a family of three *"Emphasized ornamentation, traditional architectural expressions, and references to past styles in a modern context" *Made to grasp a viewer's attention *Mother=Musician, well-stocked music room *Father=Bird watcher, large windows for looking out at the trees *Post-modern mix of historic styles, makes use of many geometrical shapes *Front facade "incorporates a floating arched screen" and has doric colonnades which are "grand and whimsical" *Interior=Simple and comfortable, lots of wooden decoration and many painted, jagged arches, quirky chandeliers *"A pluralistic view of architecture and design."

#152: House in New Castle County

Northern highlands, Peru (INKAN) 900 B.C.E. Stone (architectural complex); granite (Lanzón and sculpture); hammered gold alloy (jewelry) *Shamans would take hallucinogens (like the drink "caapi"), go through the tunnels, and journey to Lanzón *People outside to hear about what was happening inside by the carried acoustics from inner part to outside found in tunnel mazes (which were difficult to find) *Multi-Sensory (anthropomorphic/zoomorphic figures) *Lanzón (Spear) was supposed to be shaped like a farming low, God ensuring successful harvest *Vents in structure *Septum piercing is worn by shamans with animal motifs to indicate what a certain shaman turns into

#153: Chavín de Huántar

Montezuma County, Colorado (PUEBLOAN, Anasazi) 450 C.E. Sandstone, mortar, wooden beams *Detailed, levels of architecture/dwellings built within cliffs *Kivas (altered sense of reality), Chambers used for spiritual/ritual purpose. Remains of fire, most likely used for social and ceremonial gatherings *Protected from: Harsh cold and intense heat

#154: Mesa Verde cliff dwellings

Southern Ohio (EASTERN WOODLANDS) 1070 C.E. Earthwork/effigy mound *Earth work- Manipulating the Earth through sculpting/carving *Snakes shed their skin, are reborn and can swallow things up to twice their size *May have astrological significance *Snake is coiled, its tail points to the Winter Solstice *Piece is experienced through all senses *Created by one culture, then completed by another *400 Meters long and 1 1/2 Feet Tall *NOT a burial mound *Probably created to reflect spiritual beliefs (unclear how long it took to create) *Not stylized in any specific way *Head points to Summer Solstice Featured Parts: 1. Enlarged eye 2. Egg (food) 3. Earth 4. Sun 5. Might represent eclipse/Hailey's comet

#156: Great Serpent Mound

Tenochtitlan (AZTEC) 1520 C.E. Stone; volcanic stone; jadeite; basalt 1. Coyolsauhqui (She of the golden bells) Stone: *Wearing bell earrings *Aztecs dismembered enemies and them them off the stairs of great pyramids to land on a disk of 2. Coyolxauhqui: *She plotted with her brothers to kill their mother, who became pregnant after tucking a ball of feathers down her shirt. *When C chopped off her mother's head, the child popped out fully grown and dismembered its sister) *Also represents the moon goddess *Once painted *Death/Sacrifice/decapitation 3. Olmec Style Mask: *Found on site and much older *Olmec works have a characteristic frown, full faces and heavy lidded eyes *Demonstrates that Aztecs collected artwork from other cultures 4. Calendar Stone: *(11.5 'diameter, 25 tons): Commissioned by the last ruler Motecuhzoma II, whose name glyph appears as a tiny L-shaped royal headdress nestled above the circular stone's central face. Even larger than the Found underground in the Zocolo or main square of Mexico city, believed to be created to lie flat on the ground as a platform at the top of the structure. *Not a working calendar, summary of the past, promotes the continuation of time through human sacrifice in its imagery, (The face believed to be Tlaltecuchtli, a mostly female, flint-knife-tongued, claw-handed crying out for human blood and demanding sacrifice). Outside this central area, a circular band features images of the twenty symbols (called "day signs") that make up the Mesoamerican ritual calendar of 260 days, a separate but intertwined ceremonial time system from the 365-day solar one. Solar time is represented by the next two circles outward, the first with triangular solar rays at the cardinal and inter-cardinal points. The second includes two Xiuhcoatl [shoe coh ahtl] or fire serpents, with their tails at the top and their heads meeting at the bottom of the monument. Like Apollo's chariot, one xiuhcoatl was believed to carry the sun by day and one at night.

#157: Templo Mayor

Mexica (AZTEC) 1428 C.E. Feathers and gold *The Mesoamericans and other indigenous Americans valued rare and difficult-to- obtain tropical bird feathers as the most prestigious material. (100's of quetzal feathers over 2' long) *Valued for: -Iridescence and rich color -Birds' keen eyesight -Ability to fly *Shamans could access these powers that shamans were believed to acquire during visionary experiences. *According to Spanish documentation, the Mexica kept an aviary in the capital city of Tenochtitlan. *In the 1520's, Hernán Cortés gathered works of art and sent them to the Spanish monarch Charles V, who then re-gifted some of them to his Hapsburg family members. *This headdress resurfaced in Vienna (it was first documented in 1596 as a Moorish hat, then an Indian hat, then a cape -- mistakenly positioned upside down). *Removed from context/misinterpreted

#158: Ruler's feather headdress

INKA 1440 C.E. Sheet metal/repoussé, metal alloys *25.7 x 6 x 9 cm *Precious metal gardens that royal Inkas "planted" at the Main Temple in Cusco and at other royal locations (Machu Picchu) *Repouseé: Sheets of very thin beaten metal were laid over dried maize cobs and hammered in order to take their particular shape. *Maize was central to the Inka imperial success and celebrated in their art. *Belief was that the precious metal maize in the royal gardens, which was planted with real corn and dirt, would transfer necessary life force to those real plants and provide maize for all

#160: Maize cobs

Central highlands, Peru (INKA) 1450 C.E. Granite 1. City of Manchu Picchu: -Most famous city of ancient South America Machu Picchu was the royal retreat/estate of the first great Inka ruler, Pachakuti -It is located at a lower elevation than Cusco, in the lush Urubamba River valley, on the eastern side of the Andes. -Terraced landscape and farming -Difficult location to reach -Manipulating the environment while still respecting it and honoring nature, only changing what was necessary and leaving the rest natural was a sign of respect and also power -The mountains were considered by the Inka to be the honored ancestors -Around 1,000 men and women lived in the dense urban center. -The stonework in the area where the elite were housed was constructed without mortar -Workers were housed in mud homes Machu Picchu was a bustling city, with people from all over (as indicated by the cemetery and burial offerings) -Well-irrigated place with spring-fed canals and fountains serving the population and irrigating the terraced gardens 2. Machu Picchu Observatory: -One of the most important buildings at Machu Picchu is the Observatory -The curved-walled Observatory, surrounded by more typical Inka rectangular buildings, indicates its special function -The similar curved wall of the Qorikancha, the Main Temple in Cusco, the capital of the Inca, links the ruler Pachakuti to his two royal/religious locations, the capital and his retreat at Machu Picchu -The Observatory features an observation room built directly on top of a large, boulder with a split in it June 21 solstice sun rises, the light of the rising sun lines up with a carved line on the top of the boulder around which the room was built. 3. Intihuatana Stone, Machu Picchu -An Intihuatana stone (image 3 and 29-32) is a carved outcrop found at the very top point of Inca sites closest to the sun -Inti, and huatana means "to tie" in the Inca language of Quechua, outcrops are often called "the hitching post of the sun." -Rulers often make the claim that they control the sun Likely used for offerings

#161: City of Manchu Picchu

INKA 1450 C.E. Camelid fiber and cotton *T'oqapu- Different symbol for a person, place, of thing *Yellow, red, white and black dyes *Reminiscent of a "sapa tunic" *Created by mostly women *Each rectangle represents something about the wearer *Different meaning for those inside and outside the culture *Worn by people of a high rank/class, leaders of groups *Over 300 threads in each single-square *In Inca culture, there were 30 different languages and many sub-cultures and multi-ethnic communities *Resources from father away signify trade *Backstrap looming- A person leans forward and background to loom. Threads are attached to, traditionally, a tree.

#162: All-T'oqapu tunic

Lenape (DELAWARE TRIBE, EASTERN WOODLANDS) 1850 C.E. Beadwork on leather *Cross-cultural piece, borrowed patterns/designs from Europe *Maintains stylistic differences *Elements of change, but desire to identify as unique *Beyond settlement of Pilgrims and Revolutionary War and Indian Removal Act of 1830 C.E.

#163: Bandolier bag

Kwakwaka'wakw, Northwest coast of Canada Late 19th century C.E. Wood, paint, and string *Performance Piece *Someone who can go through human/animal transformations is considered superior, like a Shaman *Families/clans have different spirit animals *Worn in a dark setting with a fire

#164: Transformation mask

Attributed to Cadzi Cody Eastern Shoshone, Wyoming (WIND RIVER RESERVATION, WYOMING) 1890 C.E. Painted elk hide *Bright colors *Calls out name of artist: Cotsiogo (Cadzi Cody), means "Mountain Flower" *Men painted on hide *Like "Running Horned Woman," tells a story and "Great Hall of the Bulls" because of its figures *Painting on animal hides is a great tradition in Great Basin region and Great Plains *Movement *Showed acts of bravery (depicted men's role) *Torn edges

#165: Painted elk hide

Maria Martinez and Julian Martinez Tewa, New Mexico (PUEBLOAN) 20th Century C.E. Blackware ceramic *Rounded edges, movement *Narrow top and bottom *Julian Martínez (her son, she worked closely with him) drew the designs on the pottery *María Martínez shaped and designed the pot (she used the help of other people). She did not want to sign the pot, but received more money for doing so. She signed her name on other peoples' art in her town so they could receive more money. *She used powdered manure as her clay. *Geometric shapes and designs *She had a reputation of being an outstanding ceramicist in the Southwest. *1908-Man (Edgar Hewitt) asked her to bring back the black-on-black style. *She went to the Chicago World Fair *Tempure (broken pots pounded with volcanic ash to strengthen they clay) and clay Steps: 1. Sculpt 2. Dry 3. Shape and smooth 4. Glaze with guaco a rich glaze 5. Put in kiln

#166: Black-on-black ceramic vessel

Southeastern Zimbabwe 1000 C.E. Coursed granite blocks *At the height of this community, 18,000 people lived there. *Location is 1,800 acres *Like Mesa Verde and Manchu Picchu *Thalos Construction (similar to a Beehive)- Individual cells in a circular structure *Place of spirituality *Zimbabwe=Stone country *Grainery- Associated with King and power. *Grain= Food source, access is equal to royalty *Circular and curved *Royal Place

#167: Conical tower and circular wall of Great Zimbabwe

Mali Founded 1200 C.E.; rebuilt 1906 C.E. Adobe (mud brick) *Adobe deteriorates over time *Mirab- Faces Mecca *Wash basin for feet in courtyard *Minaretes *Courtyard helps to mentally and physically prepare to pray *On top of towers, there's an ostrich egg, not real eggs *Holes in outer wall for scaffolding, separates daily life from mosque *Adobe- Region specific resource *Niger Benin River has a "buttery" quality *Commissioned by King Koi, 26th King, 1st Muslim King

#168: Great Mosque of Djenné

Edo people Benin (Nigeria) 16th Century C.E. Cast brass *Believed to be Oba Esigie because he was one of the first Obas to ride on horseback, his main claim to fame *Hierarchy of scale= Wearing a headpiece, in the middle, on a horse *900 other wall pieces in the palace *Wall plaques tell a history of a certain period

#169: Wall plaque, from Oba's palace

Bichitr 1620 C.E. Watercolor, gold, and ink on paper *Jahangir = "Seizer of the World" *Angels and anthropomorphic figures *Miniature painting *Prince Salim with flames of gold, shown elevated *The golden discs border creates a harmonious fusion between the sun and the moon, symbolizing the ruler's emperorship and divine truth *Artist (Bichitr) in bottom right corner *Akbar, third Emperor of the Mughal Dynasty had no living heir by the time he was 28. Sufi (an Islamic mystic) told him he'd have a son. Soon after, Prince Salim was born and, as Emperor, gave himself the title of Nur ud-Din ("Light of faith") and the name "Jahangir" *Holy man hands Salim a book *Sultan of the Ottoman Empire, James I of England and other powerful European influences look upon Salim, but Jahangir prefers the holy man (Sufi Shaikh)

#208: Jahangir Preferring a Sufi Shaikh to Kings

Chokwe peoples 19th century C.E. Wood, fiber, pigment, and metal *Earned respect on part of women *MEN paying tribute TO WOMEN *Honor women and their fertility *Men wore a mask and wooden breasts *Dots around eyes=tattoo patterns *Gold/white=Connection to spirituality

#173: Female mask

Baule peoples Early 20th century C.E. Wood and pigment *Serves as a way to communicate with ancestors *Gender roles (males dancers) *Mask- Smooth skin, long nose, large crown *Mblo- A series of dances performed where a female figure is recognized *Carver of mask- Iwye-Kymou, her step son. Became the next dancer of the mask. *Commissioned by Yanso's husband to portray his wife. He was the official dancer of the mask. *Moya Yanso- Woman the mask is modeled after *Gbagbo- Original dance performed. The last performance in the set signifies the most important woman. *Braided beard may be a stylistic choice, it stylistically appears beautiful.

#174: Portrait mask

Luba peoples 19th century C.E. Wood, beads, and metal *Mshekesheke- Meeting with a consultant *Country>Group>Subgroup>Balance of genders, Female/Male consultant *Similar to the Golden Stool *Mbudye men of memory are given the authority to read these boards *Speculation women are part of society *Represents revelations of an individual, society, group, or culture *Look to past in order to solve current situations *Read through a sense of touch *Provides resource to Kings

#177: Lukasa

Bamileke 19th century C.E. Wood, woven raffia, cloth, and beads *Performance/Transformational piece (jumping) *Kuosi- Men's society of dancers *Performed sometimes at funerals by Emperor King *Large ears *Vibrant, rhythmic pattern *Geometric/triangular pattern *Men wear these masks *Warriors, then wealthier/closer to King *Leopard (hide) *Running, dancing *Emphasis on size and scale *Leopard changes its spots, closer to King *Running, dancing

#178: Aka elephant mask

Fang peoples 19th century C.E. Wood *Guardians of human remains. Protect from women and uncircumcised men. *Large forehead *Downcast eyes *Smooth skin *Chiseled jaw *Short legs and arms *Headdress *Long torso *Male *Belly button, umbilical cord connects to birth *Started as just heads on the tops of boxes and jars and became full figures

#179: Reliquary figure (byeri)

Olowe of Ise 1910 CE Wood and pigment *Yoruba peoples *Vertical sculpture *Meant to be among the structural posts of a palace porch *Created by a well Olowe of Ise, from Nigeria *The woman's bulging eyes suggest her ability to see into the other realm and take on the spirituality of her people *Connection of spirituality

#180: Veranda post of enthroned king and senior wife

Nabataean Ptolemaic and Roman 400 B.C.E. Cut rock with plaster and polychrome paint *Over 500 tombs, but no human remains *Used to be the capital of Jordan *Remained through earthquakes because it was carved into the natural landscape *Probably an audience hall for some period of time *Eagles and rosettes are carved into natural landscape *Pediments with a circular shape *Hellenistic references (architectural components)

#181: Petra, Jordan: Treasury and Great Temple

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

#184: Jowo Rinpoche, enshrined in the Jokhang Temple

Jerusalem Islamic, Umayyad 691 C.E. With multiple renovations Stone masonry and wooden roof decorated with glazed ceramic tile, mosaics, and gilt aluminum and bronze dome The dome of the rock is primarily comprised of an octagonal base with a round wooden roof. Its construction is similar to some byzantine structures (Jerusalem was captured by muslim armies from the byzantine empire 55 years before the construction of the Dome of the Rock) It is decorated with marble and mosaic in a style that again emulates byzantine architecture, but specifically excludes animal or human figures. Can anyone think of a piece that is similar in this way? The marble base is closest to the ground and, and as one's eyes move upward, is followed by blue mosaic and then the gold dome, creating an imitating land-sky-sun or land-sea-sun. Content In the center of the Dome of the Rock is a rock. The rock is where Abraham went to sacrifice Ishmael/Isaac (christians and jews call him Isaac, muslims call him Ismail). It is also where muslims believe Muhammad ascended to heaven. Context Sits atop the Haram al-Sharif, which is the highest point in Jerusalem. The Haram al-Sharif is an open air pavilion which also houses a mosque, a madrasa (a school or religious school), and other religious buildings. It is a site that's holy to all three major monotheistic religions. One of the oldest (perhaps THE oldest) islamic architecture. Function NOT a mosque It was one of the first islamic buildings ever constructed, and functioned as a testament to the emerging power of Islam. Potentially commemorative (Abraham and Ismail/Muhammad), declarative ("Islam is here, it's modern, and it's powerful") , or eschatological (relating to death/heaven/judgement day)

#185: Dome of the Rock

Isfahan, Iran Islamic, Persian: Seljuk, Il-Khanid, Timurid and Safavid Dynasties 700 C.E. Stone, brick, wood, plaster, and glazed ceramic

#186: Great Mosque (Masjid-e Jameh)

Arab, North Africa, or Near East Abbasid Eighth century C.E. Ink, color, and gold on parchment

#187: Folio from a Qur'an

Islamic; Persian, Il'Khanid 1330 C.E. Ink and opaque watercolor, gold, and silver on paper

#189: Bahram Gur Fights the Karg, Folio from the Great Il-Khanid Shahnama

Madhya, Pradesh, India Buddhist; Maurya, late Sunga Dynasty 300 B.C.E. Stone masonry, sandstone on dome *A 50-foot-tall earth-and-rubble domical mound containing relics of the Shakyamuni *Worshippers walked around the stupa in a clockwise direction to venerate the Buddha *The four toranas (gateways) to the Sanchi stupa feature reliefs depicting the story of the Buddha's life and tales of his past lives, when he accumulated sufficient merit to achieve enlightenment *Also carved into the east torana is a scantily clad, sensuous woman called a yakshi. These goddesses personify fertility and vegetation and tie Buddhist iconography to earlier South Asian pictorial traditions *Toranas mark the cardinal points and the yatsi (pole) corresponds to the axis of the universe *When the Buddha died, his followers cremated remains in eight containers and buried them under solid earthen mounds that could not be entered. These remains are in the stupa *The circular movement brought the devotee into harmony with the cosmos *Harmika- Positioned atop the stupa dome, is a stone fencing which encloses a square area symbolizing the sacred domain of the gods

#192: Great Stupa at Sanchi

Han Dynasty, China 180 B.C.E. Painted silk *Members of this Dynasty enjoyed a rich lifestyle *Found on top of the innermost of four nesting coffins *Four sections (top to bottom) 1. Heavenly realm 2. Lady Dai on platform with servants and other attendants 3. Body of Lady Dai with mourners 4. Underworld *Important because: It's an early example of pictorial art in China, AND banner features the earliest known portrait in Chinese paintings

#194: Funeral banner of Lady Dai (Xin Zhui)

Luoyang, China Tang Dynasty 493 C.E. Limestone *Resumed carvings after a period of time *More than 100,000 statues *Originally, only carved for individuals. But, overtime, statue carvings began of Buddhas (great masterpieces), Hindi dynasties *Some statues are 17 meters high, these were probably built by donations of Emperor Tai-tsung

#195: Longmen caves

Three Kingdoms Period, Silla Kingdom, Korea Fifth Century C.E. Metalwork *Gold emphasized the power of the wearer through their precious materials and natural imagery *Worn on the forehead *Function is unknown, it's either for: 1. Burial or 2. Shamanistic practices in ceremonial rites *Tiny gold discs and jade ornaments refer to fruit hanging from the tree *Silla Kingdom was the most powerful of the three Kingdoms, described as "the country of gold" *Tree-shaped crown (daegwan) is similar to a headband *The sacred tree was understood as a "world tree," or as an axis which connected heaven and Earth *Two additional antler-shaped protrusions may refer to the North of the Peninsula

#196: Gold and jade crown

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

#197: Todai-ji

Hindu, Angkor Dynasty 800 C.E. Stone masonry, sandstone

#199: Angkor, the temple of Angkor Wat, and the city of Angkor Thom, Cambodia

Fan Kuan 1,000 C.E. Ink and colors on silk

#201: Travelers among Mountains and Streams

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

#202: Shiva as Lord of Dance (Nataraja)

Kamakura Period, Japan 1,250 C.E. Hand scroll (ink and color on paper) *Portrayal of a notorious incident from a century earlier appears on a hand scroll, a common East Asian painting format in Japan called an emaki. It also is a prime example of the action‐packed otoko‐e, "men's paintings," created in the Kamakura period. *Designed to be unrolled in sections for close‐up viewing, it shows the basic features of this pictorial form: a bird's eye view of action moves right‐to‐left *In vibrant outline and washes of color, the story unfolds sequentially, so the main characters appear multiple times. *Uniquely valuable reference for this period: from the royal mansion's walled gateways, unpainted wooden buildings linked by corridors, bark roofs, large shutters and bamboo blinds that open to verandas, to the scores of foot soldiers, cavalry, courtiers, priests, imperial police, and even the occasional lady *Each individualized by gesture and facial expression from horror to morbid humor, robes, armor, and weaponry easily identifiable according to rank, design, and type. *Taira Kiyomori's return to decimate the schemers, and finally Kiyomori's mistake—banishing rather than executing several of Minamoto sons. Minamoto no Yoritomo and his brother Yoshitsune would return years later to destroy the Taira clan in the Gempei War and found the first of four military governments of the Shōgunate that ruled Japan from 1192 until 1867. *Emperors and nobles remained in Kyoto, but were politically powerless. *Feudal culture came to a violent end in 1868 at the hands of other samurai clans. They brought the young emperor Meiji into a new role as the monarch (really a figurehead) of a modern nation. *The Night Attack at Sanjô Palace, once owned by a powerful samurai family, came into the possession of an influential American who brought it home to Boston

#203: Night Attack on the Sanjô Palace

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

#204: The David Vases

Imperial Bureau of Painting 15th century C.E. Hanging scrolls (ink and colors on silk) *Honored as a "meritorious subject" aka an official honored for his distinguished for his service at court and loyalty to the King *Wears official robes and rank badge on his chest

#205: Portrait of Sin Sukju (1417-1475)

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

#206: Forbidden City

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

#207: Ryoan-ji

Agra, Utter Pradesh, India Masons, marble workers, mosaicists, and decorators working under the supervision of Ustad Ahmad Lahori, architect of the emperor 1632 C.E. Stone masonry and marble with inlay of precious and semiprecious stones, gardens *Emperor Shah Jahan, 5th Ruler of the Mughal Dynasty's favorite wife, Mumtaz Mahal, died due to complications from the birth of their fourteenth child. Emperor Jahan started planning the construction of a resting place for his beloved wife almost immediately. *Symbolic representation of a Divine Throne (the seat of God) *Monument was built to represent a replica of a house of paradise *Exhibits the "Eight level" (hasht bishisht) principle, alluding to the eight levels of paradise *Luminous tomb for Mumtaz Mahal *Taj Mahal is a perfect example of Mughal mausolea, but is exceptional because of its scale, gardens, and use of many semi-precious stones like onyx, coral, and lapis lazuli

#209: Taj Mahal

Ogata Korin 1710 C.E. Ink, watercolor, and gold leaf on paper *Simple scene of two flowering trees on either side of a brook transformed into a dream vision. *Executed in black ink and blotchy washes of gem-like mineral color on a pair of folding screens, the image seems both abstract and realistic at the same time. *Its background, a subtle grid of gold leaf, denies any sense of place or time and imbues everything with an ethereal glow. *The stream's swelling metallic curls and spirals are a make-believe of flowing water, and its sharply tapered serpentine contour lines angle the picture plane in an unnatural upward tilt. *The trunks of the trees are nothing more than pools of mottled color without so much as an outline. These forms and spaces appear flat to the eye. *Yet the artist's intimate knowledge of how a plum tree grows can be seen in their writhing forms and tangle of shoots and branches. *In planning its imagery Kôrin closely considered the function of the folding screen within the traditional Japanese interior. The two sections would have been positioned separately yet near enough to each other to define an enclosed space. *With each screen standing hinged at its central fold, a viewer experiences these exaggerated two-dimensional images in three dimensions. Stopping us in our tracks by confounding logic with this combination of pure design and intimate naturalism, Kôrin envelops us in the pulsing vitality of early spring.

#210: White and Red Plum Blossoms

Katsushika Hokusai 1830 C.E. Polychrome woodblock print; ink and color on paper *Originally popular Chinese and Korean landscape painting and imported Dutch landscape engravings, but Japanese changed the composition and colors *Men in trading boats *Boats go past the dangerous wave *Mount Fuji- Active volcano, had last erupted in 1707 C.E. So, it was a recent memory for viewers *Waves dwarf mountain in the background, magnifying wave's threatening aspect *Katsushika Hokusai (artist) was the son a peasant family from a village East of Edo

#211: Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as the Great Wave, from the series of thirty-six Views of Mount-Fuji

Artist unknown; based on an oil painting by Liu Chunhua 1969 C.E. Color lithograph *Young Mao Zedong (Chinese Communist revolutionary, founding father of the People's Republic of China, and leader of China from 1949-76) ready to weather any storm *In picturing a moment in Chinese Communist Party history, Liu Chunhua celebrated Chairman Mao (then in his seventies) and his longstanding commitment to Communist Party ideals. *Painted in 1967 at the dawn of the Great Proletarian Cultural Revolution, this work uses socialist realism to portray Chairman Mao as a revolutionary leader committed to championing the common people. *During the Cultural Revolution (1966-76), artists focused on creating portraits of Mao, or "Mao paintings," which represented Mao's effort to regain his hold after bitter political struggles within the party. *With the leadership of Mao's last wife, Jiang Qing, the movement aimed to quell criticisms of Mao in drama, literature, and the visual arts. *More broadly, it aimed to correct political fallout from the disasters of the 1950s, especially the widespread famine and deaths that resulted from the Great Leap Forward (an attempt from 1958-61 to rapidly modernize China, transforming it from an agrarian economy into an industrialized, socialist society), and reinvigorate Communist ideology in general. *Socialist realism was introduced to China in the 1950s in order to address the lives of the working class. Suitable for propaganda, socialist realism aimed for clear, intelligible subjects and emotionally moving themes. *In the early years of the Cultural Revolution, artists such as Liu Chunhua turned to a style known as socialist realism for creating portraits of Mao Zedong. *Standardized by the Central Propaganda Department, Mao paintings typically pictured the Chinese leader in an idealized fashion, as a luminous presence at the center of the composition. *Unlike Chairman Mao en Route to Anyuan, portraits usually depicted Mao among the people, such as strolling through lush fields alongside smiling peasants.

#212: Chairman Mao en Route to Anyuan

Pohnpei, Micronesia Saudeleur Dynasty 700 C.E. Basalt boulders and prismatic columns *Apx. 750,00 metrictons *Shows dedication to the island and its turtles w/ spiritual purpose *Complex system of artificial waterways *City built by stacking stone pieces on coral *Stones shaped by lava cooling *Took over 100 years to construct *Stones were transported via the water (had to be transported by hand)

#213: Nan Madol

Rapa Nui (Easter Island) 1100 C.E. Volcanic tuff figures on basalt base *Some stones have markings on back (added) *Statues are 13-70 feet tall *Ahu=Base *Ancestral figures: Hands and ears are disproportionate and have semi-precious eyes are awake *Discovered during colonization (ecological crisis, no trees left, social crisis, and religious crisis) *100s of Moai, all face inland (protection?) *Stones had to be rolled/pushed onto ahus

#214: Moai on platform

Hawaiian 18th century C.E. Feathers and fiber *Feathers come from Moho Nobilis (black bird with some yellow feathers, rare bird) and Honey creeper bird, 1000s of feathers (one bird had between 5 and 6 harvestable feathers) *Chanted name of wearer, worn mostly by chiefs and other important people as spiritual armor *Red represents deities/gods *Sometimes passed through generations but would not be worn by another person *Used in ceremonies and battles & gifted to British sea captains (shows respect tribes had for british) *Tapu- Spiritual protective wrapping

#215: 'Ahu 'ula (feather cape)

Nukuoro, Micronesia 18th century C.E. Wood *Looks contemporary *Purpose is not well known (might be a symbol of fertility) *Enlarged torso and bottom *Only 20 left in the world, the rest most likely were destroyed *30-270 cm. in height

#217: Female deity

New Ireland Province, Papua New Guinea 20th century C.E. Wood, pigment, fiber, and shell *Ownership- Made and sold. Means something different *Ancestor and spiritual doubles *Wooden figures with zoomorphic designs *Zoomorphic designs allude to myths *Animal's characteristics *Supernatural forces *Made for one ceremony, and then immediately destroyed *Malagan ceremonies: A cycle of rituals to honor (for months to years) and dismiss family members (clan group identity)

#222: Malagan display and mask

Fiji, Polynesia 1953 C.E. Multimedia performance (costume; cosmetics, including scent; chant; movement; and pandanus fiber/hibiscus fiber mats), photographic documentation *Presented to Queen Elizabeth II in order to continue peaceful relations, and show her the Fijian traditions including everything from food to scents

#223: Presentation of Fijian mats and tapa cloths to Queen Elizabeth II

Maya Lin Washington, D.C., U.S. 1982 C.E. Granite *Inverse colors: Black background and white text *Polished granite so viewer can see their reflection as they reflect *As you descend, the wall purposefully becomes longer *Meets in the middle and creates a "V" shape, closing a time span cycle

#225: Vietnam Veterans Memorial

Jean-Michel Basquiat 1983 C.E. Acrylic and oil paintstick on three canvas panels *Collage like *High contrast *Balanced horizontally *Two figures on the left and right panels of the tryptic. They are two famous jazz musicians. *Charlie Parker (on left) *Dizzy Gillespie (on right). Next to the words DOH SHOO DE OBEE, a not to Gillespie's improvisational vocals *Drawings and words, some of which are crossed out *Repeated words: -DIZZY -ORNITHOLOGY (the study of birds, also the name of a song by Parker) -PREE (to watch? to taste? - definition unclear) -According to Khan it's a reference to his daughter -TEETH (large areas of white pigment on each of the panels) *Basquiat's Horn Players resembles in many ways Picasso's Three Musicians - Picasso was one of the artists who influenced *Basquiat grew up in NYC, where he began his art career as a graffiti artists with the tag "SAMO" *Tribute to the musicians shown.

#226: Horn Players

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

#227: Summer Trees

Magdalena Abakonowicz 1985 C.E. Burlap, resin, wood, nails, string

#228: Adrogyn III

Xu Bing 1987 C.E. Mixed-media installation

#229: A Book from the Sky

Jeff Koons 1988 C.E. Glazed porcelain *Glazed porcelain and polychrome wood *Part of the exhibition "Banality" *The woman depicted is based on 1960s b-list *Hollywood star Jayne Mansfield is seen scantily dressed in a mint-green dress and bare breasted *She clutches the pink panther in her left hand and her right hand covers her exposed breast *From behind, the viewer sees the weary look on the pink panthers face *Could be a comment on the increase of feminist presence in art at the time, or a parody of male authority *A reflection on pop culture, picturing a children's cartoon character with a sex symbol *This piece, and the four nearly identical ones of it that were also made, are an example of kitsch. *Something kitsch is considered to be made in poor taste because of its garishness or sentimentality. Something kitsch is sometimes appreciated ironic or in a knowing way and Kitsch is a German word referring to mass produced imagery meant to please the broadest audience possible, with objects of questionable taste.

#230: Pink Panther

Cindy Sherman 1990 C.E. Photograph

#231: Untitled (#228), from the History Portraits series

Faith Ringgold 1991 C.E. Acrylic on canvas, tie-dyed, pieced fabric border *Faith Ringgold- African American artist. Mom was a seamstress/ fashion designer. Faith got the idea for a sewing (quilt) technique from her. Seeks entry in a white male dominated art world. Wants to "rewrite the past using African American culture and personal biography to make a place for women like herself in history. Wants to offer alternatives to white/masculine perspectives that are typically prevalent in art history. Common themes in her work: -Marriage -Love -Motherhood -Religion -Death -Things related to the lives of black women *12 part story quilt saga *Deals with the artists' "alter ego" *Name : Willa Marie Simone *16 year old black girl *Combination of her and her mother *Lives in Paris as an artist/model in the early 20th century *Adventures of Willa throughout Paris *Meets celebrities in her journey like: Pablo Picasso, Henri Matisse, Josephine Baker, Zora Neal Hurston, Sojourner Truth and Rosa Parks. *African Americans in the Louvre and claiming the space as their own *Comfortable in expression *Not common in the 1920s *Dancing around the art being "carefree" *Quilting in African American Culture *Young girls watch/participate in quilting in order to learn family stories, cultural background, sharing knowledge, and technical skills associated w/ maternal/domestic roles *Quilts in this collection: "Escape the cotton fields of Georgia and the the side streets of Harlem in the 20s"

#232: Dancing at the Louvre, from the series "The French Collection," Part I; #1

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

#233: Trade (Gifts for Trading Land with White People)

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

#234: Earth's Creation

Shirin Neshat (artist); photo by Cynthia Preston 1994 C.E. Ink on photograph *Black and white *The frame is sharply divided by the rifle barrel *Three major symbols in western representations of Islam are shown: the veil, the gun, and the text on the subject's face. *The woman's gaze is central to the piece. It's a nod to western feminists' understanding of the "male gaze" as something that is normalized in popular culture and to the concept of "gazing back" as a way for women to affirm their individuality and value beyond the sexual. *The Shah of Iran, Mohammad Reza Pahlavi, was overthrown in 1979. He's known for violent repression of political and religious opposition but he also enjoyed an alliance with the US and was a key figure in modernizing Iran (women's rights were better protected than before and after her regime, for example). *He was overthrown by religiously conservative as his monarchy grew more repressive, and was replaced by Ayatollah Khomeini. *Shirin Neshat grew up in Pahlavi's Iran and moved to California before the revolution. When she returned about 20 years later Iran was entirely different. *Khan: "One of the most visible signs of cultural change in Iran has been the requirement for all women to wear the veil in public. While many Muslim women find this practice empowering and affirmative of their religious identities, the veil has been coded in Western eyes as a sign of Islam's oppression of women." *This piece points to contradictions: The veil as a symbol of both oppression and freedom, The melding of religiosity and violence, the gaze of people and the camera as harmful and empowering. These tensions are resolved in the series, but instead presented plainly for the viewer to acknowledge and consider. *The poem is "Allegiance and Wakefulness" and it honors bravery and martyrdom, and is paradoxical in the context of Iran and its revolution. Neshat is pointing to how clear cut idealism moved her country from one complicated political state to another radically different one.

#235: Rebellious Silence, from the Women of Allah series

Pepon Osorio 1994 C.E. Mixed-media installation

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

Michel Tuffery 1994 C.E. Mixed media

#237: Pisupo Lua Afe (Corned Beef 2000)

Frank Gehry (architect) Spain 1997 C.E. Titanium, glass, and limestone *Exterior looks like a ship, and is located right near the water so it looks realistic. Gehry drew on the Nervión River as inspiration. this is where the boat idea came from *Shiny, extremely different from other classic museums *Surface curves in unique ways *Reflective (titanium) *Inside there are a lot of curved, natural lines *In the walls, the pathways, etc. *Museum and fake ship *Inside it has galleries and an atrium (19 galleries- 10 more traditional, 9 more unique) *There is a gallery known as the boat gallery, it has very high ceilings but no columns, and often used for sculpture exhibitions *The first Guggenheim was in NYC, and it was built by Frank Lloyd Wright (Fallingwater). It was very different from most museums and caused a stir in the architecture community. There were no columns, traditional galleries with axial arrangement, etc. *In Bilbao (northern Spain), there was an aging port that was becoming less economically successful they decided to create a museum to draw visitors, and Gehry was chosen to construct the plans. *Gehry is from Toronto, Canada and had been an up-and-coming, successful young architect *Since the NYC Guggenheim was revolutionary, he knew they would compare his work to the NYC Museum *He wanted to make it even better *A museum for artwork to bring people to Bilbao

#240: Guggenheim Museum Bilbao

Mariko Mori 1998 C.E. Color photograph on glass *Blue, pink, yellow, orange, white *Female in pink robes *Lotus flower on water *6 alien musicians *Possibly Tibetan stupa *Sunrise *Image goes with a video experience called Nirvana the 7 minute video has the woman meditating while the musicians float in the air. This moment is snapshot of from the the video set during a sunrise over the Dead Sea (the lowest point on Earth). *Lotus blossom = purity and rebirth into paradise traditional symbolism and futuristic depictions as well futuristic structure in the back may be a depiction of a *Tibetan stupa (Buddhist) *Self-portrait as a Tang woman- woman from the Tang dynasty in China/Amida Buddha *She holds a "hojyu"- a wishing jewel *Inspired by the Indian goddess Kichijoten (eventually became Buddhist) represents fertility, fortune, and beauty *Pure Land is the paradise of Amida Buddha *There are many depictions of Amida Buddha hovering above a lotus flower with celestial attendants around *Traditional Japanese imagery + slightly pop style (colors, aliens, etc.) *Mariko Mori was initially going to go into fashion, so the way she clothes herself is a reflection of her knowledge in the subject *Self-portrait *Message: "enlightenment for all" *Serene environment for the viewer to become a part of immersion into the scene in the way the perspective is created

#241: Pure Land

Kiki Smith 2001 C.E. Ink and pencil on paper *Large wrinkled drawing pinned to a wall reminiscent of a tablecloth of bed sheet *Nude woman lying down with a wild beast her strength is shown by the beast seeming to be tamed by her grasp *Wolf is usually an evil & dangerous symbol but not here *Both equal in size differing of stereotypes (the woman = strength and the wolf takes the role of the "innocent pitiful woman") *Bonding between animal and human *Both figures nurture each other *Distinction between predator and prey *Religious and mythological bond *Changing of traditional forms of painting (oils to acrylics) and sculpture (marble to experimentation with new materials) *Kiki Smith- American artist born in Germany Most of her works have to do with feminism and the human anatomy *Pieces are also associated with spirituality and religion due to her beliefs *Show woman's strength *Political statement against inequalities *Society typically grants more power to men, leaving women to be submissive or dependent metaphor for hierarchies of power in human relationships *Traditionally associated with gender, race, and class

#242: Lying with the Wolf

Kara Walker 2001 C.E. Mixed-media installation

#243: Darkytown Rebellion

Yinka Shonibare 2001 C.E. Mixed-media installation

#244: The Swing (after Fragonard)

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

#246: Stadia II

Wangechi Mutu 2006 C.E. Mixed media on Mylar

#247: Preying Mantra

Doris Salcedo 2007 C.E. Installation *She stated that the fissure represents the immigrant experience in Europe *548ft in length, width and depth varying from slight opening to several inches wide and up to two feet deep *Viewers perception into the crevice alters as they shift to better glimpse inside the cracks and see the interior space, notably the wire mesh embedded along the sides *One of Salcedo's goals of the piece was change in viewers perspective *See world in perspective of the victim (in the case possibly immigrants) *Shibboleth is a codeword that distinguishes people who belong from those who do not *The act of deliberately breaking one's media, in this case the concrete floor, is an act of rebellion *Was on display for seven months, then sealed and now exists only as a scar *Commemorates the lives of those who are prejudiced against and excluded an show that the past can't ever be truly erased *Also represents the possibility of healing

#248: Shibboleth

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

#249: MAXXI National Museum of XXI Century Arts

Ai Weiwei 2010 C.E. Sculpted and painted porcelain *One million of handcrafted ceramic pieces resembling sunflower seeds filled this enormous Turbine Hall at Tate Modern in London. *These pieces weight 150 tons in total, each seed is hand painted *The arrangement of these seeds represent a deep ocean. *They are arranged with precision to create uniformity *Originally viewers could walk on the installation, but it raised harmful ceramic dust and then viewing was limited to the sidelines *These sunflower seeds are made by 1600 Chinese artists for two years, in Jingdezhen, which is a city known as the "Porcelain Capital" in China artists have been producing pottery for nearly 2000 years *Sunflower seeds- People share sunflower seeds as treats among friends in China. Sunflower seeds were eaten as a source of food during the famine era under Mao Zedong. There is the ideology that Chairman Mao was the sun and his followers were the sunflowers. *Porcelain- First produced during the Han dynasty in about 200 B.C.E. and later mastered during the Tang dynasty. It is made by heating white clay to a temperature over 1200 degrees Celsius. The fusion of the particles within the clay during firing allowed artists to create vessels with thin but strong walls. *Shows the important porcelain tradition in Jingdezhen and the cheap and fast modern labor that is responsible for China's place in the world economy Ai Weiwei uses porcelain to reject the common negative connotations of the modern term "Made in China." *Sunflower Seeds asks us to examine how our consumption of foreign-made goods affects the lives of others across the globe *Ai Weiwei- Often uses his art to critique political and economic injustice. He had blogged for four years about corruption in the Chinese government, especially its handling of the 2008 earthquake in Sichuan and the hosting of the Olympics. Ai Weiwei was arrested at the Beijing Capital International Airport on April 3, 2011 during his Tate exhibition He was eventually released after 81 days, but his passport was withheld and prevented him from leaving the country for four years. He continues to use art to address human rights and democracy today.

#250: Kui Hua Zi (Sunflower Seeds)

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

#25: Lamassu from the citadel of Sargon II

Early medieval (Hiberno Saxon) Europe 700 C.E. (Gothic) Illuminated manuscript (ink, pigments, and gold on vellum) *Twist themselves into knots or birds, their curvaceous and overlapping forms creating the illusion of a third dimension into which a viewer can lose him or herself in meditative contemplation. *Example of Insular or Hiberno-Saxon art—works produced in the British Isles between 500-900 C.E., a time of devastating invasions and political upheavals. *A Northumbrian monk, very likely the bishop Eadfrith, illuminated the codex in the early 8th century. *Two-hundred and fifty-nine written and recorded leaves include full-page portraits of each evangelist; highly ornamental *"Cross-carpet" pages- Feature a large cross set against a background of ordered and yet teeming ornamentation; and the Gospels themselves, each introduced by an historiated initial. The codex also includes sixteen pages of canon tables set in arcades. *Here correlating passages from each evangelist are set side-by-side, enabling a reader to compare narrations. *Matthew's cross-carpet page exemplifies Eadfrith's exuberance and genius. A mesmerizing series of repetitive knots and spirals is dominated by a centrally-located cross. One can imagine devout monks losing themselves in the swirls and eddies of color during meditative contemplation of its patterns. *Compositionally, Eadfrith stacked wine-glass shapes horizontally and vertically against his intricate weave of knots. *On closer inspection many of these knots reveal themselves as snake-like creatures curling in and around tubular forms, mouths clamping down on their bodies. Chameleon-like, their bodies change colors: sapphire blue here, verdigris green there, and sandy gold in between. *The sanctity of the cross, outlined in red with arms outstretched and pressing against the page edges, stabilizes the background's gyrating activity and turns the repetitive energy into a meditative force. *Likewise, Luke's incipit (incipit: it begins) page teems with animal life, spiraled forms, and swirling vortexes. In many cases Eadfrith's characteristic knots reveal themselves as snakes that move stealthily along the confines of a letter's boundaries. *Blue pin-wheeled shapes rotate in repetitive circles, caught in the vortex of a large Q that forms Luke's opening sentence—Quoniam quidem multi conati sunt ordinare narrationem. *Birds also abound. One knot enclosed in a tall rectangle on the far right unravels into a blue heron's chest shaped like a large comma. Eadfrith repeats this shape vertically down the column, cleverly twisting the comma into a cat's forepaw at the bottom. The feline, who has just consumed the eight birds that stretch vertically up from its head, presses off this appendage acrobatically to turn its body 90 degrees; it ends up staring at the words RENARRATIONEM (part of the phrase -re narrationem). *Luke's incipit page is in marked contrast to his straightforward portrait page. Here Eadfrith seats the curly-haired, bearded evangelist on a red-cushioned stool against an unornamented background. Luke holds a quill in his right hand, poised to write words on a scroll unfurling from his lap. His feet hover above a tray supported by red legs. He wears a purple robe streaked with red, one that we can easily imagine on a late fourth or fifth century Roman philosopher. The gold halo behind Luke's head indicates his divinity. *Above his halo flies a blue-winged calf, its two eyes turned toward the viewer with its body in profile. The bovine clasps a green parallelogram between two forelegs, a reference to the Gospel. *According to the historian Bede from the nearby monastery in Monkwearmouth (d. 735), this calf, or ox, symbolizes Christ's sacrifice on the cross. Bede assigns symbols for the other three evangelists as well, which Eadfrith duly includes in their respective portraits: Matthew's is a man, suggesting the human aspect of Christ; Mark's the lion, symbolizing the triumphant and divine Christ of the Resurrection; and John's the eagle, referring to Christ's second coming.

#55: Lindisfarne Gospels: St. Matthew, cross-carpet page; St. Luke incipit page

Rembrandt van Rijn 1636 C.E. Etching *Only image of Rembrandt with his wife (she appears smaller, less detailed, almost childlike) *Portrayed in atypical/costume attire *Saskia is a known source of inspiration and support for his work *Wife and mother of 4 children *Hatching/cross hatching/etching/print can be mass produce *Artist known for his painting

#87: Self-Portrait with Saskia

Central Mexico, site of Tlatilco 1200 B.C.E. (MONOLITHIC) Ceramic *Found at burial sites *Red, yellow, black pigments AND stamped on detail *Ritual burning on legs *During this time, deformities were seen as a being superior

#10: Tlatilco female figurine

Susa, Iran 3500 B.C.E. (NEOLITHIC) Painted terra cotta *Lineal Lines, rectangles, and circles *A vessel buried with a body *Mountain goat, birds, and dogs as animal motifs *All animals include over-exaggerated features

#5: Beaker with ibex motifs

Romanesque Europe (English or Norman) 1066 C.E. Embroidery on linen *Twenty inches high and almost 230 feet in length *Commemorates a struggle for the throne of England between William, the Duke of Normandy, and Harold, the Earl of Wessex (Normandy is a region in northern France). *1066—William invaded and successfully conquered England, becoming the first Norman King of England (he was also known as William the Conqueror). *Consists of seventy-five scenes with Latin inscriptions (tituli) depicting the events leading up to the Norman conquest and culminating in the Battle of Hastings in 1066. *Textile's end is now missing, but it most probably showed the coronation of William as King of England. *NOT a true tapestry as the images are NOT woven into the cloth; instead, the imagery and inscriptions are embroidered using wool yarn sewed onto linen cloth. *Sometimes viewed as a type of chronicle, but episodes that do not relate to the historic events of the Norman Conquest complicate this categorization. *Presents a rich representation of a particular historic moment as well as providing an important visual source for eleventh-century textiles that have not survived into the twenty-first century. *It is considered to be a somewhat accurate representation of events. *Art historians believe the patron was Odo, Bishop of Bayeux. Odo appears in several scenes in the tapestry with the inscription ODO EPISCOPUS (abbreviated "EPS" in the image below), although he is only mentioned briefly in textual sources. *Favorably depicts the Normans in the events leading up to the battle of Hastings, thus presenting a Norman point of view. *The inscription above Odo (partially cut off in the reproduction above) reads, "Here, Odo the Bishop, with a staff (baculum) encourages the young warriors," *We do not know the identity of the artists who produced the tapestry. The high quality of the needlework suggests that Anglo-Saxon embroiderers produced the tapestry. At the time, Anglo-Saxon needlework was prized throughout Europe. *Many of the scenes are believed to have been adapted from images in manuscripts illuminated at Canterbury. *Organized the composition of the tapestry to lead the viewer's eye from one scene to the next and divided the compositional space into three horizontal zones. *Main events of the story are contained within the larger middle zone. The upper and lower zones contain images of animals and people, scenes from Aesop's Fables, and scenes of husbandry and hunting. At times the images in the borders interact with and draw attention to key moments in the narrative (as in the image above of the battle). *Seventy-five episodes depicted present a continuous narrative of the events leading up to the Battle of Hastings and the battle itself. A continuous narrative presents multiple scenes of a narrative within a single frame and draws from manuscript traditions such as the scroll form. The subject matter of the tapestry, however, has more in common with ancient monumental decoration such as Trajan's Column, which typically focused on mythic and historical references.

#59: Bayeux Tapestry

Donatello 1440 C.E. Bronze *Lost wax casting *Not just a Biblical representation of David, but also symbolized Florence Italy's defeat of the Duke of Milan during a failed take over. *Reference's a Greek classical sculpture *Goliath's sword in his right hand *Head of Goliath underneath his left foot *Erotic position *Small

#69: David

Miguel González 1698 C.E. Based on original Virgin of Guadalupe Basilica of Guadalupe, Mexico City 16th century C.E. Oil on canvas on wood, inlaid with mother-of-pearl *Conquistador Hernán Cortés carried a small statue of the Madonna with him as he searched for gold and encountered the indigenous peoples of Mexico. After the defeat of the Aztec capital of Tenochtitlan in 1521 and the establishment of 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. *One Marian cult image eventually became more popular than any other however: the Virgin of Guadalupe, also known as La Guadalupana. Her image is found everywhere throughout Mexico today, gracing churches, chapels, homes, restaurants, vehicles, and even bicycles. *Many people consider the original image of Guadalupe to be an acheiropoieta, or a work not made by human hands, and so divinely created. Some consider the image the product of an indigenous artist named Marcos Cipac (de Aquino), working in the 1550s. *In the original image, still enshrined in the basilica of Guadalupe in Mexico City today, Guadalupe averts her gaze and clasps her hands together in piety. *She stands on a crescent moon, and is partially supported by a seraph (holy winged-being) below. She wears Mary's traditional colors, including a brilliant blue cloak over her dress. Embroidered roses decorate her rose-colored dress. Golden stars adorn her cloak and a mandorla of light surrounds her. *The image of Guadalupe relates to Immaculate Conception imagery, which drew aspects of its symbolism from the Book of Revelation and the Song of Songs. *For instance, the Book of Revelation describes the Woman of the Apocalypse as "clothed with the sun, with the moon under her feet and a crown of twelve stars on her head." *In the Guadalupe image, twelve golden rays frame her face and head, a direct reference to the crown of stars. *Guadalupe's ashen skin is the subject of some discussion. It is possible that she represents an indigenous Madonna. *However, the Virgin of Guadalupe in Extremadura, Spain, after whom Mexico's Guadalupe is named, is a black-skinned Madonna—a direct reference to Mary's beauty based on a passage from the Song of Songs: "I am black but beautiful." *Black Madonnas were popular long before Guadalupe's appearance in Mexico, and so it is possible that her ashen skin situates her within this pre-existing tradition. *Today, millions travel annually to her basilica to glimpse the original image, which visitors see while zooming beneath it on a conveyer belt. *The original shrine devoted to Guadalupe, on a hill above the basilica, marks the site of her initial miraculous appearance. *In December 1531, a converted Nahua man named Juan Diego was on his way to mass. *As he walked on the hill of Tepeyac(ac), formerly the site of a shrine to the Aztec mother goddess Tonantzin, Guadalupe appeared to him as an apparition, calling him by name in Nahuatl, the language of the Nahua. *According to one textual account written in Nahuatl, Juan Diego described her as dark-skinned, with "Garments as brilliant as the sun." *She requested that Juan Diego ask the bishop, Juan de Zumárraga, to construct a shrine in her honor on the hill. After recounting the story, the bishop did not believe Juan Diego and requested proof of this miraculous appearance. After speaking again with Guadalupe on two other occasions, she informed Juan Diego to gather Castilian roses—growing on the hillside out of season—inside his tilma, or native cloak made of maguey fibers, and bring them to the bishop. *When Juan Diego opened his tilma before Bishop Zumárraga the roses spilled out and a miraculous imprint of Guadalupe appeared on it. Immediately, Bishop Zumárraga began construction of a shrine on the hill.

#95: The Virgin of Guadalupe (Virgen de Guadalupe)

Sandro Botticelli 1484 C.E. Tempera on canvas *Venus (in center) stands in a relaxed stance, modest with no shame, not embarrassed (in reference to a previously created sculpture). She was considered ideal beauty: fair skin, long+light hair, slender (all characteristics were not the norm of Italian women). *Nudity during this time was considered to be scandalous *At right: Pomona, Goddess of Spring time (flowers on dress) *Shell shadowing makes painting feel 3D *Details like flowers and waves are emphasized in background to add depth *Used to hang in the Medici Palace

#72: Birth of Venus

Jan van Eyck 1434 C.E. Oil on wood *"Jan Van Eyck was here" is written in latin on the portrait *Mirror has back of Arnolfini, wife, and visitors (unknown) *Giovanna Arnolfini was an Italian merchant. He is the man pictured with his wife (she is not pregnant in this picture, BUT died during childbirth). *Wear winter clothing in summer *Oranges were considered expensive goods (in the background on table) *Baths in living rooms were considered a sign of wealth (behind couple) *1 candle in chandelier kay be the presence of God/Jesus

#68: The Arnolfini Portrait

Lapita Solomon Islands, Reef Islands 1000 B.C.E. (MONOLITHIC) Terra cotta (incised) *Subtractive carving *Earthtones *One of the oldest faces depicted in the Pacific (high nose bridge) *Most likely from a vessel which held water

#11: Terra cotta fragment

Pre-dynastic Egypt 3000 B.C.E. Greywacke *Tells the story of how King Narmer united Upper and Lower Egypt *Palette has double meaning *Literal palette for high priests/priestesses to put on eye makeup (due to the climate, black eye makeup served as protection, but it also was a status piece) *Also a palette as a record of history

#13: Palette of King Narmer

Square Temple at Eshnunna Sumerian 2700 B.C.E Gypsum inlaid with shell and black limestone *Placed in waiting rooms to pay tribute to Gods/Goddesses (associated with places like "White Temple and its Ziggurat")

#14: Statues of votive figures

Saqqara, Egypt Old Kingdom, Fourth Dynasty 2620 B.C.E. Painted Limestone *Found in a Necropolis (City for the dead) outside Saqqara *Anonymous Figure *Softness of the body indicates a lower status *Sculpture carries the Ka (spirit) of deceased *He holds a scroll in one hand and a writing utensil in the other

#15: Seated Scribe

Modern Tell el-Muqayyar, Iraq Sumerian 2600 B.C.E. Wood inlaid with shell, lapis lazuli, and red limestone *Found in one of the largest graves in the Royal Cemetery at Ur, lying in the corner of a chamber above the right shoulder of a man *Original function is not yet understood *Imagined that it was carried on a pole as a standard, hence its common name. Another theory suggests that it formed the soundbox of a musical instrument. *When found, the original wooden frame for the mosaic of shell, red limestone and lapis lazuli had decayed, and the two main panels had been crushed together by the weight of the soil. The bitumen acting as glue had disintegrated and the end panels were broken. As a result, the present restoration is only a best guess as to how it originally appeared. *Main panels are "War" and "Peace" *"War" shows one of the earliest representations of a Sumerian army. Chariots, pulled donkeys, trample enemies; infantry with cloaks carry spears; enemy soldiers are killed with axes, others are paraded naked and presented to the king who holds a spear. *The "Peace" panel depicts animals, fish and other goods brought in procession to a banquet. Seated figures, wearing woolen fleeces or fringed skirts, drink to the accompaniment of a musician playing a lyre. Banquet scenes such as this are common on cylinder seals of the period, such as on the seal of the "Queen" Pu-abi.

#16: Standards of Ur from the Royal Tombs at Ur

Babylon Susain 1792 B.C.E. Basalt *God (Shamash) is seated (feet are elevated), Hammurabi stands before him, receiving the right to rule *Pole contains Hammurabi's 300 Laws *7 Feet Tall, displayed in the center of town

#19: The Code of Hammurabi

Namibia 25500 B.C.E. (PALEOLITHIC) Charcoal on stone *Were discovered in around the same time as the 1969 moon landing by German archaeologist Wolfgang Erich Wendt *Since they're portable stones, they were most likely moved from its original cave *Spiritual Object *Zoomorphic, combines two or more animals

#1: Apollo 11 Stone

Karnark, Egypt New Kingdom, 18th and 19th Dynasties Temple: 1550 B.C.E. Hall: 1250 B.C.E. Cut sandstone and mud brick Hypostyle Hall: *Ceiling supported by columns *Columns have lotus flower and papyrus motifs *When it was functional, the middle of the ceiling was more elevated, which created clerestory lighting ("twilight" style darkness which was intermediate between inside and outside) *Used by most people for quiet spiritual reflection *Area was intentionally flooded Temple of Amun-Re: *Used for quiet spiritual reflection by Pharaohs (including Hatshepsut and Thumose) and higher people

#20: Temple of Amun-re and Hypostyle Hall

Arabian Peninsula Fourth Millennium B.C.E. (NEOLITHIC) Sandstone *Front and back, but no detail on back *No indication of gender *Used as gravestones, some are more detailed/larger than others (wealth/hierarchy) *Vary in size, anywhere between 20 inches-40 inches

#6: Anthropomorphic stele

New Kingdom (Amarna), 18th Dynasty 1353 B.C.E Limestone *Pharaoh Akhenaton changed his name so that "aton" (sun) would be included as the sun was important/high/powerful *Sun is emphasized in this piece *Akhenaton changed the style of art from straight lines to curved ones. However, as soon as he passed, the art style referred to that referenced in "King Menkaura and queen." *Ankh (symbol of life) is present at the end of different sun rays *Feathers are at the end of other sun rays to symbolize Maat (Goddess of peace and harmony) and the balance of life *Akhenaton changed the religion of Egyptians from Polytheism to Monotheism *Nefertiti was believed to be the most beautiful woman in the world, with a long neck and forehead (she was a peasant girl who married into royalty, which was incredibly rare as, normally, royalty would marry royalty in incestuous marriages) *Children are being cared for

#22: Akhenaton, Nefertiti, and three daughters

New Kingdom, 19th Dynasty 1275 B.C.E. Painted papyrus scroll *Page from The Book of the Dead *Tells the story of Hu-Nefer entering the Underworld in order to be judged to see if he is fit for the next world *Thothe, Horus, Osiris, Isis, and others are included *Ankhs (life) and Maats (Goddess of balance in life)

#24: Last judgement of Hu-Nefer, from his tomb

Archaic through Hellenistic Greek 600 B.C.E Plan *Athenian men were the only ones allowed to enter court room, race track, place to cast ballots *In some areas, high society women could enter *Several stoas (store fronts), access to stores and theaters in multi-use places *Like a Greek Temple version of a strip mall (with ionic columns) *Starting place for Panathenaic Procession (Agora to Acropolis), women brought peplos clothing to clothe Athena statue

#26: Athenian agora

Archaic Greek 530 B.C.E. Marble with remnants of paint *Kouros = Male grave marker *Eyes open + smile = Living being *Contrapposto (an asymmetrical arrangement of the human figure in which the line of the arms and shoulders contrasts with, while balancing, those of the hips and legs) had not been established

#27: Anaryos Kouros

Archaic Greek 530 B.C.E. Marble, painted details *Found in rubble, near Parthenon *Was painted *NOT a gravemarker *Representation of a Goddess (Either Athena or Artemis), left hand probably held an indicator *Statue wear peplos (a thin linen, high waisted skirt and cropped top) *Some visible anatomy underneath thin clothing

#28: Peplos Kore from the Acropolis

Etruscan 520 B.C.E. Terra cotta *In Etruscan life, women had a different role than in Ancient Greece. They were included in cultural life, activities, etc. *Two people in an intimate pose *Archaic smile, no dynamic motion, stationary *Replica of actual activity (tells us about daily Etruscan life) *Potential split down piece is either an accident or on purpose (for firing reasons)

#29: Sarcophagus of the Spouses

Lascaux, France Paleolithic Europe 15000 B.C.E. (PALEOLITHIC) Rock painting *Natural+Earthy Tones *Blowing pigment through hole (theory) *Layering+Overlapping *Evidence of Different styles and painting

#2: Great Hall of the Bulls

Persepolis, Iran Persian 520 B.C.E. Limestone *Presents a visual microcosm of the Achaemenid empire—making clear, through sculptural decoration, that the Persian king ruled over all of the subjugated ambassadors and vassals *Persepolis (in Greek means "city of the Persians") was known to the Persians as Pārsa and was an important city of the ancient world, renowned for its monumental art and architecture *It was marked as a special site by Darius the Great (reigned 522-486 B.C.E.) in 518 B.C.E. when he indicated the location of a "Royal Hill" that would serve as a ceremonial center and citadel for the city. *This platform supported four groups: residential quarters, a treasury, ceremonial palaces, and fortifications.

#30: Audience hall (apadana) of Darius and Xerxes

Veli, near Rome, Italy Master sculpture Vulca 510 B.C.E. Original temple of wood, mud brick, or tufa (volcanic rock); terra cotta sculpture *Didn't survive because they used wood and mud brick. Vitruvius, famous architect, wrote about this architectural structure in his book "Da Architectura"). *Difference in light quality as you entered. No sculptural program in roof lining (like Acropolis). *Smaller temple *Wood beams *Fewer columns, 8 in front (Doric instead of ionic) and walls *Greek Gods and Goddesses, but used by Romans differently (names and worship)

#31: Temple of Minerva (Athena) and Sculpture of Apollo

Tarquinia, Italy Etruscan 480 B.C.E. Tufa and fresco (technique of mural painting executed upon freshly laid, or wet lime plaster) *A large necropolis (similar to the inside of a pyramid) which paid tribute to the dead through designs depicting daily Etruscan life. In the present, there is little known about the Etruscans, so what little we know has come though their funerary art *Etruscan funerals were festive. Individuals or couples were depicted in a tomb. A celebration of life. Along with art, food, banquet chairs and couches made of stone were left in the tombs *Geometric patterns and figures facing forward with heads turned to the side

#32: Tombs of the Triclinium

Anonymous vase of Classical Greece known as the Niobid Painter 460 B.C.E. Clay, red figure technique (white highlights) *Mixing vessel, water mixed with (strong) Greek wine *Tells a story through art *Red clay with black glaze *No ground line. Artist uses distance to create depth and dimension *Reverse image *Two stories on vase: *Story 1: (most recent) Soldiers/warriors worshipping a statue of Hercules (son of Zeus and half-human strong man, identified in this with lion skin and club) before going into battle *Story 2: Niobide had 14 children (7 girls and 7 boys). She bragged that her children were more beautiful than the God Leto's children (Apollo and Artemis). To avenge their mother, Artemis and Apollo kill all of Niobide's children

#33: Niobide Krater

Polykleitos Original (bronze), 450 B.C.E. Roman copy (marble) *In classical sculpture, no elongating figures. Depicted in youth (Greeks believed that a healthy body meant a health mind) *Includes the "Canon of Proportions"- The perfectly harmonious and balanced proportions of the human body in the sculpted form, still used today)

#34: Doryphoros (Spear bearer)

Florence, Italy Leon Battista Alberti (architect) 1450 C.E. Stone masonry *NOT a private estate *Meant to add beauty to the street of Florence *Humanism applied to domestic architecture *NOT completed *References to wealth (diamond ring carvings) and the Rucellai family (sail carvings) *Architectural stories were split into three levels (top to bottom): 1. Corinthian 2. Ionic 3. Tuscan *Built in benches in front *Pal-asters and loggia *Emphasis on measure an harmony, sought to retrieve the vocabulary of ancient Roman architecture (like virtuous) *Alberti was a Humanist architect that wrote an important book about architecture

#70: Palazzo Rucellai

Athens, Greece Iktinos and Kallikrates 447 B.C.E. Marble *Amphitheater (a sloping, semicircular seating gallery) set up (more semi-circular than the "Great Altar of Zeus and Athena at Pergamon") *Utilized the highest point in town to place the most important building there (focal point of Athens) *Natural landscape, like "Mesa Verde" and "The Mortuary Temple of Hatshepsut." *Originally, buildings were painted *Athens and Acropolis were named and dedicated to Athena, who won against Poseidon for possession of the area of Greece by offering its citizens peace and stability in the form of an olive branch. *X= 2Y+1, Column Equation (in front, columns aren't perfectly spaced on purpose, to trick the human eye into thinking they are) *The Freeze= Women carrying pethlos to Athena statue in Panathenaic Procession *Parthenon= A temple for all people, used for business *East Pediment, Represents birth of Athena (from the head of Zeus) *West Pediment, Athena's victory of Athens against Poseidon *Smaller temple held Statue of Athena *Statue of Nike (wearing "scandalous" clothing) shows Athenians to take off their sandals as they approach the temple of Athena/the Parthenon to pay tribute to the Goddess

#35: Acropolis

Attributed to Kallimachos 410 B.C.E. Marble and paint *Front piece, no back. Low-relief sculpture. *Grave marker *Athenian woman named Hegeso, daughter of Proxenos, is one sitting (also bigger than woman on the left, hierarchy of scale). Painted with blues. *Hegeso wears a head viel and a chiton/himation dress *Attendant is holding out a Pyxis (decorative jewelry box) *Attendant holds another object which has been removes from the grave marker (most likely a pearl) *Sense of anatomy and movement in this piece *Hegeso sits in an elegant chair with her feet elevated

#36: Grave stele of Hegeso (pronounced Egeso)

Hellenistic Greek 190 B.C.E. Marble *Originally, was on the front of a ship which was placed in water (reflection moved in the water, but it was exposed to wind and damaged over time) *Depicts the Goddess Nike, who was considered an icon of feminine beauty and power *Triumphant, ascending, movement, advanced anatomy (striding forward) *Scandalous clothing, more nudity than sculpture in Parthenon

#37: Winged Victory of Samothrace

Asia Minor (present-day Turkey) Hellenistic Greek 175 B.C.E. Marble (architecture and sculpture) *Frieze is at eye level and depicts the Olympic Gods and Giants' battle for power over each other. Gods win through fulfilling a prophecy. Event is known as the "Gigantomachy) *Ionic columns *Amphitheater (a sloping, semicircular seating gallery) set up *Figures on side of altar are larger than life *Like a stoa, with columns on one side which are long and out-stretched

#38: Great Altar of Zeus and Athena at Pergamon

Pompeii, Italy Imperial Roman Originally Built: Second Century B.C.E. Rebuilt: 62 C.E. Cut stone and fresco *Owned by two brother who were former slave and compounded their wealth *Position in societal hierarchy *Grandeur (splendor and impressiveness, especially of appearance or style) to home *Two large atriums (an open-roofed entrance hall or central court in an ancient Roman house) *Basin collects rainwater (spiritual connection to water) *Doric Columns *1100 sq. meters *Second level of sleeping and storage areas Styles: 1. Faux-Finishes (fake marble) 2. Painting looks like window 3. Painting on wall looks hung on *79 C.E. Eruption of Vesuvius

#39: House of the Vettii

Tequixquiac, central Mexico (Meso-America) 14000 B.C.E. (PALEOLITHIC) Bone *Not a skull *Animal pelvic bone altered into a skull *Ears don't have hard bone *Might be the pelvic bone of an alpaca

#3: Camelid sacrum in the shape of a canine

Republican Roman 100 B.C.E. Mosaic *Greek (won) vs. Persian (retreating scared) *Foreshortening- Portray or show (an object or view) as closer than it is or as having less depth or distance, as an effect of perspective or the angle of vision *Over one million tiles *Copy of previous painting *In Pompeii

#40: Alexander Mosaic from the House of Faun, Pompeii

Hellenistic Greek 100 B.C.E. Bronze *Represents Hellenistic drama *Missing eyes *Lost wax casting (hollow and thin bronze) *Worn, slumped (exhausted) *Patches of copper indicated bleeding *Contrast between classical perfection and Hellenistic realism

#41: Seated boxer

Republican Roman 75 B.C.E. Marble *Deep wrinkles, old face *Kept in shrine of houses *Patrician, either aristocrat or nobleman *Serious, experienced *Patricians had a cabinet of busts in their home *Veristic piece (hyper-realistic)

#42: Head of a Roman Patrician

Rome, Italy Imperial Roman 70 C.E. Stone and concrete Inside: *Arena (in latin=sand), where gladiators fought. Sand was used to absorb blood and body fluids. Between fights, easy to clean. *The original name of the building was not the Colosseum, it's a nickname given later. The nickname indicated its close proximity to the colossal statue of Nero *Doric columns *Created under the reign of Roman Emperor Vespasian and completed during the reign of Titus *The largest amphitheater ever built during Roman times and is regarded as a marvel of Roman architecture and engineering *Built for the purpose of entertainment and used for such purpose until the early medieval period *Located in the heart of the city (focal point) *Supreme arena for witnessing the preferred entertainments of the Roman era such as contests of gladiators, dramas, and animal hunts *The site of public executions such as the infamous executions of early Christians *Later, the Colosseum was used to house various workshops *During its long history it was also used as a fortress, a quarry, and even a Christian shrine. *The structure suffered considerable ruin from earthquakes it does not function much beyond a tourist attraction, though small concerts have been held there *Has an elliptical shape and historians note that it was built as if two individual classical theaters merged back to back (615 feet long and 157 feet wide) *Could accommodate fifty thousand spectators (although Roman records state that eighty-seven thousand could find seating) *Ancient architects included eighty ground level entrances. The interior was beset with rows of stone seating that stretched upwards along the walls. The various entertainments took place in the center of the amphitheater. *Colosseum was linked by an underground tunnel to the Ludus Magnus, a training venue for gladiators. Exotic animals like lions, crocodiles, and bears from the vast outer reaches of the Empire were also popular attractions.

#44: Colosseum (Flavian Amphitheater)

Rome, Italy Apollodorus of Damascus Forum and markets: 106 C.E. Column completed: 113 C.E. Brick and concrete (architecture); marble (column) *Trajan (Marcus Ulpius Traianus) reigned as Rome's emperor from 98 until 117 C.E. *A military man, Trajan was born of mixed stock—part Italic, part Hispanic—into the Ulpian family in the Roman province of modern Spain and enjoyed a career that catapulted him to the heights of popularity, earning him an enduring reputation as a "good emperor" *The Forum of Trajan was the final, and largest, of Rome's complex of so-called "Imperial fora (a public, urban square for civic and ritual business) "—dubbed by at least one ancient writer as "a construction unique under the heavens" *The Forum of Trajan was inaugurated in 112 C.E., although construction may not have been complete, and was designed by the famed architect Apollodorus of Damascus. *All of the structures, save the two libraries (which were built of brick), were built of stone. There is a great deal of exotic, imported marble and many statues, including gilded examples. The forum was composed of a main square (measuring c. 200 x 120 meters) that was flanked by porticoes (an extended, roofed colonnade), as well as by exedrae (semicircular, recessed spaces) on the eastern (above) and western sides.

#45: Forum of Trajan

Imperial Roman 118 C.E. Concrete with stone facing *Piazza, square in front of Pantheon *Has been attacked *Originally, a Temple to the Gods, then a Church, now a tourist attraction *Now, the elevation is much higher than when the Pantheon was first created *Used to be framed by a colonnade (a row of columns supporting a roof, an entablature, or arcade) and other buildings *(Originally marble) Corinthian capitals, monoliths (single pieces) which were imported from Egypt *Walk in under strictly rectilinear porch and then the space opens up into a vast circular space *Width and height are an expression of limits of sight *Radial building (center point which radiates outward) with central point is midway between roofing and wall and ceiling (accommodates perfect sphere) *Circles, rectangles and squares, perfect geometrical shapes *Only light source is an oculus in the dome (so, lighting is different at all points in the day) *Originally contained sculptures of gods, of the defied emperors *Earthly sphere meeting the heavenly sphere

#46: Pantheon

Late Imperial Roman 250 C.E. Marble *Romans (heroic/noble looking with ideal features) vs. Goths (puffy noses, cheeks, and wild expressions, pulls from GREEK ART) *Goths are barbarians *Piled on top of each other, dense carpet of figures *Carved in deep relief *2-3-4 layers of figures (dense tangle) *Top center, Hero (calm) on his horse (wild) (offset from his horse) *Romans are stern and serious *Like looking down from above *Figures at bottom appear smaller (wounded) *Alternation of light and dark *Goth are more deeply carved which made them darker *Romans are lighter and more smooth *Man in sarcophagus is still unknown *Created during a politically/historically unstable time (many civil wars) *More complex style with little concern for the individual

#47: Ludovisi Battle Sarcophagus

Rome, Italy Late Antique Europe (Romanesque) 200 C.E. Excavated tufa and fresco *Mass grave, underground (damp and dark) *Priscilla- Noble woman connected to land above entrance *Old and New Testament (Faithful and living the life of God) *NOT the largest Catacomb in Rome *Several levels *8 miles of burial ground Top Left Image: *Arms= Praying/preaching/speaking to audience, welcoming *MAY BE Jesus/God, represented as a Shepard (because followers of Christ/God are considered sheep) *Orant= In posture of prayer with arms raised to God motif. Possibly the first image of Christian/Catholic art Bottom Left Image: *Iconography makes this catacomb unique *"Good Shepard," may be first representation

#48: Catacomb of Priscilla

Rome, Italy Late Antique Europe (Romanesque) 422 C.E. Brick and stone, wooden roof *Wooden roof- lighter, but probably replaced *Spoliated columns- Came from a different structure and repurposed give lightness/airiness (don't perfectly match architecture) *Originally, walls were layered with mosaic tiles *Early Christian Basilica layout with apse, nave, and aisles (enter, not great traffic flow) *Used as: courthouse/sight of law, gathering space for other reasons, stage-like setting for Orants *Corinthian columns, buttresses (NOT FLYING) used for support *Clerestory lighting because of high windows *Columns create darker space, hold up roof/support of structure

#49: Santa Sabrina

Tassili n'Ajjer, Algeria 4000 B.C.E. (NEOLITHIC) Pigment on Rock *Anthropomorphic and has intricate clothing *Used for worship, depicts a belief system of honoring Gods+Goddesses *Created to pay tribute to the harvest and rain *This area was dry, but became drier over 10,000 years, so rain was important

#4: Running horned woman

Early Byzantine Europe Early Sixth C.E. (Byzantine) Illuminated manuscript (tempura, gold, and silver on purple vellum) *Rebecca- Recruited to marry Isaac, appears twice *Jacob- Embodiment of God, appears as himself *Called "Vienna" Genesis because of where it's located now *Vellum- Animal Skin Paper *Genesis- Old Testament *24/26 Folios survived *One of the oldest manuscripts *Used to spread Christian faith *Water show natural generosity *Probably came from Syria *Greek lettering applied with silver and tarnished black *Print version of Byzantine figures *Spacial awareness, depth * Paints are dyed purple, royal color (naturally occurring, but rare, comes from snail shells aka lichen)

#50: Rebecca and Eliezer at the Well and Jacob Wrestling the Angel, from the Vienna Genesis

Ravenna, Italy Early Byzantine Europe (Byzantine) 526 C.E. Brick, marble, and stone veneer; mosaic *NOT fresco, but lots of Gold (gold=Byzantine) *Exterior is two octagons (one big octagon surrounding a smaller octagon) *San Vitale is buried under the Church (because he was the Patron) *Images from Old and New Testament *Angels *High quality marble columns, AREN'T Corinthian, Doric or Ionic *Centrally planned Church, focus on center instead of the basilica *Emperor Justinian Empress Theodora, and Bishop Maximilian are represented in bright mosaics *Flying butttresses give sense of airiness *Mosaics which survived from early medieval period (glass and gold)

#51: San Vitale

Constantinople (Istanbul) Anthemius of Tralles and Isidorus of Miletus 532 C.E. (Byzantine) Brick and ceramic elements with stone and mosaic veneer *Stone is like a pattern of waves *Rich marble *No mosaics with figures *Mysticism- Seems the dome is heavenly *Clerestory lighting, windows used to be colored *Treasures were taken during Western Christian Crusade in 1204 C.E. (jewels, gemstones, etc.) *Divine lighting streams in under the large dome *Unifies centrally planned space with a basilica *Dome, used to be covered in silver, is on a square base *Piers support outward areas of dome (earthquake destroyed original dome) *Dome is on four arches, aka pendentives *Emperor Justinian (Patron) hired two theoreticians to create a geometrically intense building and put in workers who might otherwise riot *Expression of unity between heaven and earth *Transformation from physical to spiritual *Church to Mosque to Museum *Floors are worn and uneven

#52: Hagia Sophia

Early medieval Europe Mid-sixth century C.E. (Byzantine) Silver gilt worked in filigree, with inlays of garnets and other stones *Zoomorphic figures *Used to clasp layers of clothing

#53: Merovingian looped fibulae

Early Byzantine Europe Sixth or early seventh century C.E. (Byzantine) Encaustic on wood *Encaustic- Painting in hot wax, used in Ancient Mediterranean *Fiaum- Portraits used for funerary purposes (portray people who had passed away) *Building portrayed behind *Fabric piece, Romanesc *Gold leaf halos *Baby is Jesus because of practicality and wisdom *Angels *Elongated faces and incorrect body proportions

#54: Virgin (Theotokos) and Child between Saints Theodore and George

Córdoba, Spain Umayyad (Gothic in later construction) 785 C.E. Stone masonry *The second of four major caliphates established after the death of Muhammad *The caliphate's spanish capital was Córdoba *Lasted from 661 until 750 C.E. *Roman Empire: Temple to the Roman god, Janus (possibly) *572-661: Church *661-750: Mosque *750-786: Rebuilt by following Caliphate (remained a mosque) *786-: Church (Gothic Rib Vaulting Added) *Geometry and Symmetry *Over 500 columns from DIFFERENT parts of history (mixture of cultures) *Changing of materials and styles

#56: Great Mosque

Fra Filippo Lippi 1465 C.E. Tempera on wood *Fra(tello) means brother/Priest. He corrupted a nun named Lucretia and made her his muse in this painting. *Playful, realistic *Youthful (almost risqué) depiction of Mary, she wears a translucent headpiece (considered scandalous at the time because of the transparency of the veil) *Linear perspective- Like in School of Athens and Annunciation Triptych *Jesus and Mary are the greatest sources of light *Christ as a baby *Two smiling angels are depicted as children *Mary sits on a highly detailed chair *Halos of light around Mary and Jesus *Sfumato (Smokey effect of colors in background)

#71: Madonna and Child with Two Angels

Umayyad 986 C.E. Ivory (with traces of jade inlay) *Pyxis- Cylindrical box for cosmetics (around 6 inches tall). Best surviving examples of Spanish Islamic ivory carving *Believed to have been given to the son of a recently deceased caliph (al-Mughira) *Arabic inscription around the lid: "God's blessing, favors, joy, beautitude to al-Mughira son of the Commander of the faithful, may God have mercy upon him, in the year 357." *Eventually, al-Mughira was executed since he was a threat to another royal who wanted him throne *Pyxides were given as gifts, mainly to female royals but sometimes men *Given at events such as: coming of age, births, and marriages *Ivory was a desirable material and often made into luxurious gifts for royals *"Four eight-lobed medallions" - Umayyad vs. Abbasid iconography in both *Whole thing surrounded by birds and animals that would be hunted *Two men picking dates (center, represent lost lands of the East, where dates were found) and lions attacking two bulls (victors, presumably the Umayyad in this case) *Lute player and two figures, believed to be Umayyad holding the scepter and flask, and Abbassid holding the fan *Two men wrestling *Islamic art is often thought of as aniconic, but human figures play an important role, especially in works like the pyxis *NOT A RELIGIOUS PIECE

#57: Pyxis of al-Mughira

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). *Nave/Aisles/Apse/Attached supports/Heavy architecture/dark interior *Romanesque *Tympanum (space above the door) depicts the last judgement of Christ *Pilgrimage sight *St. Foy: -Martyred for her Christian beliefs and refusal to sacrifice to the Roman Gods in a pagan ritual -Reliquary holds skull of St. Foy -Jewels and a crown added by pilgrims

#58: Church of Sainte-Foy

Chartres, France Gothic Europe Original construction 1194 C.E. Limestone, stained glass *Transitional piece *Dedicated to the Virgin Mary *Plan appears to be Romanesque, but is actually more Gothic *Massive, flying buttresses, clerestory lighting *Originally, the Church was made of wood, and burnt down. Members of the Church believed it was a sign to reconstruct in a different style) *Fragment of Mary's robe is in this Cathedral *Two towers have different styles and heights (left=Romanesque, right=Gothic)

#60: Chartres Cathedral

Gothic Europe 1225 C.E. Illuminated manuscript (ink, tempura, and gold leaf on vellum) *Moralized Bible tells the stories of the Bible through daily scenes *Layout of the page similar to stained glass windows of the church *Scenes told in images inside roundels and text *Top left scene: Blanche of Castille (mother and regent (advisor to the child King Louis IX) *Top right scene: Teenage King Louis IX *Bottom: Monk dictates the stories of the Bible to a scribe *Bold Colors/Flat space/limited shading

#61: Dedication Page with Blanche of Castille and King Louis IX of France, Scenes from the Apocalypse from Bibles moralisées

Late medieval Europe 1300 C.E. Painted wood *Virgin Mary holding Jesus's body crucifixion and mourning *Painted wood sculpture. The paint adds lifelike qualities. *Three dimensional wounds in his hands and feet *Jesus wears a thorn crown *Shows Christ's suffering *Very emotional representation *Humanization of religious themes and gruesome depiction of the suffering Jesus went through *Mary appears to be angry and confused (even though it says in Catholic tradition that Mary foreknowledge of the Resurrection) *Represents the changing of religious ideas in the Late Medieval period, inspired by Michelangelo's Pieta *Functions to: -Create an emotion response and connection between the suffering of Christ and Germans -Devotional images for prayer and religious interaction

#62: Röttegen Pietà

Podua, Italy Unknown architect; Giotto de Bondone (artist) Chapel: 1303 C.E. Fresco: 1305 C.E. Brick (architecture) and fresco *Scrovengi family commissioned the creation of this private Chapel to clear them of their sin of Usury (since they were bankers) *Three Registers: - (TOP) Grand partition of Christ (Joan and Ann and Mary) - Christ's life - Passion of the Christ (IMAGE IN SET) *In natural poses *Images of Christ and many saints *Called the Arena because it is next to Ancient Roman Amphitheater

#63: Arena (scrovegni) Chapel, including Lamentation

Late medieval Spain 1320 C.E. Illuminated manuscript (pigments and gold leaf on vellum) *Illustrates the story of Passover (the Jewish exit from Egypt under Moses and the celebration that followed) -Read left to right -The plagues: frogs, lice, beasts, slaying of the first born -Egyptians attack the Isrealites, Isrealites safely cross the Red Sea -Preparations for Passover: Miriam (sister of Moses), distribution of Matzoh and Haroset, preparing for the feast, purifying the utensils *Haggadah means narration *Used in a wealthy home (synagogues have strict rules regarding what and how the story is depicted and holy images are represented) *Likely illustrated by Christian artists with Jewish scribe *Painted near Barcelona Spain *Gold leaf background gives it the name

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

Granada, Spain Nasrid Dynasty 1354 C.E. Whitewashed adobe stucco, wood, tile, paint, and gilding *Palace of the Nasrid Sultans *Lace like architecture is light in color and appearance of weightlessness *Built intentionally on a hill to command a sense of power *Courtyards, gardens, fountains, water *Court of Lions *Animal imagery indicates its not a religious site *Light through the walls *Central fountain with four "rivers" feeding it

#65: Alhambra

Workshop of Robert Campin 1427 C.E. Oil on wood *Campin- Successful Northern Renaissance painter who had many apprentices *Linear perspective had not been fully developed at this point, so the floor is too steep *Lily flower= Symbol of purity *Biblical story in modern location, to make prayers more profound and closer to God *Commissioned for prayer in the home *Italian didn't access such detail, like nails and doors (textures and lighting)

#66: Annunciation Triptych (Merode Altarpiece)

Basilica di Santa Croce Florence, Italy Filippo Brunelleschi (architect) 1429 C.E. Masonry *Private chapel, commissioned by a family of bankers *Chapter House, NOT a Church (originally used as a meeting place) *Close to being a central-planned space (like the Pantheon). Rectangular space made into a square with barrel vaulting *Classicism (Roman reference) *Similar to a Roman Temple *Dome with an oculus with ceramic and glazed pendentives, supported structure has artistic elements

#67: Pazzi Chapel

Leonardo da Vinci 1494 C.E. Oil and tempera *FIGURES FROM LEFT TO RIGHT: Bartholomew, James the younger, Andrew, Judas Iscariot, Peter, John, Jesus (center+focal point), Thomas, James, Philip, Matthew, Thaddeus, Simon the Zealot *Depicts Christ's final meal with his apostles before Judas identifies Christ to the authorities who arrest him *Christ says to his apostles "One of you will betray me," and the apostles react, each according to his own personality. Referring to the Gospels, Leonardo depicts Philip asking "Lord, is it I?" Christ replies, "He that dippeth his hand with me in the dish, the same shall betray me" (Matthew 26). We see Christ and Judas simultaneously reaching toward a plate that lies between them, even as Judas defensively backs away. *Leonardo also simultaneously depicts Christ blessing the bread and saying to the apostles "Take, eat; this is my body" and blessing the wine and saying "Drink from it all of you; for this is my blood of the covenant, which is poured out for the forgiveness of sins" (Matthew 26). These words are the founding moment of the sacrament of the Eucharist (the miraculous transformation of the bread and wine into the body and blood of Christ). *Composition is anchored by an equilateral triangle formed by Christ's body. He sits below an arching pediment that if completed, traces a circle. These ideal geometric forms refer to the renaissance interest in Neo-Platonism (an element of the humanist revival that reconciles aspects of Greek philosophy with Christian theology) *Because Leonardo sought a greater detail and luminosity than could be achieved with traditional fresco, he covered the wall with a double layer of dried plaster. Then, borrowing from panel painting, he added an undercoat of lead white to enhance the brightness of the oil and tempera that was applied on top. This experimental technique allowed for chromatic brilliance and extraordinary precision but because the painting is on a thin exterior wall, the effects of humidity were felt more keenly, and the paint failed to properly adhere to the wall. *In terrible condition. Soon after the painting was completed on February 9, 1498 it began to deteriorate. Modern problems have included a bomb that hit the monastery destroying a large section of the refectory on August 16, 1943, severe air pollution in postwar Milan, and finally, the effects of crowding tourists. Restorations of the piece have delicately taken place since early 18th century C.E.

#73: Last Supper

Albrecht Dürer 1504 C.E. (Northern) Engraving *A print, so less valuable, but more people can see it. Etched plate. *Biblical story of Eve eating the forbidden fruit. However, instead of taking place in Eden, it's located in front of an Alpine landscape. This Biblical inaccuracy is because it was originally an advertisement for Dürer's work. *Medieval and exact mathematical proportions *Plaque says artist's name and year of creation *Adam's proportions are known as "Apollo Belvedere" *Modern animals+items: Ash tree branch in Adam's right hand, parrot, a "choleric cat," and an Ibex, referencing lust

#74: Adam and Eve

Vatican City, Italy Michelangelo (Italian) Ceiling frescoes: 1508 C.E. Altar frescoes: 1536C.E. Fresco *Michelangelo directed the work by himself, but may have received help with painting *Commissioned by Julius II 1. Exterior Sistene Chapel: *Directly next to St. Peter's Basilica, at the center of Catholic religion *Greek influenced classical architecture *Where smoke stack is located (white smoke= decision on Pope, black smoke= no decision of Pope) *Non-descript architecture of the exterior in contrast to the ornate interior 2. Delphic Sibyl (One of Five): *Oracle of Delphi foresees the coming of Christ *Holds a scroll that tells of this prophecy *Greco Roman, strong woman *Strong female *Foreshortening and circular movement 3. The Flood (fresco in Chapel): *Depicts the Old Testament story of Noah's Ark. Certain people shelter from the heavy rains, but Noah and his animals are seen in the back and protected. 4. Interior Sistine Chapel: *All fresco paintings (were recently restored) *From bottom to top, wall frescos build up to the Creation of Adam at the center *Depictions of Biblical stories don't include Christ. ALL CEILING stories painted are from the OLD TESTAMENT/STORIES OF GENESIS. *Action/Variety/Foreshortening *Michelangelo included faux architectural features to organize the frescoes and give structure to individual scenes Three Efforts by Michelangelo: 1. Focus on physical and etherial beauty with accurate proportions 2. Narrative through art 3. Create a severe back wall. Last Judgement: *Back wall *Meant to have the viewer reflect, and shows what occurred in Michelangelo's life specifically. *During the time he was commissioned to work on the Sistene Chapel, there were many rumors of corruption in the Church and the Protestant Reformation was quite vibrant. *Did not want to return for this commission. *In this fresco, he put his criticisms of the Church into the art. *In the painting, there are Cardinals in Hell. *Mannerist distortions of the body show that this was painted later.

#75: Sistine Chapel ceiling and altar wall frescoes

Raphael 1509 C.E. (High Italian Renaissance) Fresco *Composition= Balanced and symmetrical fresco. Same styles as the Sistene Chapel: Roundels (small disks), Cophers (inset into vaulting) and Barrel Vaulting *The setting is meant to look like a gymnasium *Located in Papal Primary and painted in a library on four walls to enhance the learning space *Some figures are still unknown, but Greek Philosophers like Aristotle and Plato are present *Expressed knowledge, faith and prestige *Humanist influence *Unity of Church and diverse thinkers *Sound body, sound mind (Classical reference) Four Branches of Human Knowledge: 1. Philosophy 2. Theology 3. Poetry 4. Jurisprudence (Philosophy of law)

#76: School of Athens

Jacopo da Pontormo 1525 C.E. (Mannerism) Oil on wood *Located in Santa Luigi Chapel (family Chapel) *Manneristic piece shows how the style gave up on Renaissance realism to create an emotional setting *Bright colors *Curved, inaccurate figures *Jesus being carried to the tomb by the Apostles following his Crucifixion *AKA Descent from the Cross or Deposition *Created for the Capponi Chapel *Chapel originally designed by Brunelleschi in Florence *Depictions of the four evangelists located in roundels within the chapel. *Beginning/Ending depicted in the same church: (Annunciation Gabriel telling Mary she will bear Christ) *No Symbols of cross or tomb, Figures occupy the entire scene, Elongated figures, no structure to the figures, fluid, no central focal point, Mary's expression, masking of emotion *Science challenging religion, Mannerist expressing a new spirituality, Martin Luther reformation

#78: Entombment of Christ

Lucas Cranach the Elder 1530 C.E. (Northern) Woodcut and letterpress *Lutheran Reformation piece *Originally, a painting painted by the artist Lucas Cranach the Elder in 1529. But was turned into a print so that it could be exchanged to the mass population *A decisive difference between Catholics and followers of Luther was the question of how to get to heaven, and what role, if any, religious art could play. *The Catholic Church insisted that believers could take action to vouchsafe their salvation by doing good deeds, including making financial donations and paying for elaborate art to decorate Christian churches. *Luther, however, insisted that salvation was in God's hands, and all the believer had to do was to open up and have faith. *As people became disillusioned with Catholic teaching, they grew angry about the ways the Catholic Church became rich in money, art, and power. *When reform became impossible and rebellion the only course of action, furious, frustrated believers directed their anger at works of art, an easy and powerful target. *Other reformers followed Luther's example and staged rebellions against the Catholic Church. *Some reformers took a strong position against religious art, forbidding it entirely. Luther however was more moderate, and believed that some religious art was acceptable provided it taught the right lessons, and this is where The Law and the Gospel comes in. BELOW: Two nude male figures appear on either side of a tree that is green and living on the "Gospel" side to the viewer's right, but barren and dying on the "law" side to the viewer's left. Six columns of Bible citations appear at the bottom of the panel. RIGHT SIDE: John the Baptist directs a naked man to both Christ on the cross in front of the tomb and to the risen Christ who appears on top of the tomb. The risen Christ stands triumphant above the empty tomb, acting out the miracle of the Resurrection. This nude figure is not vainly hoping to follow the law or to present a tally of his good deeds on the judgment day. He stands passively, stripped down to his soul, submitting to God's mercy. LEFT SIDE: A skeleton and a demon force a frightened naked man into hell, as a group of prophets, including Moses, point to the tablets of the law. The motifs on the left side of the composition are meant to exemplify the idea that law alone, without gospel, can never get you to heaven. Christ sits in Judgment as Adam and Eve (in the background) eat the fruit and fall from grace. Moses beholds these events from his vantage point toward the center of the picture, his white tablets standing out against the saturated orange robe and the deep green tree behind him, literally highlighting the association of law, death, and damnation.

#79: Allegory of Law and Grace

Titian 1538 C.E. (Italian Renaissance, Venetian) Oil on canvas *Nude woman (her nudity makes her a "venus"), unknown identity *First example of female nude (emulated by many other artists) *Title was created later *Tiny feet, long torso *Titian uses glazing and chiaroscuro to create a soft flesh and body *Figures in back balance out her body *Venus gazes directly at us, sensual *Sheets, silky hair and flowers add to sensuality

#80: Venus of Urbino

Rome, Italy Giacomo da Vignola, plan (architect); Giamcomo della Porta, facade (architect); Giovanni Battista Gaulli, ceiling fresco (artist) Church: 16th century C.E.; Facade: 1568 C.E.; Fresco and stucco figures: 1679 C.E. Brick, marble, fresco, and stucco *Italian Baroque *Monogram of Jesus IHS, centerpiece of the ceiling, skylight effect *Vibrant colors and Gold Leaf *Movement in the figures, emotional *Relief stucco emphasizes movement *Last judgement narrative

#82: Il Gesù, including Triumph of the Name of Jesus ceiling fresco

Pieter Bruegel the Elder 1565 C.E. Oil on wood *Commissioned by a wealthy merchant in Antwerp *Six paintings were created in this set showing this area during different times of year/labor (only five survived) *Bruegel travelled from Antwerp to Rome to study. Partially imagined landscape (Alps in background reference Italy) *People enjoying snow, activities like skating and sledding *Labors and struggles of people in Winter against excitement of the season *Literary narrative finding meaning in activities *Hunters bring home a meager catch and the dogs have their heads down, men solemnly trudge home through the heavy snow *Goes back to manuscript paintings of Medieval Period

#83: Hunters in the Snow

Edirne, Turkey Sinan (architect) 1568 C.E. Brick and stone *Enormous (bigger than two football fields combined) *Focus on dome, it's large but appears weightless, surrounded by 8 muqarnas, 8 saunches and 1/2 domes (light source) *Sinan tried to make the space as big as possible to pass the popularity of the "Hagia Sophia" *1571- Ottoman Empire is defeated by Christian *Geometry is used to symbolize Heaven, Earth, and the spheres *Wanted to make inside of Mosque as big as possible *Structure is supported by well hidden buttresses *Many galleries *Mosque+2 madrasas+West of Complex=Area to study the Q'uran *Qibla wall faces outward

#84: Mosque of Selim II

Caravaggio 1597 C.E. Oil on canvas *Caravaggio added hesitation in Matthew's conversion, making it appear to be a thoughtful process *Known as a "master of lighting," conveys message *Christ is on far right pointing his finger at Matthew. He has a halo around his head, but St. Peter blocks his body *Dark, one source of light (from window) *Realistic forms *Naturalism (shows worlds as it really was) *Tenebrism- "Struggle" between light and dark *Saint Matthew in this moment was a tax collector being awoken to become a follower (was later an Apostle) of God, chosen by Christ *Matthew is with tax collectors in a bar, the contemporary setting makes the story easier to follow *2 Tax collectors notice Christ and look upon him, 2 others ignore Christ and look at their money *Open space on table draw people in to feel like they're at the scene

#85: Calling of Saint Matthew

Peter Paul Rubens 1621 C.E. Oil on canvas *24-Painted Scenes *Marie de' Medici (commissioner) wasn't very interesting, so Rubens elevated her life with allegorical figures in paintings *Masterful zig-zag composition *Mythical cast of characters (shies away from Christianity) *Top right (left to right): Eagle with Thunderbolt Zeus and Hera *Hymen and Cupid surround focal point Henri IV looking at a painting of Marie de' Medici, loving pose *It appears that the King leaves behind war for love, an important moment for France

#86: Henri IV Receives the Portrait of Marie de' Medici, from the Marie de' Medici Cycle

Rome, Italy Francesco Borromini (architect) 1638 C.E. Stone and stucco *Borromini was a stone-cutter that was grateful to Trinitarian Church (followers of the Holy Trinity), so he worked for free and created his own design *"Church of Saint Charles at Four Fountains" *Intricate cherubs, capitals and flowers. Angel faces enclosed with wings. *Limited space (small) *Triangles within circles (seen in plan) in an oval space *Decorated tiles with flowers *Sunlight comes through high windows in roof over altar *Light and prominent shapes *Ceiling is made of a series of interconnecting shapes *Undulation, curving *Distribution between convex and concave spaces *Light and prominent shapes *Unity of connecting shapes (light walls create pure aura)

#88: San Carlo alle Quattro Fontane

Gian Lorenzo Bernini Cornaro Chapel, Church of Santa Maria della Vittoria Rome, Italy 1647 C.E. Marble (sculpture); stucco and gilt bronze (chapel) *Marble handled in a tactile way to reveal textures skin is high gloss -Feathers of angel are rougher drapery is animated and fluid clouds are roughly cut (all different textures) -Feels alive and full of emotions, powerful expression of the body -Floating drapery, bodies float in space *The rays of God's light symbolically illuminate the scene from behind *Natural light redirected onto the sculpture from a window hidden above the work (suggests radiance from heaven) *Captures a moment in time, characterizing Baroque art *Counter-Reformation work that illustrates the use of images to increase piety and devotion among the *Catholic faith *Sculptural interpretation of St. Teresa's diary writings in which she tells of her visions of God, many involving an angel descending with an arrow and plunging it into her *Her pose suggests sexual exhaustion, a feeling consistent with her description of spiritual ecstasy in her diary entries *Arrow of love *Tortured pleasure *No specific setting for the piece (except cloud) *Saint Teresa canonized (meaning she was officially declared a Saint) in 1622 C.E. *Located inside Santa Maria della Vittoria *Visionary experience depicted in Lintel 25, Yáxchilan. *Similar to Hellenistic statues, like "Winged Victory" and "Seated Boxer"

#89: Ecstasy of Saint Teresa

Wiltshire, UK Europe (NEOLITHIC) 2500 B.C.E. Sandstone *Worked on for more than 1,000 years *Post and Lintel construction (2 vertical rocks and 1 rock on top, also seen in Greece, Rome and Egypt) and Trilithons (a series of posts and lintels which are connected) *Recently discovered: 57 people's remains found nearby *Evidence found of former "wood henge" *Heal stone is perfectly in lie with the sunrise on summer solstice and sunset on winter equinox

#8: Stonehenge

Master of Calamarca (La Paz School) 17th century C.E. Oil on canvas *Created by members of the Cusco School of Art (artists working in a specific style) *Depicts Christianity (angel wings) and military power (gun) *Arquebus- The first shoulder supply gun *Idea emerged first in the Netherlands *Region of Lake Titicaca *Feathers signify a higher spiritual power. Point to indigenous culture. *Whiteness of Angel against earth tones make the figure pop *Idea of an angel (holy figure) holding a gun (weapon of destruction and evil) *Pre-Columbian/Peruvian cultural attire (clothing)

#90: Angels with Arquebus, Asiel Timor Dei

Diego Velázquez 1656 C.E. Oil on canvas *An intimate portrait (life in the Palace) *Artist reflecting his important in the painting by showing himself painting the portrait *Velázquez was first painter to the King *Mirror in background may be: 1. Depiction of image on canvas 2. The viewer looking at the painting *Reflective lighting *Meant for the King's study *Painting inside a painting *Eye is drawn to Velázquez's painting: texture of raw paint which is used to paint portrait draws the viewer's eye *Raw vs. Reflective Light *Members of Royal Family (King's daughters) react to each other's glances

#91: Las Meninas

Johannes Vermeer 1664 C.E. Oil on canvas *Very valuable due to the small number of works by Vermeer *Known for attention to detail and the ability to capture natural light/cool light of the north *Vermeers portraits are typically lit naturally from one side *Woman may be his wife Caterina Symbolism: -Image of the Last Judgement behind woman -Moment of weighing, casting judgement -Vanitas (Dutch Still life painting that captures abundance and excess symbolically) -Gold/Vanity/Wealth

#92: Woman Holding a Balance

Versailles, France Louis Le Vau and Jules Hardouin-Mansart (architects) Begun 1669 C.E. Masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture); gardens *Commissioned by Louis XIV, who believed the world revolved around him (acquired the name "Sun King") *Glorifies French Monarchy *Classical restraint (aesthetic superiority) *Built upon East and West axis, so that when the sun set, it would align with the gardens. *Brings outside world inside *French gardens are manicured to look unnatural *Gold covers the entire palace *Hall of Mirrors: has a wall which contains all mirrors. Used as a Ballroom and place of meetings (where Treaty of Versailles was signed). *Spent $5 Million of Construction

#93: The Palace of Versailles

Circle of the González Family 1697 C.E. Tempera and resin on wood, shell inlay *Folding screen from Mexico *Inspired by Japanese "biombos," folding screens *Only surviving biombo with shell inlay *Mezzo-Baroque piece= Spanish Colonial styles with Flemish and Dutch stories *Commissioned by the Viceroy of Spain and Count of Montezuma José Sarmiento de Valladares. He owned this piece. It was most likely located in his Palace. *Floral elements *Mexican artists *Very expensive,"trendy piece" for the time *Luxury and other Japanese/Philippines objects were traded between there, Mexico and Spain Side One, Siege of Belgrade: *Design came from Medici tapestry *Battle of Belgrade, 1688. Occurred between the Hapsburg (Spanish Royalty) and the Turks. *Spanish Victory *Appears very European Side Two, Hunting Scene: *Relaxed hunting scene

#94: Screen with the Siege of Belgrade and hunting scene

Rachel Ruysch 1711 C.E. Oil on wood *Specialized in Still Life *Dutch *Hyper realistic *Dark background makes the colors intensified *Invention of microbiology *Microscope enabled scientists to see the previously unseen *Sottobosco (Italian for underwood) *Symbolism: -Stag beetle/wheat/grapes: Christian symbols associated with the Last Supper, beetle symbol of Christ -Eggs Moth Resurrection -Lizard, Insects, Snail -Celebration of the scientific discoveries -Father, Frederik, was an anatomist and botanist at the center of the scientific discoveries of the Enlightenment

#96: Fruit and Insects

Attributed to Juan Rodríguez Juárez 1715 C.E. Oil on canvas *Casta painting (always in a series because paintings progress) of a mother and father with their child (lower class reference). *Juárez was a Mexican artist *Reflects social anxiety of mixing (interracial marriage and children laws existed). *Created during The Enlightenment *Women was Hipyo *Calm, harmonious relationship between husband and wife *Respect of mixed-race son towards father. However, the father seems to (literally) look down upon his son. *European obsession with taxonomy reflected. Sizes of heads reflects Carl Linnaeus belief that the size of your head indicates the size of your brain. *High-class clothing is from from their respective cultures

#97: Spaniard and Indian Produce a Mestizo

William Hogarth 1743 C.E. Oil on canvas *From the "Marriage of the Day" collection. Six paintings. They were used as templates for prints. This painting is the second canvas "Head to Head"/"Face to Face." *Background story: Lord Squander-field forces his son to marry the daughter of a wealthy merchant. (Family with title but no money becomes involved with a family with no title but money so both can benefit socially). *Husband and wife sit in their living room. *The husband came from a night of gambling and drinking. *The wife looks like she's just had fun. *Dog sniff what appears to be a woman's bonnet in his pick (womanizer). *In the other room, vulgar paintings are almost completely hidden. *Accountant appears overwhelmed because the couples won't take their finances seriously *Overturned chair has a music book on it, referencing music being associated with a tradition of pleasure. Her lover had most likely just been at their home. *Paintings were used as templates for prints.

#98: The Tête à Tête, from the Marriage à la Mode

Miguel Cabrera 1750 C.E. Oil on canvas *The esteemed Mexican nun and writer. Considered the first feminist of the Americas, sor Juana lived as a nun of the Jeronymite order (named for St. Jerome) in seventeenth-century Mexico. *Rather than marry, she chose to become a nun so she could pursue her intellectual interests. She corresponded with scientists, theologians, and other literary intellectuals in Mexico and abroad. *She wrote poetry and plays that became internationally famous, and even engaged in theological debates. *Miguel Cabrera's posthumous portrait of sor Juana Inés de la Cruz (1648-1695) is Her Life Born to a creole family in 1648, sor Juana was a child prodigy. At the age of fifteen, she amazed people at court by excelling at an oral exam that tested her knowledge of physics, philosophy, theology, and mathematics. *She came to live as a lady in waiting in the house of the viceroy (the substitute or representative for the Spanish king in Mexico). Shortly afterwards, she chose to become a nun instead of marry. *She entered the Carmelite convent in 1667, but left a year later to join the Jeronymite order in 1669—and in the process gained intellectual freedom. The Jeronymite order allowed her to host intellectual gatherings and live a comfortable life. *In 1690 she became involved in an ecclesiastical dispute between the bishops of Mexico City and Puebla. *She wears an escudo de monja, or nun's badge, on her chest underneath her chin. Escudos de monja were often painted, occasionally woven, and they usually displayed the Virgin Mary. Sor Juana's escudo shows the Annunciation, the moment in which the archangel Gabriel informs Mary that she will bear the son of God.

#99: Portrait of Sor Juana Inés de la Cruz