AP Art History Trimester 2

Wall plaque, from Oba's Palace

Africa Form: cast brass with ceramic material, pretty symmetrical Function: part of a series that tells of the first king to ride into the palace area, meant to hang on a wall and be looked at Content: two men could be divine or just showing space and depth, guards are protecting the ruler, regalia around his neck, helmet/crown on his head, king=oba, persona under oba's feet, hierarchy of scale Context: Edo peoples, Nigeria, 16th century, only piece of the series that is intact, influenced by the Europeans, change from the interactive art

Conical tower and circular wall of Great Zimbabwe

Africa Form: constructed with granite and soapstones, 1800 acres, stone masonry, curved walls, organic shape, 32 feet tall, 17 thick Function: royal residence, part of a large stone city Content: room for ruler and wives, courtyard for ceremonies and gatherings, commoners lived closest to the gate, separated from the urban area, 1/3 of the wall has disintegrated, masculine and feminine components, eight soapstones with carve therianthropic birds (represents the royal family), daga were huts where the lower classes lived Context: thousands would have lived in the area, advanced technology, organized and structured society, near the gold trade route, local stone is easily manipulated

Great Mosque of Djenne

Africa Form: mihrab, quibla, intricate stairways, adobe, wood beams Function: Muslim mosque Content: egg references (fertility symbol), sense of purity, religious epicenter, icon of fertility and purity, cold and dark inside, masculine and feminine components, most unique mosque that there is Context: Djenne people, Muslims pray five times a day, celebration happens every year, thousands of local inhabitants, Mali, 1200 CE, rebuilt 1906-1907 CE

Reliquary figure

Africa Form: muscly, elongated, coiffered hair, herniated bellybutton, stylized, abstracted, wood Function: contained relics, guarded the relics Content: often contained bones and beads, clan heads, impressive mothers and warriors, coiled up energy, male and female, educated young men on the founders, expresses spirituality, conceptual piece, tension in the figure, wards off spirits and humans Context: Fang peoples were nomadic people, southern Camaroon, maintained by older men, popular hairstyle, 19th to 20th century

Bundu mask

Africa Form: small mouth (no gossip), fat rolls suggest she must bear children Function: initiation of young girls into secret society Content: worn on top of the head, women wore the mask, made by men, instructs girls about proper womanhood, spread the belief system, seen as a spirit when it danced, housed in elder woman's home, hair is coiffered Context: several different ethnic groups, girls covered with white paste to make them ugly, shiny mask was lusted after, conflict in surrounding nation, girls taken into seclusion

Pwo mask

Africa Form: thin wood, fiber, elaborate hair, deep red, symmetrical, wide forehead, lots of circles Function: made to honor women who had given birth, recognized female founding ancestors Content: men wore them as they danced, calm face, closed eyes and mouth say she deserves respect, white eyes connect to spirituality, ideal woman with ideal virtues, second sight due to child birth, anonymous but relatable Context: made by the Chokwes in Democratic Republic of the Congo, matrilinear, repaired at one point, unknown until the 1900s, very undocumented, broke away from larger empire

Veranda post of enthroned king and senior wife

Africa Form: vertical, frontal, out of scale, rectilinear, movement, geometric, embellished, wood and pigment Function: support for the palace porch Content: mounted warrior, represents the king's authority, celebrates the power of community, woman is spiritual symbol, fertility symbol, bulging eyes are spiritual, gap in teeth is beautiful, invites us to walk around Context: Yoruba peoples, Olowe of Ise, 1910 to 1914 CE

Ndop of King Mishe miShyaang maMbul

Africa Form: wood, idealized, headdress, mancala board Function: gives us insight into their worlds, historical marker of the community Content: celebrates the accomplishments of King Mishe, bracelets are a sign of royalty, represents the king's spirit Context: commissioned 1710, height of Mishe's reign, collected 1909 in Belgian Congo, history was not written down, oral narrayive was the primary method, Democratic Republic of the Congo, seven ndops of historical significance in West, woodcarvers, blacksmiths and weather

Ikenga

Africa Form: wood, naturalistic Function: personal representation of one's achievements, "sacred diploma" Content: human face, animal attributes, holding sword in right hand, sitting on a stool, not about appearance but meaning, left hand can hold anything, decorative bands, scarring suggests title, not a portrait Context: commissioned, ram fights wit his head first, Igbo people, Nigeria, 19th to 20th century

Sika dwa kofi

Africa Form: covered in gold, wood, brass weights Function: soul of the nation Content: soul of the Asantes, more sacred than the king, gold=royalty, weighed with brass weights, umbrella identified king, king is the divine, king between heavens and earth, families share a "stomach", never to be sat on, gifted tools by parents Context: still exists in Ghana, Osei Tutu unified nation of Asantes, stool falls in his lap, ruled the gold trade, Asantes speak mainly through art, British wanted to ensure the gold coast, 1874-capital destroyed, golden stool hidden, war against the British, Asanti failed.

Aka elephant mask

Africa Form: fabric decorated with beads, unique look, triangles show the leopard spots, stylized, full of energy and dynamism Function: brought social harmony and honored the king Content: involved costumes and performers, the whole shabang, worn with red feathered headdress and leopard skin, symbolizes divine king (Fon), Fon could transform into an elephant, leopard could transform into a human Context: elephant members of Kuosi society in Camaroon, worn by those connected to the king, only this society allowed to use it, Bamileke still perform this ritual annually

Nkisi n'kondi

Africa Form: pierced body, wood and metal Function: holds the spirit that helps those in need, each houses a specific mystical force Content: Nkond - hunter, means spirit's power to find trouble, assertive pose suggests he is a chief, enforces laws, enacts punishment, medicinal resin on the head, ingredient=ancestral world, chain=spirit's ability to harm victims, spike driven each time force was invoked, beard is a sign of seniority, spikes represent vows and treaties and eradication Context: along the coast of Congo and Angola, late 19th century, purchased from a carver, commissioned by a diviner

Mblo

Africa Form: wood and pigment, carved Function: used in entertainment dances, keeps the crowd dancing and singing Content: one of the oldest art forms, dancers abstain from sex before wearing it, women can't touch it before menopause, amusing nuisance, suggests healthy and well-fed skin, made for specific known individual Context: debate over whether or not he is god, carved 1913 by Owie Kimou, commissioned by Moya Yanso's husband, danced by Yanso's son, owned by the Yanso family

Lukasa

Africa Form: wood, metal, beads, thirteen inches tall Function: contains historical knowledge of the past Content: invented to protect, transmit and sanctify royal knowledge, fixes beads in juxtapositions, memories associated with forms, colors, sizes, touch the surface to recall information, presented to meet the needs of a specific audience, highlights roles that grant kingship Context: Luba Kingdom, Central Africa, Mbudye Society, 19th and 20th century, Democratic Republic of the Congo, access to trade and a wealth of natural resources (gold, ivory and copper), only read by the kings and spiritual diviners

Spaniard and Indian Produce a Mestizo

Early Europe and Colonial Americas Attributed to Juan Rodriguez Juarez 1715 Oil on canvas reflects anxiety about interethnic mixing casta painting (dealt with social hierarchy) shows idea that people can be categorized by race

Ecstasy of Saint Teresa

Early Europe and Colonial Americas Cornaro Chapel, Church of Santa Maria della Vittoria Rome, Italy Gian Lorenzo Bernini 1647 to 1652 Marble sculpture Stucco and gilt bronze chapel Bernini's background as theater designer portrays stabbing of Saint Teresa hidden window to allow divine light

The Virgin of Guadalupe

Early Europe and Colonial Americas Miguel Gonzalez 1698 Based on original Virgin of Guadalupe Basilica of Guadalupe, Mexico City Oil on canvas, inlaid with mother of pearl suggests the heavens and divinity original was considered acheiropoeita The Virgin assisted in ending the flood of 1629 confirmation of corrections for indigenous conversions known as the "Dark Virgin" patron saint of New Spain and Mexico City surrounded by divine light and golden cloak "I am black but beautiful" ended an epidemic between 1736 and 1737

Screen with the Siege of Belgrade and hunting scene

Early Europe and Colonial Americas Oil and resin on wood, shell inlay one side for women, one for men visually tumult inspired by Japanese biombo Mexico was the center of trade inspired by Japanese lacquer boxes seen by guests of the viceroy and wife

The Palace at Versailles

Early Europe and Colonial Americas Versailles, France Louis Le Vau & Jules Hardouin-Mansart Begun 1669 Masonry, stone, wood, iron & gold leaf Marble, bronze Thousands of acres Palace of Mirrors brings in divine light shows power and wealth of France and king

Ahu Ula (feather cape)

FORM: -olona (touchardia latifolia) fibre netting made in straight rows -tiny bundles of feathers attached to netting -red feathers from i'iwi bird -yellow feathers from o'o' bird -black feathers from o'o' bird, as well FUNCTION: -given as gifts to European sea captains and their crews, who were the first European visitors to Hawaii -also worn by Hawaiian male nobility for ceremonies and battle CONTENT -called 'uhu'ula or "red garments" -color red associated with gods and chiefs -yellow feathers valuable due to scarcity CONTEXT: -attractive items like this one would have been given to wealthy patrons who financed The voyages of the European explorers

The Bay

FORM: Applied the paint using a coffee can with a hole cut in it, which allowed her to create puddles that could be left as is or spread on the surface Blended foreground and background, color and plane "Soak-stain" technique; thinned oil paint and applied it in washes of color that would then soak into the canvas creating a watercolor effect Created a sense of space even as it emphasized the flatness Earthly tones and in bold color with strong edges FUNCTION: With this piece of Abstract Expressionism, it is important to focus on the physical aspect of the piece rather than possible social and historical contexts This work was made primarily to be a physical representation of her idea rather than a deeper insight which we see in many other pieces CONTENT: soak-stain paintings=embodiment of flatness of picture plane a "purely optical" experience of painting thinned down colors call attention to the actual texture of the canvas blurriness of colors allude to artist's technique shades of blue blending into each other simplicity of line (without perspective or depth) emphasis on color abstract doesn't have to represent anything in particular the purpose of the piece could just be to provoke a response to color (highlights the simplicity and purity of emotion) applied paint like the piece (paint like water, applied like water spilling) CONTEXT: the art movement that Frankenthaler worked in was Abstract Expressionism/Color Field painting as was characteristic of the movement, Frankenthaler was focused on analyzing and reproducing natural forms she was one of few women in a traditionally all boy's club of Abstract Expressionists, and despite this male dominance, Frankenthaler was able to score solo exhibitions, received favorable reviews, and gained the respect of her peers (she was a very well regarded artist) inspired by the drip method of Jackson Pollock Frankenthaler painted a series of similar soak-stain paintings referring to water/geography the same year as The Bay, inspired by the landscape of her home in Massachusetts SO WHAT The abstraction of forms and removal from any other context besides the basic physical appearance in The Bay forces us to see the piece in a more simplistic way, and this type of abstraction and disconnect from deep meaning often causes audiences to question what really can be called "art," which we see this time and time again as we move into more modern art movements.

The Scream

FORM: The first painting done in oil, tempera, and pastel on cardboard Depicts features such as a head shaped skull, elongated hands, wide eyes and flaring nostrils, and an ovoid mouth. Movement through the lines Thick brush strokes FUNCTION: Expression of emotion through external forms visual image of the human experience part of semi-autobiographical series "The Frieze of Life" shows unification of nature with the human senses CONTENT: A passage in Munch's diary: "I was walking along the road with two friends—the sun went down—I felt a gust of melancholy—suddenly the sky turned a bloody red. I stopped, leaned against the railing, tired to death—as the flaming skies hung like blood and sword over the blue-black fjord and the city—My friends went on—I stood there trembling with anxiety—and I felt a vast infinite scream [tear] through nature." The figure on the bridge may even be symbolic of Munch himself Sound and emotion Munch sought to express internal emotions through external forms and thereby provide a visual image for a universal human experience. CONTEXT: ever-deepening emphasis on subjectivity and an active rejection of visible reality unique and highly personal style he conveyed mood, emotion, and memory greatly influenced the course of twentieth-century art and in particular, the development of Expressionism second of five children, Munch lost both his mother and favorite sister to tuberculosis before his fourteenth birthday. abandoned the study of engineering due to frequent illness, Munch decided to become an artist

Lipstick (Ascending) on Caterpillar Tracks

FORM: tank-shaped base inspired by caterpillar tractors located in front of a World War I memorial on Yale's campus missile-shaped lipstick lipstick originally made of inflatable vinyl balloon that would slowly deflate until someone pumped it up with air to attract attention before speaking from the sculpture's platform reconstructed in metal in 1974 FUNCTION: Symbol of coeducation used as a rally platform for student protests mocks the solemnity and trappings of prestige within both the plaza and Yale College as a whole CONTENT: Explores themes of death, power, and desire incorporates both male and female forms: two major stereotypes, tank for men, cosmetics for women the lipstick simultaneously looks like a bullet and phallic symbol, incorporating themes of violence and sexually violent masculinity. some interpret as a symbol of feminist uprising and progress CONTEXT: placed on campus in 1969 in the midst of anti war protests college campuses in the late 60s erupted into protest throughout the Western world, reacting to the perceived violence of the government and in response to governmental failure to respect either the wishes of its people or the needs of its people. "I love you!!! Oh, say it with paving stones!!!"--slogan of 1968 French student+labor protests female students first allowed to Yale in fall of 69 had fallen apart by 1970 and was brought back by a group of professors and historians 1974 version is on indefinite loan to Morse College Oldenburg's first large scale public sculpture originally supposed to a Yale university monument to be published in the Alumni magazine, but instead organized by the editors of an architectural journal project was kept a secret from Yale authorities

Hiapo (tapa)

FORM: tapa or bark cloth freehand painting fine lines new motifs complicated and detailed geometric designs patterns include spirals, concentric circles, squares, triangles, and diminishing and naturalistic motifs (started out larger near borders and grew smaller towards the center) some include writing along the edges of the design FUNCTION: uses included clothing, wall decorations, and bedding sizes and uses varied among cloths often used to wrap and protect sacred objects as a part of their culture considered a part of women's wealth in Polynesia ( could be traded for goods ) CONTENT often used and displayed on occasions and at ceremonies often specifically prepared and decorated for people of high rank CONTEXT: 1850-1900 considered a woman's art new distinctive style emerged in 1880 using fine lines and new motifs earliest examples were collected by missionaries and dated in the second half of the 19th century Niueans were the first Polynesians to incorporate the human figure into their bark cloth in the 19th century, the Niuan Hiapo production stopped today this style is used to inspire contemporary Polynesian artists

Navigation chart

FORM: This specific type: rebbelib: it covers either a large section or all of the Marshall Islands (others are usually smaller) Composed of wooden sticks The horizontal and vertical sticks act as supports, while diagonal and curved ones represent wave swells Small shells represent the position of the islands FUNCTION: To maintain links between the islands System of navigation Memorized for voyages CONTENT Marked the locations of the islands Also marked their knowledge of the swell and wave patterns Represents the two chains of islands which form the Marshall Islands CONTEXT: Marshall Islands in eastern Micronesia Connected the 34 coral reefs consisting of more than 1,000 islands spread out across an area of several hundred miles Collected by Admiral E.H.M. Davis during the cruise of HMS Royalist (1890-1893) Navigation charts continue to be made, often in a simple form and are sold as souvenirs.

The Valley of Mexico

FORM: oil on canvas, an example of landscape painting, focus on romanticism and neo classical, The white peaks afar are Popocatepetl and Iztaccihuatl both volcanoes, Lake Texcoco is present FUNCTION: highlight symbols of patriotism valuable to a newly independent society, explore romantic relationship between humans and landscapes CONTENT: Romantic quality of "pure landscape", highlights symbols of patriotism valuable to a newly independent society, cultural identity through the mexican landscape, includes an episode of everyday life of the common people in the form of a poor woman holding her child and the dogs, naturalistic and the scene is taken straight from nature rather than created by imagination in a studio CONTEXT: In the late 18th century the Royal Academy of San Carlos was established, in the style of the Academy of San Fernando in Madrid, It was the first Art Academy in America, Neoclassical and romantic influenced Mexican artists as they depicted the natural landscape of Mexico, 1821 - newfound independence from Spain left Mexico with a need to find their own identity

The Steerage

FORM: photograph Photogravure on vellum; 12 11/16 x 10 3/16 in. (32.2 x 25.8 cm) his first "modernist" photograph FUNCTION: Took a photo as he was trying to escape the upper class Was amazed by the shape of a man's straw hat claimed he "saw shapes related to each other-I saw a picture of shapes and underlying that the feeling I had about life-" CONTENT: doesn't just document the actual appearance of the subject presents a layered view of "photography's essence" that encourages abstraction/interpretation emphasis on form of subjects, textures, shapes conveys message about immigrants rejected at Ellis Island, or immigrants that were returning to their home countries to visit relatives, may encourage others to return to the U.S. with them bad conditions for passengers on ship CONTEXT: felt like an outsider among his upper-class peers wrote an essay describing "The Steerage" - in which he talks about how he feels the painting encapsulates his career's mission to elevate the status of photography by engaging the same dialogues about abstraction that preoccupied painters father immigrated to America from Germany in 1849 who exemplified the "American dream" sympathetic to the plight of immigrants but also opposed to the admittance the uneducated and marginal to the U.S. ???? because of that contradiction, he doesn't like to acknowledge any possibility of the piece being a political statement

Tamati waka Nene, Gottfried Lindaur

FORM: - oil on canvas kahu kiwi: cloak of kiwi feathers tewhateha: hand weapon facial tattoo FUNCTION: - Portrait of Tamati Waka Nene CONTENT: -representation and embodiment of Tamati Waka Nene cloak and weapon are symbols of efficacy and status CONTEXT: - Portraits are cherished and passed down in Maori culture (Indigenous people of New Zealand) subject of portrait is chief of the Ngati Hao people and an important war leader lived during British settlement of New Zealand and converted to Wesleyan faith chose to be named after an English patron of the Church Missionary Society supposedly a man of great mana or efficacy Lindauer was a Czech artist who studied in Europe and later went to New Zealand painted in Renaissance style painted well known Maori for Europeans and lesser known Maori for their families Lindauer never met Nene, portrait most likely based on photo by John Crombie

Female deity from Nukuoro

FORM: - wood (breadfruit tree) 40.2 cm high FUNCTION:- local deities resided in animals or were represented in stones, wood, or wood figurines (tino aitu) the tino aitu occupied a central place in an important religious ceremony (harvest) sculptures were considered the resting place of a god or deified ancestor's spirit CONTENT: - surface smoothed with pumice all the sculptures have similar proportions (egg-shaped head tapering slightly at chin, columnar neck, eyes and nose are either vaguely shown as slits or not at all, shoulders slope downwards, chest is indicated by a simple line) some female figures of rudimentary breasts sketchy indication of hands and feet flattened buttocks flexed pair of legs each figurine has the name of a deity that was associated with a specific family, priest, or temple CONTEXT: - Nukuoro=an isolated region in the Caroline Islands of Micronesia (Western Pacific, located a bit north of Australia and New Guinea) has been inhabited since at least the 8th century geographically situated in Micronesia but is culturally and linguistically essentially Polynesian figurines were placed in temples and decorated with loom-woven bands, fine mats, feathers, paints or headdresses inhabitants were exposed to Western goods and tools when they began trading with Europeans in 1830 by 1902, a large part of the population was acquainted with Christianity because of visiting missionaries from neighboring islands by 1913, many of Nukuoro's pre-Christian traditions were abandoned (wooden images like this one were taken off of the island before 1885 and subsequently lost their function) this particular figure was made around 18th-19th century Europeans found the wooden sculptures unrefined unknown whether sculptors used local or Western tools lots of Nukuoran sculptures arrived in Western museum collections from the 1870s onwards because European artists considered the highly stylized representation of the human form in the figures to be the purest form of art (art that lay at the origins of mankind)

Nan Madol

FORM: -ruined city of stone, coral fill platforms, and tidal channels; over 100 artificial islets; called "Venice of the Pacific" FUNCTION: noble residence; allowed Saudeleur Chiefs to keep a close eye on political rivals, who were forced to live in Nan Madol (much like Louis XIV's Palace of Versailles); each islet had a specific function: tomb, residence, food prep, canoe-making, coconut oil production, etc. CONTENT: walls around the central royal tomb were 18-25 feet high; had various entities necessary for a city as stated above; less than 1,000 people lived there, most of whom were commoners CONTEXT: island of Temwen (then called Pohnpei) in Micronesia, still main island of the country; Saudeleur dynasty (1100-1628 CE), Olosohpa and Olosihpa are thought to be the architects; Nan Madol means "spaces between"; the islets were probably beginning to be produced in the 8th and 9th centuries CE, but the megalithic architecture we see today is a product of the 12th and 13th centuries; no food could be grown in the salt water, so fresh food was transported from the mainland of Pohnpei to the city; the Pohnpeians were very religious and superstitious; the Nahnmwarkis who overthrew the Saudeleurs found the transport of food too burdening and abandoned the city

Narcissus Garden

FORM: 1,500 massed produced plastic silver balls, tightly arranged to create a reflective field in which images of the artists, the visitors, and the landscape were repeated. Created a distorted feeling, produced virtual images that appeared closer and smaller than in reality Each ball was the size of a fortune teller's crystal ball FUNCTION: To force the onlooker to come to terms with his or her own vanity and ego. As the viewer looks into the artist's silver field they see themselves shrunken and distorted staring back. By acting as a street vendor selling the orbs she further encouraged the viewer's narcissism and emphasised the influence that money has on art. CONTENT: Fifteen hundred mass-produced silver balls on the lawn The balls distorted the reflections of the viewers and the surroundings For a short time, Kusama sold the balls outside of the exhibit which took away from the symbolism of the piece The reinstallation of the piece in many different locations has taken away the criticism Kusama intended on displaying and has replaced it with monetary value and worth Centered on the narcissism of humans as they become focused solely on themselves while looking into the silver balls CONTEXT: Kusama lives in a private mental health facility in Tokyo. She thought everyone else was a narcissist and thus would love to view themselves through an infinite number of concave surfaces. She has described herself as insane for decades. She is a self-taught artist. Kusama led the way for the Minimalist movement, but later transitioned to Pop Art and performance art.

Malangan display and mask

FORM: Wood, pigment, vegetable fiber, operculum (mask) Wood, vegetable fiber, pigment and shell (display) FUNCTION: Used once and then destroyed Used at funerals and in a cycle of rituals known as "Malangan" CONTENT: Display - symbolizes identity, family, gender, death and the spirit world Includes representations of fish and birds Mask - symbolizes dead ancestors, a person's spirit, or local bush spirits CONTEXT: North coast of New Ireland, Papua New Guinea Collected by Hugh Hastings Romilly in 1882-1883

Spiral Jetty

FORM: its essentially a bunch of dirt and rocks forged into a spiral into the lake,using over six thousand tons of black basalt rocks and earth from the site, the artist Robert Smithson formed a coil 1,500 feet long and 15 feet wide that winds counterclockwise off the shore into the water. It is considered environmental art or land art. But you can also categorize it as process art or temporal art since its forever changing. It was made so the visitor can walk through it and experience everything it has to offer. FUNCTION: Smithson purposely built this here for he was continually fascinated by how the basalt rocks were impacted by the salty waters of the Great Salt Lake and how they eroded them and left amounts of salt crystals behind over time. CONTENT: Part of the environment, but also interacts and changes with the environment around it, giving the idea that a form is constantly changing and molding to the factors surrounding it. Our aerial view in pictures of the jetty is separate from the true experience of walking atop it and feeling it with our own senses Ability to interact adds element of fun The fact that many people worked or were employed to create this shifts our idea that an artist is a single creator; works can be created by groups or employees as well The ultimate communal experience: in the interaction of the viewer with the work, viewers with one another, and the jetty with the landscape that surrounds it CONTEXT: Prehistoric influence most famous large-scale earthwork of the period; has come to epitomize land art has drawn visitors from throughout Utah and around the world depending on the water level in the lake, the jetty is sometimes fully submerged and other times it is fully exposed, with salt crystals on the surface location (Rozel Peninsula) was chosen b/c it was in a remote area (about 2.5 hours from Salt Lake City) and the water was a reddish color because of the algae, which attracted the artist beginning in the 1960s, some American artists including Smithson chose to depart from the confines of gallery & museum spaces to create art works directly in the landscape Smithson began as a painter but then explored other mediums such as sculpture, writing, drawing, film, and then eventually earthworks

Moai on platform

FORM: volcanic tuff on basalt base FUNCTION: carved to commemorate important ancestors; religious worship CONTENT: CONTEXT: The statues were eventually toppled due to the island's fragile and declining ecosystem as well as the shift to the birdman religion. The remaining moai were toppled after 1838 during a time of social collapse after European intervention.

Buk mask

FORM:Divided into 3 registers - bottom human face, above face and body of a bird, above that feathers. Frigate bird depicted. "Raffia" attached as if it were hair. Only one part of an elaborate costume. FUNCTION: Used primarily during male initiation and at funerary rituals, the masks represent mythical culture heroes and their associated totemic (as in totem pole) species CONTENT: This mask combines features of both animals and humans. The Frigate bird could be an animal regarded as unique and special or an animal that they didn't hunt. Mask likely connected wearer and culture to supernatural. CONTEXT: Only in Torres Strait there are masks made of turtle shell found.

Presentation of Fijan mats and tapas cloths to Queen Elizabeth II

Fiji, Polynesia. 1953 C.E. Form: Multimedia performance (costume; cosmetics, including scent; chant; movement; and pandanus fiber/hibiscus fiber mats), photographic documentation. Function: Commemorate Elizabeth II's visit to Fiji. Content: The women in the middle wear masi, painted barkcloth, and likely carry some for Elizabeth. Masi was often used to commemorate important occasions. The women also carry mats, which Fijian women made. The simplicity of the mats' design makes their function more meaningful. Context: Elizabeth also participated in and observed several tribal rituals during her visit, creating a sense of some equality, especially during the kava ceremony.

Seagram Building

Form: bronze clad, simple form, very modern yet Classical, much darker now than it once was, symmetrical, pillars resemble fluted columns, sense of stylobate, textured, depth Function: headquarters of the Seagram company Content: one of the most expensive buildings of its time, reference to the Ancient Romans, spacing is due to architect wanting to respect the tennis club across the street, does not take up the entire property Context: Park Avenue and 53rd street, Miles van der Rohe, 1956-1958, Seagram was a Canadian liquor company,

Great Serpent Mound

Form: grass, earth, land that was already there Function: man and nature coming together as one, marked time and seasons, could be a compass, could protect from evil, gives a lot of insight into the native culture and its beliefs Content: snake could have a spiritual meaning to the natives, tail points to winter solstice sunset, head points to summer solstice sunset, snake's curves parallel the lunar cycle, shape aligns with the North Star Context: southwest Ohio, thought to be made by the local natives, Fort Ancient Culture, 1070 CE

Templo Mayor

Indigenous Americas Content: One of the more significant pieces at the Templo Mayor is the Coyolxauhqui monolith, which related to Mexican mythology, adding to the temples' spiritual significance and mysticism. Large in size, with a diameter of 11 feet, the Coyolxauhqui stone is thought to have originally been painted with vibrant colors. Throughout the years, many artifacts similar to the Coyolxauhqui stone carved out of volcanic stone have been excavated from the temple, offering even more insight into Aztec traditions. Function: site of Aztec ritual and ceremonial activities, was also a symbol of Aztec power and prestige. Form: . Originally standing at about 90 feet high and covered in stucco, the Templo Mayor included wide, grandiose staircases that rose up towards two stepped pyramids. The staircases themselves were flanked by balustrades, or railings supported by balusters, and undulating serpents. Located at the base of the twin temples were sculpted figures presenting colorful banners adorned with bright paper and feathers. Context: The Aztec capital, Tenochtitlan, was founded in 1325 CE on an island in a large lake. Temples were quickly constructed as religion was extremely important to the Aztecs. They believed that their gods needed to be placated by human blood so the Aztecs took on the duty of human sacrifice. The temples often served as the ceremonial sites for these sacrifices and were therefore extremely valuable to the culture.

Transformation mask

Indigenous Americas Form: 13 inches by 20 inches, carved out of cedar, blue, red, yellow, string and feathers Function: worn during potlatch, ritual dances, symbols of status and rights Content: symbolizes metamorphosis and transformation of spiritual birth, consisted of two masks, inner mask=human, outer mask=mythical Context: western Canada, late 19th century, Kwakwaka'wakw

Maize cobs

Indigenous Americas Form: 1440-1533 CE Gold-silver alloy corncob Individual kernels of corn protrude from the cob Life sized Hollow Function: The garden as whole was an offering to the Qorikancha The corn itself represented the most important food in the empire, consumed at political feasts Used in ritual practices that benefitted the state religion and government Context: Inka visual expression often incorporated more naturalistic forms in small scale metal objects Found in a garden in a courtyard of the most important Inca temple the Qorikancha. This garden was made up solely of metal plants. The temple was later invaded by the Spaniards and took silver, objects such as the Maize cob sent back to Spain and put into Spanish King Charles the 5th'S art collection Content: Corn emerging from the husks Symbolizing importance of crops such as corn Realistic

City of Machu Pichu

Indigenous Americas Form: 2,000 feet above sea level Content: used only stone and bronze tools, use of waterways, circular room for important ceremonies, roads expanded the empire, every Incan road connected to Machu Pichu, light perfectly touches stone at winter/summer solstice Context: found by Hiram Bingham, Incas fluorished in the Andes, capital city of Cuzco, overthrown by Spanish, chronicle of Inca culture found, enough food for everyone, had no writing, "welfare state", llamas were there, established by ninth emperor Pachauti, emperor traveled with an entourage, one of many Andean stone cities, bridges used to unite the cities, emperor was son of the sun

Black on black ceramic vessel

Indigenous Americas Form: blackware ceramics, coil style, pinching style, polished by rock, not watertight Function: made to be sold to Europeans Content: artist signed the pots to benefit her community of Puebloans, symbolic of birds in flight Context: Maria Martinez, mid 20th century, influenced by multiple different eras, railroads eliminated need for homemade dishes, art deco movement

Mesa Verde cliff dwellings

Indigenous Americas Form: built into the cliff, sandstone, mortar, wooden beams Function: occupied by the Puebloans, offered protection and shelter from the elements Content: the Cliff Palace - largest dwelling, sipapu - ceremonial hole in the ground, circular room called kiva, murals cover the walls of the rooms Context: Anasazi, 450-1300 CE, nearby river useful to agriculture (beans/squash/corn), abandoned in 1300 due to drought and food shortage

Hide painting of Sun Dance

Indigenous Americas Form: natural pigments, painted hides of deer and buffalo and elk Function: recorded history and lives, intended to be sold Content: shows off the nomadic lifestyle, wall hanging or robe, attracted tourists and buyers, represents grass dance and sun dance Context: tradition of Great Basin and Great Plains people, made up by the men, 1868 forced onto reservations, dances were outlawed by the Federal government, Wind River Reservation Wyoming, 1890-1900 CE

City of Cusco

Indigenous Americas Form: special areas for agriculture and industry, built using advanced masonry, was once covered in gold, system of aqueducts Function: center of the Incan government, home of the royal family Content: Qorikancha in the heart of the city, small model of the world covered in gold, men came to be educated and returned home with Incan values Context: Peruvian Andes, under the emperor, taken by the Spanish, Spaniards rebuilt Baroque churches and palaces

Ruler's feather headdress

Indigenous Americas Form: tail feathers of quetzal bird, gold, 450 feathers, vibrant colors Function: used in rituals and ceremonies Content: only one part of the ritual outfit, quetzal birds were abundant, only had a few feathers each Context: Moctezuma ruled in 1502, found when Spain conquered the Aztec, currently in Vienna, 1428-1520 CE

Yaxchilan

Indigenous Americas Form: Peten style, large pyramids, 50 plus meters tall, roof combs for support, stucco, limestone, lintels, eighty six total buildings Function: important Mayan center, powerful and influential urban trade center Content: large buildings throughout the entire city, full of temples and palaces, overlooks the river, depicts spiritual rituals, show the king doing bloodlettings, central acropolis, south acropolis and west acropolis Context: ancient Mayan city, south bank of Usumacinta River, abandonrf in the 9th century, discovered in the 19th century, suffered water damage, Chiapas Mexico, 725 CE

Bandolier bag

Indigenous Americas Form: beadwork on leather, trade cloth from Europe, very bright and vibrant, fringe, sink ribbons Function: worn by males as crossbody bag during ceremonies, worn for appearance rather than purpose Content: different tribes had different patterns to show different spiritual meanings, design represents four cardinal points or the cosmos, ribbons flow when they walk, representation of the heavens and the underworld Context: Lenape tribe, 1850 CE, made by many Great Lakes tribes, still made today, made by the tribal women for the men

Chavin de Huantar

Indigenous Americas Form: wedge shaped stone, 15 feet tall, spear shaped, face depicted Function: symbolizes ideas of religion and wealth, pilgrimage site Content: high valley of the Andes, hand symbolizes heaven, therianthropic, serpents head, center of ancient religion Context: mother culture of the area, before common era, where the culture was in full force 900-200 BCE, northern highlands Peru

The Starry Night

Later Europe and America Form: movement, visible brushstrokes, stylized, dramatic stars, curves, left to right Function: evokes emotional response, influenced future artists, interprets the night sky, tries to express how this would make one feel Content: cyprus tree, French city, stars realistic place, hometown church, buildings don't belong Context: Vincent van Gogh, 1889, checked himself into an insane asylum, painted from memory, Impressionism, triggered expressionism

The Horse in Motion

Later Europe and Americas Eadweard Muybridge 1878, photograph founder of modern day cinema photography was further along and less laborious pictures taken in 1/25 of a second wanted to know if a horse takes his feet off ground at once multiple pictures sped up to create visual narrative over fifty cameras plus students to help him

Liberty Leading the People

Later Europe and Americas Eugen Delacroix, 1830 oil on canvas portrays the July Revolutions, involved people from all classes radical focused on destroying social classes and divisions originally bought by the king after it was painted inspired lowly people to rise up put into storage until 1848 French Romanticism led the period colors are rich, no structured brushstrokes breaks away from dull neoclassicism appreciation of color relates to impressionists

The Burghers of Calais

Later Europe and Americas Form: 6 men, simple and tattered clothing, bodies are thin, rhythmic drapery acts as an anchor Function: commemorates heroism of Eustache de St. Pierre Content: men are burghers, none make eye contact, expressions of anguish, leaving the city to go to their deaths, no clear leader, save themselves vs. save the city Context: Auguste Rodin, 1884-1895, Rodin commissioned by city of Calais, common scenes depicted with only one hero

The Oath of the Horatii

Later Europe and Americas Form: Doric columns, order is simple, linear perspective, drapery, accurate depiction of human form, geometric, women are curved, men are linear Function: creates a willingness to die for one's nation, family life is 2nd to the republic, David calls for heroism against corruption, break from Rococo Context: 4 years before Revolution in France, commissioned by the King of France, painted in Italy, rumored about principles inline with coming revolution and mindset of the people Content: story of war between Rome and neighboring city, Horatii brothers are chosen to protect their city, one sister is married to man from other city, she is killed for mourning her husband and being unpatriotic

Palace of Westminster (Houses of Parliament)

Later Europe and Americas Form: Gothic style, medieval style, modern innovations, ventilation, concrete base, rhythm, balance Function: house of the British parliament, House of Commons and House of Lords Content: interior is very Gothic, 19th century fascinated with revival, fantasy of medieval art, modern quest for money/fortune, based on chapel of Henry VIII Context: Charles Barry and Augustus WN Pugin, 1840-1870, early Victorian era, after fire burned it down, architects won a contest, industrial era

The Oxbow

Later Europe and Americas Form: Hudson River School style, juxtaposition of wild land and cultivated land, in plain air sketches, division right down the middle Function: creates idea that American is full of heavenly land Context: Thomas Cole, founder of Hudson River School, new land was America's Garden of Eden, Eerie Canal recently opened, steamboat travel began Content: left- thunderstorms and wilderness (the Sublime) right- pastoral, land is divided up for farming. Back- Hebrew letters, reps manifest destiny

The Coiffure

Later Europe and Americas Form: Japonsime, patterns, flat element, lines, no shadows, movement, emphasis on the woman, colors enhance beauty, "family colors" Function: shows the everyday life of a real woman Content: higher class woman, naked, private moment, not sexualized, only one aspect, focus on the neck, view from mirrror, one of two female nudes Context: Mary Cassatt, Impressionism, inspired by Japan, American artist, lived in France

Improvisation 28

Later Europe and Americas Form: abstracted, not abstract Function: the world needs a change (with a flood) Content: very chaotic, depicts the scenes of Noah's Arc Context: artist was synesthetic, Vassily Kandinsky, 1912

Woman, I

Later Europe and Americas Form: action painting, oil on canvas, abstract Function: ? Content: ugly looking woman, seen by many as misogynistic, painted on top of many other paintings, critical look at post World War II pinup styles Context: Willem de Kooning, 1950-1952, trained as a classical artist, comparable to Venus of Willendorf

The Portuguese

Later Europe and Americas Form: broken, lack of color, no depth, disorientating Function: shows the dysfunction of modern society Content: man playing guitar, broken into a million pieces then put back together, named and inspired by Portuguese man playing guitar Context: analytic cubism, Portuguese movement, Georges Braque, 1911

Fountain (second version)

Later Europe and Americas Form: china and paint, premade (ready made) Function: forces people to question what art is, challenges what art is Content: urinal, wrong way, stolen from a hotel, signed with a fake name Context: Marcel Duchamp, 1950, original - 1917, stolen from a hotel, revolutionary artist, wanted to submit art to an exhibition claiming to have no rules, committee was disgusted and did not allow the piece, pretended to be R Mutt photographed by Steiglitz

The Results of the First Five Year Plan

Later Europe and Americas Form: collage, photo montage, illusion that pieces are one, movement, diagonal slant, pics are cut, put together, then exposed together, disorientating Function: commemorates success of the Five Year Plan Content: Lenin's head, red is color of the Soviet flag, reaction to Stalin's five year plan and industrialization, in magazine called USSR In Construction, Lenin leading the people and looking towards the future, power lines, propaganda is often biased, hierarchy of importance, CCCP means Soviet Union Context: 1932, Varvara Stepanova, Soviet Russia, constructionism, cubism elements, artist worked for the government

Mont Sainte-Victoire

Later Europe and Americas Form: commanding presence, part of a series, oil on canvas Function: shows the mountain as it is seen Content: Mont Sainte-Victoire, Aix-en-Provence Context: Paul Cezanne, 1902-1904, hometown of Cezanne, major theme of his works, Impressionism

Marilyn Diptych

Later Europe and Americas Form: diptych, movement, flat features, mesh cloth over wooden frame and design, then painted film strips Function: based off of promotional pictures, undermined artists of abstract expressionism Content: Marilyn on the left - happy, how people saw her, right - sad life, depressed, fading away dehumanizing Context: Andy Warhol, 1962, reference to Christian art, Monroe- actress, sex symbol, died of overdose, grew up in foster homes, death and disaster exhibition

The Migration of the Negro, Panel no. 49

Later Europe and Americas Form: flatness, clear perspective, movement, emphasis on the divide, rhythm with the tables, unity Function: shows that blacks and whites are all human but are often segregated Content: clearly segregated, black people are only silhouettes, part of a series, blacks migrate to the North, whites pay no attention, element of equality amongst the races Context: 1940-1941, Jacob Lawrence, times of segregation, blacks began to move north where they would have suffered less racism and persecution, artist's parents migrated North.

Object (Le Dejeuner en fourrure)

Later Europe and Americas Form: fur covered cup, spoon and saucer, surrealism Function: changes the idea and use of a cup Content: tea cup, plate, spoon, covered in fur (could mock masculinity), some thought it had a sexual connotation Context: 1936, Meret Oppenheim, was in a cafe with Picasso, had tea but it got cold, wanted it to stay warm like her jacket so she went out and bought a bunch of fur, rebellion against rational thought

House in New Castle County

Later Europe and Americas Form: geometric shapes, unbalanced, very 70s and 80s, vaulted ceilings, no obvious unity Function: residential home Content: very flawed, childlike feeling, colonial feeling, meant to be in a revolutionary architectural style Context: Robert Venturi, post-modern, 20th century changed of architecture, parts created to enable bird watching, Venturi wrote a book where he points out flaws of historical architecture, loved complexity and imperfection

The Jungle

Later Europe and Americas Form: gouache (thick water color), lines, movement, same color palette, multiple perspectives, disorienting, cool tones/ colors, cubism influence Function: celebrates heritage and culture Content: bamboo and sugar cane background, people blend into the background, at nighttime, overgrown forest before the harvest Context: Wifredo Lam, 1943, painted when artist returned to Cuba, celebrating the harvest of crops and earth, strong heritage influence, painted the people and culture of Cuba, painted and sculpted in Cuba, influenced by Picasso

Fallingwater

Later Europe and Americas Form: held up by cables, organic architecture, lots of windows, red, darks, whites, different levels, terraced roofing, architectural lines, windows are the walls, furniture tones are warm Function: allowed the family to be one with nature, served as a refuge Content: use of nature, very fluid, allows for the use of flowing water, the red is used to complement the greens of nature, heavy focus on horizontal lines, plays on where things should be located, went around the nature that was already there, floor resembles water Context: Frank Lloyd Wright, architect losing esteem, outside of Pittsburgh, commissioned by wealthy Kauffman family who owned a department store, Wright influenced by Le Corbusier, all horizontal works broken up by a vertical line, artist designed all the furniture and interior, last minute effort by the architect

Slave Ship

Later Europe and Americas Form: impasto painting, use of a palette knife for texture and chaos, free, natural and loose Function: tells the story of slave ship hit by storm, presents evil qualities in a beautiful way, evokes emotion of how you would feel as a slave Context: 1840 JMW Turner, slaves were considered property, worth money Content: slave ship with dead slaves thrown overboard, captain throws slaves overboard to get insurance money, men are easily compared to nature, ship adds direction and sense of water, ship leaves the slaves behind

Olympia

Later Europe and Americas Form: looks directly at us, she's aggressive and assertive, confrontational, not very academic Function: depicts the real life profession of prostitution Content: black servant, flowers are from a client, embodies the profession, high society woman wouldn't pose nude, flowers show beauty and femininity, but prostitutes weren't pure or pretty, she is, not attractive and poo, features are not perfect Context: Edouard Manet, 1863 CE, realism, modeled after the Venus of Urbino

George Washington

Later Europe and Americas Form: marble (carrara), simply carved Function: displayed at Virginia General Assembly, commemorates end of the Revolution Context: commissioned by Ben Harrison, artist found by French loving Jefferson, artist sailed in to get detailed measures and molds, artist- Jean-Antoine Houden Content: wearing normal clothes at Washington's insistence, wears his military uniform, contrapposto pose

La Grande Odalisque

Later Europe and Americas Form: more focus on sensuality, not proper anatomy, left leg in an impossible position, almost doesn't fit in the picture, interior is sumptuous, "aloof and distant gaze" Function: meant for king of Naples and his wife, meant to be sensual Context: France nears end of Napoleonic wars, characterized by rapid expansion and nationalism, commissioned by Napoleon's sister Content: cool aloof eroticism, refers to the French conception of the Orient, geographic distance makes sexuality acceptable

Self-Portrait

Later Europe and Americas Form: oil on canvas, late example of Rococo, sitting in a relaxed pose, slightly off center, white turban and dark dress, cradles supplies Function: power and wealth of the painter, portrays women's roles, gaze shows freedom from care, shows alert intelligence Context: court painter for Marie Antoinette, sumptuous and excessive, painted in Italy after the Revolution, example of liberated Rococo Content: Le Brunn was Marie's artist, one of her best known works, conservative in politics, subject of painting is Marie, displays sanguine persona, expresses alertness

The Two Fridas

Later Europe and Americas Form: oil on canvas, two sided, visually divided, presenting of identity Function: shows duality of Frida after emotional breakup with Diego Rivera Content: left - Victorian dress, broken heart, European, shows her pain right - Spanish dress, healthy heart stormy settings, holding hands with herself, shows emotion, right - indigenous, respected and loved, portrait of her husband Context: Frida Kahlo, 1939, sick a lot, only painted self-portraits, year she divorced her husband, sold for $1000, got polio when she was young, became disabled, learned a lot about human anatomy, could not have kids

The Stonebreakers

Later Europe and Americas Form: once was double the size, suggests that real world people are just as important, destroyed by a fire in 1945 Function: represents the real world, breaks with earlier types of art, depicts what is seen, upper classes took it as a threat Content: young boy is the apprentice, intergenerational knowledge, older man is strong, poised and more experienced, rip in shirt shows young boy is new to what he is doing, apprentice is resilient Context: realism, a year earlier Europeans were fighting for better working conditions, piece began a movement

Where do we come from? What are we? Where are we going?

Later Europe and Americas Form: painted on rough sackcloth, brilliantly colored, human and animal and symbolic figures, figures unite and confide Function: ? Content: sea and volcanic mountains of Tahiti, themes of life and death and poetry and symbolism, title inscribed on the piece, crouching figure stares at two people Context: Paul Gauguin, 1897-1898, Gauguin lived on Tahiti, stockbroker career had failed, traveled around Polynesia, tried to commit suicide after completion

The Kiss

Later Europe and Americas Form: patterns, vibrant colors, flat, linear, floral, emphasis on their faces Function: shows the passion of love and affection, love is equal to spirituality, made to be aesthetically pleasing Content: intimate, cloaked in the same thing, different shapes based on gender roles Context: Art Nouveau, Gustav Klimt, influenced by Ravenna mosaics, purchased before it was even finished, 1907

Monticello

Later Europe and Americas Form: pediment, Doric columns, dome, oculus, arches, porticoed, stylobate, stereobate, symmetrical, balanced, lunette windows, classical style elements, rectilinear plan, basis of a transept Function: primary plantation home of Jefferson, influenced by European neoclassicism, growing tobacco and wheat, embodies Jefferson's beliefs Context: earliest presence of neoclassicism i US, enlightenment era, Jefferson was architect, 1768-1809, began after travels to Europe Content: Monticello "little mountain", staples of classical architecture, influenced by Pantheon, democracy and education

The Kiss

Later Europe and Americas Form: primitive, stone, two dimensional, not very detailed, textured Content: woman has a protruding stomach similar height = similar power, eyes come together as one Context: influenced by Ambum stone, commissioned by New York lawyer, Brancusi was Rodin's apprentice, cubism becoming popular, Constantin Brancusi, 1908

Self-Portrait as a Soldier

Later Europe and Americas Form: sharp, angular lines, depth and perspective, red tones, violence and angst, disproportionate, primitivism Function: against the war, uprising of youth to the elders, to gain artistic freedom Content: Kirchner's fear of war damage to his hand, woman=fear of sexual impotence, woman looks at herself in the mirror Context: Expressionism, Germany World War I, Die Brucke, Kirchner was an "involuntary volunteer", suffered from mental illness, Nazi degenerate art, Ernst Ludwig Kirchner, 1915

Composition with Red, Blue and Yellow

Later Europe and Americas Form: structured, organized, geometric, only primary colors, linear, two dimensional, simple, sense of movement, abstract, unmixed colors Function: simplicity, enrages people, shows a utopian society Content: shapes, colors, lines, structure show the structure of society, no specificity, can be reapplied and rearranged Context: Piet Mondrian, rejects art nouveau, neoplasticism, de stijl

Les Demoiselles d'Avignon

Later Europe and Americas Form: unrealistic, rough lines, harsh edges, primary colors, primitive vibes, no depth, merging of space, two dimensional, angular Function: might be questioning the profession of prostitution Content: prostitutes, some with African masks, in a brothel, could all be in different rooms, multiple perspectives Context: inspired by Matisse's joy of life, protocubism, birth of cubism, Picasso collected African art, Pablo Picasso, 1907

Y no hai remedio

Later Europe and Americas Form: violence, etching and drypoint created nuanced shades of light and dark to capture emotion, clothing of hero emits light, showing symbol of Christ Function: protest against the French occupation of Spain by Napoleon, criticized the contemporary world, satirized the fact that most people were so poor they had to be immoral just to survive Context: Goya was the official court painter under Charles IV, antiwar representation, French occupation of Spain Content: light of clothing shows Christ like symbols, guns point at the man from every direction, appeals to our emotions, displays consequences of foreign conquest

The Saint-Lazare Station

Later Europe and Americas Form: vivid colors, light of space, impasto painting, each piece itself is abstracted, unified whole, intensely flat, emphasis on surface, no lines or contours, cool/winter tones Function: portrays a scene of everyday life Content: train station in Paris, gritty steam engines, winter season, train comes in, scene is framed Context: Claude Monet, 1877, Impressionism, contrast of Monet's works, Monet took train to Paris and back often, station under construction

Memorial Sheet for Karl Liebknecht

Later Europe and Americas Form: wood block, emphasis on mother and child, contrast, division of the piece Context: mass production, Liebknecht assassinated, commissioned, artist didn't agree with the commissioner but made it anyway, Kathe Kollwitz, 1919-1920

Nadar Raising Photography to the Height of Art

Later Europe and Americas Honore Daumier 1862, lithograph lithography print promotes photography as an artform shows development of photography meant to be comical Nadar - predominant art photographer in Paris at the time

The Swing

Later Europe and Americas Jean-Honore Fragonard 1767 Oil on canvas signs of fertility and fidelity heavy contrast of light and dark Rococo with Baroque style lover is reaching for her, husband holds her back

A Philosopher Giving a Lecture at the Orrery

Later Europe and Americas Joseph Wright of Derby 1763 to 1765 Oil on canvas Baroque style physical symbol of the Scientific Revolution Age of Enlightenment study of the solar system contrast of light and dark (chiaroscuro)

Portrait of Sor Juana Ines de la Cruz

Later Europe and Americas Miguel Cabrera 1750 Oil on canvas Spanish Colonial Empire style not a commissioned painting European influences first feminist of the Americas library reflects her areas of study gaze is direct and assertive

Still Life in Studio

Later Europe and Americas daguerreotype photography had to be still life, it took too long for exposure and development 3-5 minutes to expose now presentation is aesthetic choice by Louis-Jacques-Mande Daguerre 1837 photograph

Goldfish

Later Europe and Americas Form: movement, vibrant colors, emphasis on the fish Function: the fish represent society and Matisse's place in the world Content: multiple perspectives, inaccurate depth, refraction of the fish, disorientating, tranquility of Morocco Context: Henri Matisse, 1912, Matisse's orange period, Fauvism, inspired by Morocco, chaos of France

Villa Savoye

Later Europe and Americas Form: slender columns give floating appearance, free plan, free facade, natural air, proportional, symmetrical, balanced, pilotis, roof terrace, open space, white is simple and new, ribboned windows, floors painted green to mimic floating Function: used as a home, somewhere to live and collect fresh air, connects to the form, blends the urban lifestyle Content: gave an escape from the city for wealthy patrons, air is incorporated, "The house should be a machine for living in.", embodies the idea of fresh air Context: Le Corbusier, built 1929, outside of Paris, wanted a floating box, inspired by both modern and ancient architecture, based off Le Corbusier's five stages of architecture, book called Towards the Architecture

The Kaaba

West and Central Asia Form: granite masonry, covered with black silk curtain, gold and silver calligraphy, quran verses on the curtain, movement as one Function: site of religious pilgrimage, pilgrimage called a hajj, pinnacle of Islam Content: center point of the Islamic religion, no building bigger than Mecca, contains the Kaaba, relates to the prophet Muhammad, held black stone with figures of Pagan god, figures removed when it became Islamic, perform tawaf recession around the Kaaba, man has seven souls, seven layers to the heavens Context: 631-632 CE, Saudi Arabia, rededicated to Muhammad, renovated multiple times, first site of monotheism

The Court of Gayumars

West and Central Asia Form: ink, opaque, watercolor, gold on paper Function: Content: king sitting on tiger skin, surrounded by his court, king's son Siyamak sits to the left, mountain and son have human faces, red demon is Ahriman who is jealous of Siyamak and the enemy of human kind Context: Gayumars was the first king of Iran, wore clothes of leopard skin, court was prosperous, king had divine power, Persian, 1525 CE, sultan Muhammad, king created civilization

Bahram Gur Fights the Karg

West and Central Asia Form: large words, no empty space, trees, battles, human and animal figures, Persian style, fluenced by Chinese art, high quality paper, calligraphy, rich illumination, ink, gold, silver Function: official dynastic history of the Ilkhanids Content: from the Great Ilkhanid Shahnama (series of Persain art), 57 illustrations, intense historical stories, king slays a horned wolf Context: commissioned by high-ranking court member, produced at the court scriptorium, cosmopolitan court, Iranian king Bahram Gur, 1330s, Islamic Persia

Great Mosque (Masjid-e Jameh)

West and Central Asia Form: shares walls with other buildings, multiple entrances, massive in size, large courtyard, tranquil, bricks, columns, earth colored, simple, domes, oculus, qibla, brick vaulting Function: place of prayed and cultural hub Content: embodies Islamic empires of Persia, urban integration, facilitated commercial activity, prototype for many future mosques, connected to new seljuk capital Context: expanded and modified over a thousand years, Seljuk Turks founded Isfahan in 11th century, current design under Malik Sah I who commissioned the Qibla

Dome of the Rock

West and Central Asia Form: stone masonry, wood, glazed ceramic tiles, mosaics, gilt aluminum, bronze dome, columns, arches, blind arcade, celestory, stucco designs, small colonnade Function: Islamic mosque, only one owned by the Islamic state in Jerusalem Content: Israel controls Jerusalem except for Temple Mount, nonMuslims cannot enter, Holy Shrine, mosaics give off an ethereal vibe, site of Abraham's ascension to heaven Context: 691 CE, church in the 12th century, recaptured by Muslims in 1187 CE, Jerusalem, Palestine

Buddha

West and Central Asia Form: two main buddha statues, built into cliff, highly decorated, 120 feet high, plaster and polychrome paint Function: honors the paradise like nature that travelers and traders came past on the Silk Road, non-Islamic sanctuary Content: changes over time, man-manipulation of nature, Hellenistic, Roman, Islamic influences, Buddha is protected from the elements Context: believed to be chosen for environment, travelers felt compelled to honor the location, planned to be reconstructed, Silk Road, 400-800 CE, Afghanistan, area was very prosperous, Aurangzeb attempted to destroy it, 2001 Taliban destroyed it again, part of the Conservation Act