AP Art History

Horn Players. Jean-Michel Basquiat. 1983. Acrylic and oil paintstick on three canvas panels.

- "black Picasso" - became famous as graffiti artist - have triptych - Dizzy Gillespie and Charlie Parker depicted in words and picture: linguistic and visual - feels loud in a sense: synesthesia - Left: Parker with Saxophone and hot pink musical notes and sound waves - Gillespie holds trumpet with scat or nonsense shown - need musical background to understand words written - appropriating Picasso because he admires him and rl rewrite - as an AA, largely interested in Jazz part of black culture

Trade (Gifts for Trading Land with White People) Jaune Quick-to-See Smith. Virginia. 1992 C.E. Oil and mixed media on canvas.

- "doo dads" hanging have sporty artificial - red could pertain To skin color or blood - 500th anniversary or Christopher Columbus' arrival - not celebration - ironic piece; why don't you guys give back over land and rake these trinkets - reminiscent of medieval alterpieve - prominent brushstrokes and blocks of color layering collage materials - smith offers cheap goods in exchange for land

Composition with Red, Blue and Yellow Piet Mondrain. 1930 C.E. Oil on canvas

- "harmony of contrasts" -art with rule and order (only primary colors: red yellow blue, black and white) - neo-plastacism: part of de Stijl movement - finally have abstract art, completely gone away from naturalism - he believes abstraction provides a truer picture of reality than illusionist depictions of objects - trying to create something more true-- color and lines - likes symmetry - believes evolution of abstraction was a sign of humanities progress - black and white-- op-positional forces at work

Hagia Sophia Consantinople (Istanbu). Anthemius of Tralles and Isidorus of Miletus. 532-537 C.E. Brick and ceramic elements with stone and mosaic veneer.

- "holy wisdom" - pendentive- what allows circular dome to rest on square base - building starts as church as turns into mosque - pencil minarets (each different) - no more Christian mosaics - axially and centrally planned - put people back to work-- Nika riots - Huge piers holding up most of weight (not seen along half domes) - way for Justinian to express power - 40 windows so that light streams in from dome perfection and divine - New Christian architecture for New Christian Roman Empire - When this was originally built, period of iconoclasm--tear down all stain-glass windows - Justinian payed huge amount of money to import marbles in walls - 35 foot screen that hid all the people - mosaics from different period - 1453 fall of Constantinople - Byzantine empire (gold) "suspended from heaven" - Muslims appropriate into mosque - near river, similar to Taj majal - qibla wall: shows wall need to face when praying to Mecca - symbol of sultans power - mosaics covered up - roundrels - sultan viewed as divinely appointed

Dedication Page with Blanche of Castle and King Louis IX of France, Scenes from the Apocolypse from Bibles moralisées. Gothic Europe. c. 1225-1245 C.E. Illuminated manuscript

- "moral bible" - contains biblical commentary and texts mixed with images - compares stories from the bible to contemporary people and events - 8 circles called roundrels, illustrate biblical scenes from book of revelation - mary and Christ side by side as celestial rulers of heaven

The Arabic Carpet. Maqsud of Kashan. 1539-1540 C.E. Silk and wool.

Silk Warps and Wefts with wool pile (25 million knots, 340 per sq. inch) The pile of carpet is made from wool, rather than silk because it holds dye better. The more knots per sq. centimeter, the more detailed and elaborate the patterns can be The dyes used to color the carpet: are natural, include pomegranate rind and indigo Up to 10 weavers working at a time on the carpet Fundamental examples of Islamic art— made of silk and wools, carpets were traded and sold across Islamic lands and into China and Europe Iranian carpets were highly prized— carpets decorated mosques, shrines, and homes, also could to be hung on walls to preserve warmth Islamic Art: very intricately designed and large amounts of time were put into designing the carpets Made for prayer in funerary shrine Design— geometric patterns, vegetative scrolls, floral flourishes, typical Islamic Art designs Central golden medallion dominates the carpet, surrounded by a ring of multi colored and detailed ovals Lamps at either end hang— meaning: possibly use of perspective with different sizes of lamps, or mimic the lamps, unity within the shrine The border is made up of a frame with a series of (rectangular shaped spaces for calligraphy), filled with decorations Design in the medallion is repeated by the four corner pieces Inscriptions: four line inscription placed at one end— short poem is vital for understanding the commencing of the carpet and date Except for thy threshold, there is no refuge for me in all the world. Except for this door there is no resting-place for my head. The work of the slave of the portal, Maqsud Kashani. Maqsud: court official in charge with producing carpets Reference to himself as a slave, humble servant Persian word for door used to denote shrine or royal court, court patronizes the shrine 4th line of poem provides date of the carpet, AH 946 Muslim calendar begins in year 620 CE— AH 946 is equivalent to 1539/40 CE Summarized: * huge carpet, funerary shrine of Safial-Din * Prayer carpet * Medallion in center represents inside of dome with 16 pendants * Mosque lamps hang from two pendants, one lamp smaller than the other, larger lamp placed further away so it would appear same size as the smaller * Corner squinches also have pendants-- looking into the dome * World's oldest dated carpet * Wool carpet, woven by 10 people, location and size entrusted with men Named after the town of Ardabil in North-West Iran. Ardabil was home of the shrine of the Sufi saint, Safi al Din Ardabili (leader who trained his followers in Islamic mystic practices)— (Sufism is Islamic mysticism) After his death in 1334, his followers grew and descendants became influential in community. In 1501, one of his powerful descendants and supporters named Shah Isma'il, seized power and united Iran, eventually establishing Shi'a Islam as the official religion The dynasty he founded is known as the Safavids, their rule, which lasted until 1722, was one of the most important periods of Islamic art, especially in textiles and for manuscripts The carpet was a matching pair that was made for the shrine of Safi-al Din Ardabili when it was enlarged in the late 1530s. The carpet produced in a court workshop in 15th and 16th centuries. In 1843, British noted that one carpet was still present in the shrine of the Sufi Saint, and 30 years later, an earthquake damaged the shrine and the carpets were sold off Ziegler & Co. of Manchester restored them, and repaired them

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

- "soul of the Asante nation" - always on its side, not functional - asserts kingship/power; king always has it - stool divine right piece - original king that brings Asente people together is Osei Tutu - gold symbolizes royalty for Asante people; abundant in this region - stools take on the aura of the owner; because the stool is believe to fall from the heavens it's seen as more important than the kings themselves

Buddha. Bamiyan, Afghanistan. Gandharan. 400-800 ce. cut rock with plaster and polychrome paint.....destroyed in 2001

- 2 Buddha's - circumambulating around ankle: HUGE - on the silk route: people from all faiths travel on this road (rest area) - biggest but common in this area - Buddha Vairochona, 120ft high - both originally images carved into cliff in high relief - two large Buddha's reflect influence of India, Central Asia, and even Greece - adorned with brilliant gems at one point - would've been painted at one point - was destroyed in 2001 by Taliban

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

- 2 sides - one side is of war almost - the other is more peaceful - kind of like the Standard of Ur? - Front: - Shows the story of a woman named Niobe - Niobe (a mortal woman) had 14 kids; 7 girls and 7 boys - She bragged that her kids were more numerous and more beautiful then the kids of goddess leto - Leto was the mother of Artemis (huntress) and Apollo (sun and music) - Artemis and Apollo exacted revenge for their mother by killing all of Niobe's kids (this is the scene on the front) - Artemis is reaching into her quiver for another arrow - Apollo is drawing his bow back - can see tension in Apollo's body and drapery - dead children litter the field - god and goddess are in perfect profile - Niobe's kids are more frontal - Back - Herakles (aka hercules) in the center (place of importance) - half mortal half god - holding a club and wearing a lion skin - his feet don't touch the ground - everyone is placed around him - Herakles is surrounded by warriors some standing some reclining - Athena (wisdom) is on his left - maybe it's not a painting of herakles but rather a painting of a statue of herakles - maybe greek soldiers are coming to honor him and ask for protection before they go into battle - 490 bce - greeks battle enormous Persian army and somehow won - maybe this is showing soldiers asking for protection before battle at Marathon - there could have been very faint lines that show Herakles on a podium - which would make sense bc statue of a god with men rather than a god amongst men

Earth's Creation. Emily Kame Kngwarreye. 1994. Synthetic polymer paint on canvas.

- 20 ft long and 9 ft wide: confronting - Dreamtime is aboriginal understanding of the world, it's creation, and stories - about creation of the earth - rooted in tradition - aboriginal culture connected to landscape - influenced by Batik work (dots and tiger designs) - electric sense of energy and rythym - belongs to high colorist phase - time pieces— emphasizing green time, rebirth: spring

Arena (Scrovengni) Chapel, including Lamentation Padus, Italy. Unknown architect; Giotto di Bonde (artist). Chapel: c. 1303 C.E.; Fresco: c. 1305. Brick (architecture) and fresco

- 3 registers Life of Mary Life of Christ Passions (lamentations) ends with last judgement Patron has sin of usury - naturalistic-- attempt to be realistic - most powerful scene lamentation (Crucifixion) - 7 virtues; last virtue hope-- we all hope to get into heaven his chapel is COMPLETELY covered in fresco ceiling included. narrative scenes, flat figures

Last judgment of Hu-Nefer, from his tomb (page from the Book of the Dead). New Kingdom, 19th Dynasty. c. 1275 B.C.E. Painted papyrus scroll.

- From the "Book of the Dead" instructions for afterlife - integration of words and hieroglyphs - pictured 3 times: 1.) trying to convince the god he's lived an ethical life 2.) heart weighed - If the heart did not balance with the feather, then the dead person was condemned to non-existence, and consumption by the ferocious "devourer," the strange beast shown here which is part-crocodile, part-lion, and part-hippopotamus. - Ibis, Faaf, is the scribe recording the deeds of Hunefer, with a green ibis-like head. 3.)

The Kaaba. Mecca, Saudi Arabia. Islamic. Pre-Islamic monument; rededicated by Muhammad in 631-632 C.E. Multiple Renovations. Granite Masonry, covered with silk curtain and calligraphy in gold and silver wrapped thread.

- 5 pillars in Islam, one of which you have to go on Hajj or yearly pilgrimage - Kaaba served as pilgrimage destination - has mosque surrounding it - circumambulating tawaf in Arabic, hooping to kiss black stone of Abraham - prayer and pilgrimage go together - Kaaba mean cube in Arabic - has qibla wall letting people know where to face - Facing Mecca - Kaaba was sanctuary in pre-Islamic time - even before Muhammad believed to be precious place; thought to even be where Abraham almost killed his son - Muhammad was kicked out of Mecca, cleansing the Kaaba of idols upon his return (shoving out polytheism and reestablishing monotheism) - things have changed; made larger and added columnades, etc. - Kaaba covered with kiswa, a black cloth that is replaced annually during hajj - mosque surrounding the Kaaba has 7 minarets - corners roughly align with cardinal directions

Old Man's Cloth. El Anatsui. 2003. Aluminum and copper wire.

- African or contemporary artist? - part of San Kofa movement - fluidity: waves supposed to remind of slave trade - significance of textiles jn African societies and their historical role in trade

Anthropomorphic stele Arabian Peninsula. Fourth millennium B.C.E. Sandstone.

- Anthropomorphic: human like - Very stylized representation of a human figure, carved from stone. - Has a make image and carries knives in sheaths across the chest and a knife tucked into a belt. - Identify by: reddish color, sandstone - associated with religious or burial practices - stylized: it's represented in a non-naturalistic conventional form - not naturalistic - not a female -pre-Islamic Arabia where human figure dominates -intriguing and minimalist

En la Barberia no se Llora (No Crying Allowed in the Barbershop) Pepon Osorio. 1994 C.E. Mixedmedia installation.

- Challenges definitions of masculinity, it also brings up in a more subtle way—the relationship between machismo and homophobia, violence, and infidelity, and the ways in which popular culture, religion, and politics help craft these identities and issues. - inspired by NuyoRican community (PR's in NY) - themes: street life, cultural clashes, and rights of passage - isn't in art museum: within community - inspire by first haircut; packed with masculine symbols: barber chairs, cars, sports paraphanelia - chucheria prevelant: flags, fake foliage serve to localize the work and raise social class issue - video installation in there with Latino men in masculine poses - relationship with machismo and homophobia

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

- Change the ideas about cremation and burial. Extremely crowded surface with figures piled on top of each other. - Figures lack individuality, confusion of battle is echoed by congested composition, and Roman army trounces bearded and defeat Barbarians. - found at tomb - deep relief - every area filled with objects - alternation of light and dark - no one knows whose sarcophagus this is, but whoever it was was rich (to buy such a large piece of marble and high such a skilled sculptor would have been expensive) - created at a time in Roman history which was marked by instability and civil wars (and preceded by stability and peace) - this historical shift is clear in the chaotic, complex nature of this piece moves away from high classic Greek art (in fact, it's almost the opposite!) - less focused on the beauty of the human body and more focused on the interactions between people - an example of the typical artistic style of Late Imperial Rome (also includes aspects common to the Late Antique period) - this style is marked by emotional subject matters and a lack of realistic space

A Book from the Sky. Xu Bing. 1987-1991 C.E. Mixed-media installation.

- Chinese characters above us, below us, and on all sides of us - columns of Chinese text surrounding us - traditional forms of Xhinesw book art - texts/ books make sea of waves - billows of Chinese books hang as well - Xu invented over 1,000 new characters meaning elusive, or not real - look like they're real - using carved wooden block to make all Chinese characters, which is an early form of mass production - trained in art of propaganda - idea that shouldn't look for meaning it text: can be deceitful

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

- Chunhua Liu used the ideals of the Cultural Revolution and Socialist Realism to create his masterpiece. - glorify communist values; realistic not abstract - political propaganda (Mao as savior) - leader of Anyuans Miners Strike - Revolutionary leader committed to championing common people - In the 1950's, they tried to transform China from Agricultural to Industrial causing many people to die - attempt to make people like Mao again - modeled after work in the Soviet Union - Attacking old way of thinking; part of cultural revolution - pictured on his own - traditional dress instead of modern clothing - on mountain with misty vapors - reproduced over 900 million times

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

- Commissioned by the Pazzi family Part of the Basilica di Santa Croce Almost a centrally-planned space (it does have some barrel vaulted halls/aisles on both sides so it's a little rectangular) reminisent of the Pantheon's floorplan Created to be a "chapter house" = a meeting place for monks this is why a bench lines the wall Also... a burial site for Pazzi family members a physical representation of the Pazzi family's power, wealth, piety, generosity, and status Corinthian columns Fluted pilasters Pendentives with roundels each roundel is made of clay and is glazed (glazing had just been discovered!) and represents the four Evangelists Small barrel vaults A dome with a halo of windows (Hagio Sophia vibes!) and an oculus (Pantheon vibes!) dominates the space-- the center of the chapel the windows + oculus allow for divine light to enter the space The space feels very constructed, ordered, designed, and rational.

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

- Doryphoros was one of the most famous statues in the ancient world and many known Roman copies exist. - Doryphoros is also an early example of contrapposto position, a postion which Polykleitos constructed masterfully (Moon). - found in a palestra (a place for athletes to work out in) in Pompeii - created at time when the Greeks were in awe of the mathematical perfection of the human body Polykleitos created a canon (a set of guidelines) outlining the ideal man based on ratios and measurements - experts believe the Spear Bearer was made to represent the idealized version of the perfect Greek man (men should aspire to be him even though it's impossible) as outlined in Polykleitos' canon - extremely significant because of it's relative realism when compared to the Anavysos Kouros shows an ever-advancing understanding of the human body - depicted normal life, a sculpture of a man walking -shows that human potential was/is hugely important to this society - manipulated symmetry naked = celebrates the nature human body, its beauty, and its strength -the face isn't individualized he's made to depict everyone's ideal self

Rottgen Pieta. medieval. c. 1300-1325 ce. Painted wood.

- Emotion!!! - saddens for mother of Christ - idea that you connect with God on an emotional level - would've been painted at one point - gaping wounds coming from side - isn't hard to see the appeal of the idea that God understands life/ pain/ suffering - devotional images used as a focal point for contemplation and prayer

Alhambra Granada, Spain. Nasrid Dynasty. 1354-1391 C.E. Whitewashed adobe stucco, wood, tile, paint, and gilding The Alhambra's architecture shares many characteristics, but is singular in the way it complicates the relationship between interior and exterior. Its buildings feature shaded patios and covered walkways that pass from well-lit interior spaces onto shaded courtyards and sun-filled gardens all enlivened by the reflection of water and intricately carved stucco decoration.

- Every single space covered with decoration Extensive use of rhombus geometric forms and calligraphy Most of the interior arches are false arches, with no structure; they are there only to decorate. Built on a hill overlooking the city of Granada Walls are covered with beautiful and extremely rich ceramics and plasterwork. - "muqarnas" hold up ceiling in Hall of Kings Connected by pathways and gardens, all of which could be blocked off - where court officials lived and worked - all throughout palace intricate decoration Contains palaces, gardens, water pools, fountains, and courtyards Three Palaces Comares Palace arched grill allows in light walls covered with inlaid tile in geometric patterns Salón de Comares hall of the ambassadors the Palace of the Lions separate building that was connected later arched covered patio encircles the marble fountain at the center contained residential halls with star motifs the Partal Palace known as the portico because of its portico in the center of an arcade and at the edge of a pool Generalife from the Arabic, Jannat al-arifa means paradise, garden vegetable and ornamental elements contribute to the paradise of the garden

Standard of Ur from the royal tombs Summerian. c. 26000-24000 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 a soldier who is believed to have carried it on a long pole as a standard, the royal emblem of a king. - front and back are different: peace v. war - Hierarchy of Scale: head breaks scale - Divided into 3 registers Peace Side: - everything leading to the king - major hierarchy of scale - drinking ceremonial drink - composite view: part of a figure is shown in profile (side view) and another part of the same figure is shown frontally Violent Side: - starts at walk, gets to gallop - more civilized - hierarchy of scale - naked prisoners

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

- Geometric almost abstract forms predominate, and complex anatomical details, such as the chest muscles and pelvic arch, are rendered in beautiful analogous patterns. - It exemplifies two important aspects of Archaic Greek art—an interest in lifelike vitality and a concern with design. - grave-marker - would've been painted at the time - Naked (would've been shameful for Egyptians but beautiful for Greeks) - Humanism, or celebration of the human body - Greeks beginning to use math to measure proportions - Greeks view themselves as more rational, civilized, and advanced - "kouros" means youth - more negative space but not quite perfect yet - "archaic smile" or peaceful smile used by Greek Archaic sculptors to suggest that their subject was alive, and infused with a sense of well-being. - everything idealized, not a portrait - neatly braided hair - height of beauty before it begins to fade: young forever

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

- Greeks painted their sculptures in bright colors and adorned them with metal jewelry - probably a goddess; most likely holding a bow and arrow at one point (ambiguity makes it hard to determine status) - Archaic smile - clothed, as it's still not okay for women to be naked - "kore" means young woman in Greek - typically offerings presented by men - holes crowing head possibly another signifier that she was a goddess - probably painted at one point

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

- He considers the artistic quality оf the tomb's frescoes tо be superior tо those оf mоst other Etruscan tombs. - The tomb іs named after the triclinium, the formal dining room which appears іn the frescoes оf the tomb. - funerals not somber, but festive - door leads to the afterlife - link with the sarcophagus - Elite members of Etruscan society would participate in funerary ritual - Etruscan's are very rich - would've contained remains of the deceased - triniclinium: a dining table with couches along three sides used in ancient Rome. - banquet scene - male skin on the wall darker than female skin - checkered ceiling - physcial act of partying outside- last meal inside

Great Altar of Zeus and Athena at Pergamon. Asia Minor (present-day Turkey). Hellenistic Greek. c. 175 B.C.E. Marble (architecture and sculpture).

- High relief sculpture creates great drama, shadow, contrast - More prominent gods and figures are in higher relief - Worship of the Greek pantheon of Gods and their dominance over their enemies - Optimism of the Greek spirit in confronting the unknown and unfamiliar cultures (like the Giants) - Representation of Greek prowess and might Sacrifices may have been offered at the top of the stairs East frieze: 1.) A battle of the Greek mythological pantheon of gods vs. the Giants to determine the controller of the universe 2.) Athena fights Alkyoneus, the main giant, as his mother looks on in horror - Appears confident and triumphant as she fights Being crowned from behind by a winged Nike - Uses battle snakes to aid in defeating the giants - Earned name Athena "gigantolteira" = slayer of the giants 3.) Zeus battles 3 Giants at once, with the help of an eagle (above) and his lightning bolt - Cloaked in realistically ruffled robes - 2 of the three giants he has already defeated; they lie in (youthful) ruin around him

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

- Humanism - both Petrach's man is the center and Mirandola's study the classics - first nude since antiquity

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

- In this stone is carved with around 300 laws, the first know set of ruler enforced laws. (Stone, carved, laws, inscriptions) - Sculptures at the top are relief - top depict God and Hammurabi - Hierarchy of scale with God much bigger, however Hammurabi not kneeling/ bowing so they're somewhat equal in a sense - on mountain - would've been in public so people know law and order - Rules come directly from God; gives Hammurabi divine right to rule

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

- It was probably begun by the Mauryan emperor Ashoka in the mid-3rd century bce and later enlarged. - stupa: burial place - Ashoka took the real ashes of of the real Buddah and burried the remains of Buddah in 80+ burial places - chose the Great Stupa's location because that's where his wife was born - circumambulate or walk all the way around Stupa clockwise (meditative) - 4 cardinal points marked by Torana, or gateway with decorations East: Birth West: First Sermon South: Enlightenment North: Nirvana - Torana depicts the life of the Buddah - no specific images but there are tree, sandals, and umbrella - axis mundi in the center representing the center of the universe - yasti goes down the middle of the axis mundi - people go on pilgramages for the relic of Buddah - Stupa- circular wheel and trying to get closer to the center - middle part of stupa represents Buddha's crossed legs, middle portion the body, mound the top of his body - belief in karmic benefits-- if you build, won't be reborn in negative environment - the aim of the practitioner is to climb the mountain of ones own mind, ascending stage by through the planes of increasing levels of enlightenment

The Ambum Stone. Ambum Valley. Enga Province. Papua Guinea. C. 1500 B.C.E. Greywacke.

- anteater - one of oldest sculptures made that takes time and effort; likely made for someone rich - smooth and shaggy - other objects like it were imbued for supernatural powers: ritual processes - eyes, ears, and nostrils depicted in low relief: barely stand out from the background stylized: it's represented in a non-naturalistic conventional form

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

- It was the largest building of the complex, supported by numerous columns and lined on three sides with open porches. -The palace had a grand hall in the shape of a square, each side 60m long with seventy-two columns, thirteen of which still stand on the enormous platform. - Relief artwork, originally painted and sometimes gilded, covered the walls of the Apadana depicting warriors defending the palace complex. - Political propaganda - great audience hall makes viewer think how powerful the king is - wooden roof - central point of HUGE empire - wanted ceremonial center and citadel (a fortress, typically on high ground, protecting or dominating a city) - huge platform, elevated and high - Apadana palace large cermonial bull capital - hypo-style in plan - floor plan 1,000 m cubed - relief program reinforces power of the Persian King - 23 different nations bring gifts to the king - processional form (formal walking)

Great Mosque, Isfahan, Iran. Islamic, Persian: Seljuk, Ilkhanid, Timurid and Safavid Dynasties. C. 700 C.E. Additions and restorations in the 14th, 18th, and 20th centuries C.E. Stone Brick, wood, plaster and glazed ceramic tile

- Iwan: huge niche surrounding central point - Sahn, or courtyard - muquarnas, or honey comb ceilings - mihrab facing Mecca - peaceful oasis in the midst of bustling city' - originally built in 700 C.E. and underwent restoration throughout 20th century - each Iwan different, because built by different rulers - at the time, a lot of public mobility - "four Iwan mosque" design - Iwan is vaulted space that opens to courtyard, or Sahn - aerial view (view from air) hypostyle - qibla Iwan on southern side has 2 minarets - each ruler attempts to make theirs the best

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

- Know floor plan and form fits function*** -It is the most richly adorned and quality of its sculptural decoration it is surpassed only by the Parthenon. - the sculptural decoration and certain sections of the roof were made up of Parian marble. - contained temples honoring gods; - has stoa, or walkway, lined with columns; business, political discussions, civic life - Pan-Athenaic Way goes through the center of the city → leads to the Acropolis - lots of open space - originally a burial ground later converted into a public space (can buy things) - Started as a market → then became a place of government with administrative buildings and sacred spots - Once a year → procession through Agora and to the sacred mount - Dedicated to Athena - contained Tholos, or round temple - heart of democracy

The Swing (after Fragonard). Yinko Shonibare. 2001. Mixed media installation.

- Lightheartedness (subject and technique) - Realism and Naturalism Emphasis on the natural background Intentional use of soft colors Ornate details (layers in her dress) Strong use of lines (eyes directed towards the woman) Lighting = woman bathed in sunlight Function: Shows a woman on a swing while her lover and a bishop stand below Content: Depiction of a fine lady swinging above her lover and a bishop Scene = dense garden with flowers and cupid statues

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

- Muslim building with extraordinary beauty and elegance - similar to San Vitale in Structure - shimmers in Jerusalem - sits atop the Harem al-sharif from the highest point in all Jerusalem - one of the earliest surviving buildings from Islamic world - NOT a mosque - built by king as a religious focal point during civil war - in middle of building, stone Abraham was going to sacrifice Ismail (Isaac for Christians) - Muhammad was also supposed to have taken some mystical journey here - want centrally planned building because it is being built around -central columnade (row of columns) - 2 ambulatories (the aisles circle the rock) - golden mosaics depicting jewels -Vegetal motifs - trying to outdo church of the Holy Selpecur -Dome of the rock contains inscription with verses from the Koran - below walk is small chamber with ambiguous purpose

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

- Name, date, and purpose at the top of it - offering of this temple to a general who had recently been made into a god - 2 vases - dedication records - originally modeled after bronzes - had porcelain rings attached through elephant handles

Terra Cotta Fragment Lapita. Solomon Islands, Reef Islands. 1000 B.C.E. Terra cotta (incised)

- One of the first examples of the Lapita potter's art, this fragment depicts a human face incorporated into the intricate geometric designs characteristics of the Lapita ceramic tradition. - anthropomorhic: depicts human - low relief - Patterns: curves and line - incised: cut into - can find them across all different islands - Lapita are very sophisticated sea fearers - Tattoos similar to design - shaped by hand-- no potters wheel - not functional (no cooking or storing of food with)

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

- One of the great buildings in western architecture, the Pantheon is remarkable both as a feat of engineering and for its manipulation of interior space, and for a time, it was also home to the largest pearl in the ancient world. - oculous: ciruclar window that lets light in; diving coming into the wedding; heaven and church coming together - pediment:the triangular upper part of the front of a building in classical style, typically surmounting a portico of columns. - would have held a sculpture that acted out the battle of the titans - huge amounts of geometric representation used on the inside--circles, rectangles, squares - mathematical proportion - Corinthian columns in front are monolithic, made from marble (from Egypt) - the porch is rectilinear: upon entry, the space opens up into a curvilinear, radial interior - earthly sphere meets heavenly sphere - height of dome= width of dome - has coffers: polygonal ornamental sunken panel used in a series as decoration for a ceiling or vault. - coffers lighten weight of concrete - originally used as a temple to the gods, then made into a church - Emperor Hadrian would hold court inside the Pantheon - originally contained sculptures of the gods and deified emperors, focused on the divine - one enters through a set of massive bronze doors - the spherical inside completely fills a person's field of vision, and is representative of human power because it goes all the way to the limits of your sight - eight arches which would have housed statues of deities and emperors--the statues of Augustus and Agrippa stood in the apse at the end of the colonnaded side aisles of the entrance

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

- One of the most extraordinary features of the terracotta warriors is that each appears to have distinct features—an incredible feat of craftsmanship and production. - Qin sought to conquer death - to achieve immortality, he built himself a tomb - first emperor of China, known for modernization - unifies China - name means first emperor - lined with a complex treasury of of riches and precious limestones

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

- Representational, proportional, frontal viewpoint, hierarchical structure. - idealized - young strong beautiful wife (clothed and not naked) - king has headdress, beard, and kilt which all function as representation of kingship - no negative space- more imposing and stronger - she's a step behind him: he's slightly more important - king has clinched fist, strength and power - odd depiction of woman, almost equal - royal formality - Greywacke: they're important and not breaking apart - They were perfectly preserved and nearly life-size. - This was the modern world's first glimpse of one of humankind's artistic masterworks, the statue of Menkaura and queen. - even though we assume this is his wife, it could also be his mom

Great Mosque Córdoba, Spain. Umayyad. c. 785-786 C.E. Stone masonry

- Sah, or courtyard with fountains and water throughout - direction of Mecca called qibla - hypostyle plan mosque - opposite of Hagia sophia, converted into Church - Umayyad family exiled from Damascus and take over southern peninsula - stone and red brick - focal point in prayer hall famous horseshoe arched prayer niche - Common in the architecture of the visigoths Visigoths = the people that ruled this area after the roman empire collapsed & before the umayyads arrived Ribbed dome above the mihrab / central bay; a metaphor for the celestial canopy - muqarnas- form of ornamental carvings (honeycomb ceiling)

The Court of Gayumars, folio from Shah Tahmasp's Shahnama. Sultan Muhammad. C. 1522-1525 c.e. Ink, opaque watercolor and gold on paper.

- Shahnama: epic poem describing history of kingship - kids still read today - very first Persian king— king of the world: hierarchy of scale - wouldn't have stood alone; would be in a book or accompanied with other things - calligraphy on top and bottom - wearing leopard robe - on either side, fantastic foliage (son and grandson) - seated in cross legged position in vegetal landscape - stylistic similarities with blue-grey clouds and Chinese art

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

- Shape of a cross - Romanesque pilgrimage church - enter west portal, come through nave, pay respects at reliquary, come through nave, exit through transept - Barrel-vaulted nave, with arches on the interior Nave, apse, 1 side aisle on each side 5 radiating chapels surround the apse (in a semi-circle) Prominent transept (cruciform church) - enter under tympanum, which depicts Christ and the Last Judgement - makes think of heaven vs hell - contains relics of woman martyred for her faith - pilgrims come to bring jewels Reliquary of Sainte Foy: Wooden interior covered in gold, silver gilt, and jewels 33.5 inches tall (just over 3 feet tall) Contains Sainte Foy's remains Uses spolia (repurposing of Roman materials to create anew,) the head of the Reliquary was originally the statue of a Roman child's head

Bayeux Tapestry Romanesque Europe (english or norman). c. 1066-1080 c.e. Embroidery on linen

- Shows the Battle of Hastings in 1066 but begins with events leading up to it!! - shows the of England between William, the Duke of Normandy, and Harold, the Earl of Wessex that occurred in 1066 - in the end, William the Conquerer, or the Duke of Normandy won and became the first Norman king of England - to commemorate the win of the Normans (original) - to give a (semi) accurate depiction of the war (now)

Stonehenge Wiltshire, U.K. Neolithic Europe. c. 2500-1600 B.C.E. Sandstone

- Stonehenge is a famous site know for its large circles of massive stones in a seemingly random location as well as the mystery surrounding how and why it was built. - The stones are believed to be from local quarries and farther off mountains. There is also evidence of mud, wood, and ropes assisting in the construction of the site. - Post and Lintel Structure: building system where strong horizontal elements are held up by strong vertical elements with large spaces between them. - some stones come from over 200 miles away - wood is representation of life, stone of death - each weigh 45-50 tons - could mark summer solstice - maybe egalitarian endeavor

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

- The Assyrian lamassu sculptures are partly in the round, but the sculptor nonetheless conceived them as high reliefs on adjacent sides of a corner. - - The combine the front view of the animal at rest with the side view of it in motion. - Seeking to present a complete picture of the lamas from both the front and the side, the sculptor gave the monster five legs- two seen from the front, four seen from the side. - at Palace of Sargon - double human size - served as guardian figures - political propaganda to assert power of Assyrian King - from side moving forward but frontal view looks stagnant - monolithic stone also depicts power of the king

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

- The House of the Vettii offers key insights into domestic architecture and interior decoration in the last days of the city of Pompeii. - place of buisness and show - domestic (someone's home) - tells class of patrons (working trades family) - everything meant to make brothers seem wealth - for public "ooh" and "ahh" - wall painting everywhere (elegant) -richly decorated Atrium: large centralized reception hall in a Roman house Impluvium: basin for collecting rain water Fauces: narrow doorway into a house off the street Cubicula: bedrooms bounding the alae (wings) of a Roman house Tablinum: office of the head of house, located within the house Oecus: dining room Culina: kitchen Hortus: small garden

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

- The Last Supper is remarkable because the disciples are all displaying very human, identifiable emotions. The Last Supper had certainly been painted before. Leonardo's version, though, was the first to depict real people acting like real people. - for dining hall of a monestary - ideal place - linear perspective: all lines focused on Christ - reactions from apsotles after Christ says "one of you will betray me" - Christ within triangle and circle - Judas, who will betray him, holds bag of silver

Sarcophagus of the Spouses Etruscan. c. 520 B.C.E. Terra cotta

- The Sarcophagus of the Spouses as an object conveys a great deal of information about Etruscan culture and its customs. - The convivial theme of the sarcophagus reflects the funeral customs of Etruscan society and the elite nature of the object itself provides important information about the ways in which funerary custom could reinforce the identity and standing of aristocrats among the community of the living. - shows wife very lovingly - incredibly lifelike; extending their arms - figures together rather than separate like most archaic art - made of Terra cotta - stylized: depicted in a mannered and non-realistic style. - sociability-- might be at a banquet - idealized, not naturalistic - at Etruscan banquets, man and woman sit together - Etruscan women more privileged than Greek

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

- The Taj Mahal is an excellent example of the golden age of Muslim architecture - minarets--> towers by mosques that call worshipers to pray - arabesques: forms of decoration of linear patterns of scrolling and interlacing - NOT A MOSQUE -emperor had built for his wife after her death - monumental scale, stunning garden, lavish ornamentation, and its avert use of white marble - enter through elaborate gateway and beautiful reflecting pools with gardens on either side - red sandstone contrasts with white marble - minarets not functional, but ornamental underscoring the Mughal importance on structural balance and harmony - cenotaph: a tomblike monument to someone buried elsewhere, especially one commemorating people who died in a war. - floor plan emphasizes 8: 8 levels of paradise -dominant theme of floral - white: purtiy - red: warrior class - gardens everywhere - can see from river - wants to be remembered for ages to come

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

- The Temple of Minerva was a colorful and ornate structure, typically had stone foundations but its wood, mud-brick and terracotta superstructure suffered far more from exposure to the elements. - Apollo Master sculpture was a completely Etruscan innovation to use sculpture in this way, placed at the peak of the temple roof—creating what must have been an impressive tableau against the backdrop of the sky. - painted sculpture - sculpture would not have been on top of roof in Grecian artwork - largely made of ephemeral (lasting for a short time) material and largely vanished - huge impact on Renaissance architecture - Vitruvius, roman author and architeture, wrote about it - 3 cellas (rooms) 8 columns - elevated - although Apollo is the only one we have there were probably others who told the story

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

- The artistic importance of this work of art comes at the subtle and unique artistic style that the artist employed in the making of the mosaic. - Hellenistic in style - energy everywhere - -found on the floor between to peristyles (open courtyards) crowded by columns -depicts the Battle of Issus, between Alexander the Great and Darius III -a very dramatic and chaotic scene with a sense of momentum as the massive chariot is turning around - Darius is turning his army around, his face with a desperate and, emotional quality, his hand extended in horror of his guard who has just been speared in front of him, a gesture preventing him from actually fighting and he is rather just taken aback -pretty empty at the top, considered evidence it was based on the painting -turned faces and bodies, show an understanding and respect for the human form and anatomy - found in Domestic spaces - mosaic, or a picture or pattern produced by arranging together small colored pieces of hard material - almost empty at the top

MAXXI National Museum of XXI Century Arts Rome, Italy. Zaha Hadid (architect). 2009 C.E. Glass, steel, and cement.

- The building is repetitive in that the architecture is supposed to mimic movement to depict the progressiveness of the future of architecture and building.

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

- The emphasis in this architecture is on the spiritual effect and not the physical. - Helps to understand the essential characteristics of the early Christian basilica. - Based off basilica - 1 apse, or large semicircular - columns - nave, or the central part of a church building, intended to accommodate most of the congregation. - clerestory - Christian iconography - Constantine legalized Christianity, so put it on a hill - appropriate Basilica Ulpia - longitudinal axis allows - authority - Spoilia-- corinthian columns that were appropriated from Pagan column - spandrels contain christian iconography as well - light stood as symbol of divinity,

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

- The kings gold inner coffin, shown above, displays a quality of workmanship and an attention to detail which is unsurpassed. - 3 coffins found all for the king - outer two coffins were crafted in wood and covered in gold along with semiprecious stones - middle of the coffin, most important, made of solid gold - pharaoh is thought to be god like - The gods were thought to have skin of gold, bones of silver, and hair of lapis lazuli - king is shown here in his divine form in the afterlife - He holds the crook and flail -- symbols of the king's right to rule

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

- The most recognizable building on the Acropolis is the Parthenon, one of the most iconic buildings in the world, it has influenced architecture in practically every western country. - combines doric and ionic elements Parthenon: - Parthenon housed the treasury civic purpose rather than religious, ritual purpose written inventory discovered - kept record of valuables - Phidias responsible for Athena Parthenos (tall statue of Athena featured in interior of Parthenon) worship happened OUTSIDE greek temples at individual altars or smaller neighboring temples visible from far away, visual focal point of city symbol of ritual power and political power perfect proportions and harmony columns carved exactly the same -entasis: slight bulge in the taper of the columns - affect perfection by tricking the imperfect human eye - allusion of perfection - x=2y+1 - was pretty well preserved for almost 2000 years only in the modern era that it became a ruin balance between theoretical and physical architects designed this building to elicit a specific response from the people who visit it

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

- The paintings depict nine stories from the Christian Bible's Book of Genesis, including the most famous image, the Creation of Adam (right). Taken together, the paintings are considered one of the world's greatest art masterpieces. Their realistic and extremely detailed depictions of some of Judaism's and Christianity's most famous moments are a wonder to all who see them. - every surface--ceilings, floors--are covered in mosaic and fresco 9 biblical scenes from Genesis that move across the ceiling lengthwise (starts with God dividing light from dark and moves on chronologically) 1. Noah is drunk and disgraced 2. The Great Flood/Deluge 3. Noah and his family make a sacrifice after the flood 4. Adam and Eve are tempted + sent from Eden 5. God creates Eve 6. God creates Adam 7. God divides the water from the Earth 8. God creates the sun and planets 9. God divides light from darkness the sibyls were said to be future-seers of pagan times who saw the coming of Christ validates the Christian faith because the coming of Christ was foretold long before Jesus was even born shows a theme of foretelling present in Christian artwork since the Middle Ages; sibyls foretold the coming of Christ, the Old Testament foretold the coming of the New Testament, Mary foretold the death of her son

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

- The sculpure shows both body and visage to convey personality and emotion. -It shows transformation of pain into bronze, a parallel of recent photos of our contemporary Olympic athletes after their strenuous competitions. - Copper used to depict wounds on face and hands - Seated posture - Represents the cultural shift of the Hellenistic period - The humanity found in this work creates a sense of presence - Muscular, powerful, and defeated - Covering his head and face is bits of copper which posed next to the bronze resembles blood, covering his face and hands with wounds - In contrast, his body is muscular and idealized, as typical ancient Greek art depicted men - Sitting was not common is ancient Greek art so this was a deliberate attempt to convey humility and informality

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

- The theatrical stance, vigorous movement, and billowing drapery of this Hellenistic sculpture are combined with references to the Classical period-prefiguring the baroque aestheticism of the Pergamene sculptors. - was found in the temple complex on the island of Samothrace called the Sanctuary of the Great Gods -this was one of the principle Pan-Hellenistic sanctuaries - depicts Nike, who was the messenger goddess of victory - is missing her head and both arms, but may have been holding a trumpet or cupping her hand around her mouth to announce a naval victory - "violent motion and sudden stillness meet" - gone is the stiff, more classical style of antiquity; in its place is a Hellenistic passion and voluptuousness - the Hellenistic period followed the death of Alexander the Great when the Greek kingdom got split up, so the constant warring between city-states and other kingdoms increased the emphasis on Nike, who would spread the message of a victory - would have looked out over the Parthenon in the sanctuary, with natural winds from the coast seeming to enliven Nike's clothes

Lindisfarne Gospels: St. Matthew, cross-carpet page; St. Luke portrait page; St Luke incipit page Early medieval (Hiberno Saxon) Europe. c. 700 C.E. Illuminated manuscript (ink, pigment, and gold)

- The variety and splendor of the Lindisfarne Gospels are such that even in reproduction, its images astound. - Artistic expression and inspired execution make this codex a high point of early medieval art. St. Matthew Cross-Carpet Page: Codex = bound book, made from sheets of paper or parchment Designed and recorded with the use of ink pigments and gold vellum Cover and opening of St. Matthew's Gospel Straightforward and not TOO stylized A series of repetitive knots and spirals Ribbons = contain abstract animal forms that twist blue, pink, orange, red, green Centrally located cross Luke's Incipit Page Written and recorded with the use of ink pigments Tiny red dots that envelop words Gold vellum The letters "NIAM" of "quoniam" Negative space now asserting itself as four letters Opening of Luke's Gospel Animal life Blue pin-wheeled shapes rotate in repetitive circles caught in the vortex of a large Q that forms Luke's opening sentence Birds also abound One knot enclosed in a rectangle unravels into a blue heron's chest shaped like a large comma (repeating shape vertically down) Feline presses off this appendage acrobatically to turn its body 90º Spiraled forms Swirling vortexes Knots reveal themselves as snakes moving along the confines of a letter's boundaries Luke's Portrait Page Intricate designs made with different colored pigments Shapes create words Luke's portrait Curly-haired bearded evangelist sits on a red-cushioned stool Luke holds a quill in his right hand Feet hover above a tray supported by red legs Wears a purple robe streaked with red Gold halo = divinity bove halo--flies a blue-winged calf = sacrifice on the cross Eyes turned toward the viewer with its body in profile Clasps a green parallelogram = reference to gospel John's Cross Carpet Page Symbols are assigned for the other three evangelists (Eadfrith included in their respective portraits) Matthew is a man= human aspect of Christ Mark is a lion = triumphant and divine Christ of the Resurrection John is a eagle = Christ's second coming Opens John's Gospel Interplay of stacked birds teem underneath the crosses of the carpet page One bird has blue and pink stripes in contrast to others that sport registers of feathers Stripes = negative association to the medieval mind = chaotic Is Eadfrith warning his viewers that evil lurks hidden in the most of unlikely of places?

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

- This statue is not simply a portrait of the emperor, it expresses Augustus' connection to the past, his role as a military victor, his connection to the gods, and his role as the bringer of the Roman Peace. - noble warrior and also a speaker] - uses sculpture to communicate how he wants to be understood - obviously political propaganda (similar to Doryphorus) Major Themes: - propaganda - authority - ideals of the age On breast plate: a.) god of the sky b.) god of the earth c.) standard being returned to Rome d.) winner in times of war and peace - support traditional roman religion

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

- Vairocana: celestial Buddha - Along Yi River - already been Buddhas along this river before Long - Empress Wu important - guardian figures hold thunderbolts - Bodhisattva-- have reached enlightnement but still stay around - Imperial patronage-- power of Tang dynasty Record the lineage of the patriarchs who passed on Buddhism Asserted sovereignty and power Used for assimilation Foreign religion used to affirm superiority - The site includes 110,000 Buddhist stone statues, more than 60 stupas, and 2,800 inscriptions on steles Central Binyang cave- 508 C.E previously painted. - pentad grouping of figures - The Buddha sits on an altar, deeply carved into the rock Fengxian Temple - Vairocana Buddha has monk attendants bodhisattvas, and guardians flanking his side - High relief in a semi-circle - Immense size (55ft) shows supreme deity - Vajrapani, detailed musculature, strength, and animated expression - Elongated legs and exaggerated poses Kanjing Temple accurate depiction of arhats, monks long on their way to enlightenment 29 in procession Carvings line the walls

Borbudur Temple. Central Java, Indonesia. Sailendra Dynasty. c. 750-842 CE. Volcanic-stone masonry.

- When cirumabulate, getting closer to axis mundi and reach the light - relief carvings in the base - monument to the Buddha - Gunadharma was architect of great vision and devotion plan that of a three dimensional mandala - circumambulate clockwise - hundreds of statues of the Buddha - narrates the Buddhist teachings (Dharma) - artworks reminders to get rid of self - circumambulating symbolizes non-spiritual or physical path of enlightenment - idea of moving from darkness to light final element of experience of Borobudur trying to get rid of secular desires

The Migration of the Negro, Panel no 49. Jacob Lawrence. 1940-1941. Caesin tempera on hardboard.

- belonged to series of 60 - about migration from south to north with industrial jobs - whites on left and haughty, whites on right - influenced by modernism - still discrimination in the north

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

- big forehead (wise and intelligent) - closed eyes (introspective) - celebrated for generosity and even received his own praise song - Ndop means portrait or sculptures; most revered of all Kuba art forms - while the relative naturalism may appear to have been informed by an artist one-to-one observation of the Nyim, or King - while it's a sculpture, also meant to represent ideal of the king - 1:3 proportions with large head - identifying symbols with Mishe have severed hand on drum

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

- an earthwork - entropy: the way things break down - things meant to change overtime - in drought so where water once was there is sand - common shape in snails and whirl pools - ephemeral: not meant to last - immediately think of time - doesn't exist alone; part of triad

Entombment of Christ Jacopo da Pontormo. 1525-1528 C.E. Oil on wood They inhabit a flattened space, comprising a sculptural congregation of brightly demarcated colors. The vortex of the composition droops down towards the limp body of Jesus off center in the left. Those lowering Christ appear to demand our help in sustaining both the weight of his body (and the burden of sin Christ took on) and their grief.

- baroque: emotion, emotion, emotion!!! - response to protestant reformation - small perfectly cubic space - Renaissance architecture (emphasis on symmetry and order) - art not based on nature - almost rejection of earthliness; figuries stylized and elongated - things appear to be moving in a lot of of directions - symbols of emotion

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

- biggest mountain where gods reside - not meant for large congregation - shaped like a mountain because gods lived there - beautiful women considered auspicious (lucky/rare) - women symbols of fertility and growth - erotic images not meant to be arousing, but served ritual and symbolic function (divine union) - patron of this temple sought to legitimize rule - Womb chamber dedicated to vishnu (everything in between creation and destruction) - Brahma (creation) and Shiva (destruction) - designed for intimate worship that is individualized of the divine - circumambulation

The Jungle. Wilfred Lam. 1943. Gouache on paper mounted on canvas

- bodies overtly specialized; based on Cuban stereotypes - conscious of Cuba's socioeconomic realities, influence of surrealism, and re-acquaintance with Afro Caribbean culture - 8 feet tall (pretty big) - haphazardly constructed - upper part of painting much dense; gives sense of unbalance - sugarcane (part of scene) like an alien to jungle setting (unrelated) - Santeria, an Afro Cuban religion mixing African beliefs with Catholicism, symbols present

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

- broad vertical brushstrokes of ink - ink important medium - work rooted in tradition - similar to the bay: would be abstract if it weren't for medium - in Chinese poetry, trees symbolize ideal qualities of upright character - proud of identity and doesn't want to use western styler such as oil paint - working during Korean War where it's more important to celebrate identity

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

- can't tell if man or woman; could be anyone - uses her hands to make work - in Poland, born into noble family however communism spread in Satellite States and wealthy negatively affected - watching family lose everything influences her - socialist realism - as a female artist, interested in tapestry - burlap made into plaster mold - sad sculptures; seen as dehumanization in 20th century - on a stretcher (think of hospital and battlefield) - think about humanity of object rather than individuality - walk around this piece: 360 view - ambiguity encourages multiple interpretations that speak broadly on human experience - an expression of suffering, both mournful and disturbing

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

- carved wood figure that has human face with animal attributes - stool takes on aura of person sitting on it - all Ikenga have sword (representation of power) - abstract, some others are naturalistic - whoever owns, representation of their honor/ everything they have achieved - Every obi has shrine for it (passed down generation to generation) - ram? has horns associated with power

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

- centrally and axially planned - full of scenery from the old and new testament - God depicted as a goat - octagonal in shape - Obviously primarily to worship the Christian god (This is a church) -Glorify the Byzantine Emperor Justinian and Empress Theodora - Serves as a reminder for the power of the Byzantine Emperor - The mosaic program can also be seen to give visual testament to the two major ambitions of Justinian's reign: as heir to the tradition of Roman Emperors, Justinian sought to restore the territorial boundaries of the Empire. As the Christian Emperor, he saw himself as the defender of the faith. As such it was his duty to establish religious uniformity or Orthodoxy throughout the Empire. - Built after the split of the Roman empire

Under the Wave of Kanagawa (Kanagawa oki nami ura), as known as the Great Wave, from the series Thirty-six Views of Mount Fuji Katsushika Hokusai. 1830-1833 C.E. Polychrome woodblock print; ink and color on paper

- changed subject matter of prints - 2 fishing boats - mountain looks like it's showing - Ukiyo-e print style - Hokusai responding to boom in domestic travel & corresponding market for images of Mount Fuji - Woodblock prints purchased as souvenirs Composition arranged to frame Mount Fuji - White top of great wave creates diagonal line leading viewers eye directly to peak of mountain to - Juxtaposition of large wave in forground dwarfing small mountain in distance; inclusion of men & boats amidst powerful waves - Personification of nature, seems intent on drowning the figures on the boats - Mount Fuji seems to be one of the waves - Striking design contrasts water & sky w/ large areas of negative space

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

- civic space - ceremonial space - to represent the power of Trajan - the detail of the art within it shows the importance the society placed on him and his accomplishments § Shows the connection between church and state that still exists - These were forums built by Roman emperors during the Roman imperial period o Mainly to showcase power - Represent the major architectural landscapes of the city of Rome o Shows the importance of civic architecture - Illustrate the strength, accomplishments, and stability of the Roman state Trajan Forum: Apollodorus of Damascus was the engineer - Almost the size of all the other imperial forms put together o Very extravagant o Had a massive entrance way - The place where Trajan was to build was already covered with the forums from previous emperors o So he got Apollodorus of Damascus to move a good portion of the hill that was in his way of building - Ceremonial entrance way that leads into the forum o On the top is an image of Trajan being followed by the goddess of victory - put people back to work to keep them from revolting - administration, political, and social center Basilica Ulpia: past the forum was the Basilica Ulpia The Basicila laid the foundation for the modern cruciform church o Called the Basilica Ulpia because that is Trajan's family name - The free standing and other art that would have been scattering the forum depict the power of the emperors, politicians and military leaders of ancient Rome o Throughout the forum, there were sculptures of captured Dacians § Represented them as noble to show they the Romans are all powerful and can defeat even noble men -beyond the basic Ulpia there was another entrance way o this lead to two libraries o in the middle of these two libraries was the column of Trajan Libraries: One was full of Greek literature, and the other was filled with Roman literature o This shows how much the Romans were influenced and incorporated Greek life into their lives § This is shown through their copying of ancient Greek works as well § These libraries had porches, so one was able to study the column of Trajan from within the libraries Column of Trajan: o The point was to see the stories of Trajan's military victories o Specifically, the column highlights the battle in which Trajan defeated the Dacians o Shows that he was proud of his military acts o 125 feet tall, marks the height of the hill that was removed Market of Trajan: A market complex with more than 150 shops and offices - Multi-story - High wide space o Made with groin vault brick face concrete § A barrel vault that is intercepted with another barrel vault perpendicular to it § There is one main barrel vault lined with other intercepting ones - There are offices located on either side of the market - Huge windows that let a lot of light in o This is a big deal because it shows their sophistication with concrete

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

- colorfield: characterized by simplicity of line with a focus on color - abstract: if it didn't have title of The Bay, wouldn't know what or where it was - half up to artist, half up to chance (process) - intention vs fate - abstract expressionist— physical elements of piece - diluted acrylic paint easier to move - blend of artists control and unpredictability of nature - just supposed to enjoy color, not interpret it

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

- destruction that brings about creation - meant to be carried out in a ceremony - nataraja or Lord of the Dance - have to understand original context -meant to be carried and prayed to in ceremonies - Shiva is the destroyer so that life can be formed - Shastras were primers on the idea of beauty and physical perfection - holding drum: give up earthly stuff - standing on dwarf (baddie) - similar to archaic smile

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

- dry garden (rock garden) - 15 rocks placed at different places to meditate - whole point of Ryoan-ji is meditative - A temple for Zen Buddhists - zen center for cultural activities - the hojo (abbots residence - Symbol of the Japanese aesthetic concept of wabi (refined austerity) & sabi (subdued taste) - zen means meditation and teaches enlightenment and is achieved by realization - evoking stillness and contemplation suitable to mediation - cherry blossoms serve as foil to the simplicity of garden walls

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

- each state has TV playing that is iconic for that state - knew there would be some kind of an information highway - separate but interconnects - father of video art; playing around with video art for decades - Auvere means work - over 300 TV screens outlined in colored neon lights - physical and cultural contours of America - Kansas Wizard of Oz - Illinois Abe Lincoln - electronic communication unites us, not transportation - neon lights represent unity - good, but dangers of information overload; hard to focus on one tgjbg

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

- earliest female nude - lots of color - body curves suggesting flexible body structures - notion of divine beauty - result of narrative and elegance of the figure - purpose-- beauty in human form - linear painting

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

- elephants are powerful (idea of kingship) - was elephant society who has specific ceremony - involved costumes, performers, etc. - honor king and bring social harmony - worn with leopard skin pelt and red feather headdress--powerful symbols of rule - Fon: king - people such as warrior, title holders, court officials were those who wore to express power of the king - main form associated with isosceles triangle which relates to patterning of leopard - stylized

Tlatilco Female Figurine, Central Mexico, site of Tlatilco, 1200-900 B.C.E, ceramic

- emphasis on DUALITY - death, life, and regeneration - double headed figures - two noses, two mouths, but only 3 eyes (one shared) - small ceramic women - neolithic (settled) - wide hips-- bear children - incised hair: cut into, as with a sharp instrument

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

- even though 2D screen, feels 3D with zigzag -It is a pair of two- fold screens -Color and gold leaf on paper -Tarashikomi -Diluting and blending colors Functions: -To portray a mastery of interplay of forms, execution of colors and texture, and use of unconventional ink painting methods. -To establish Korin's reputation -To preserve and perpetuate the values and characteristics of the Rimpa movement -To create a piece that matched the function of a traditional Japanese folding door - combination of abstraction and naturalism -Part of what is known as the Rimpa Movement or "School of Korin" -The movement is known for the combination of naturalism, monumental presence, dynamism and sensuality

Memorial Sheet for Karl Liebknecht Käthe Kollwitz. 1919-1920 C.E. Woodcut

- female artist martyring/deifying - whiteness around head-- halo - 3 registers: Karl, people in foreground, people in background - widely celebrated as martyrs to communist cause - artist, although not communist, wanted to memorialize and honor him - lamentation - focused not on man himself, but people (workers) who put their faith in him - inclusion of mother and child not shocking because of the sex of the artist - during age of anxiety; woodcuts heavily used primitivsim-- simplicity - contrast between black and white starkness

Lying with the Wolf. Kiki Smith. 2001 C.E. Ink and pencil on paper.

- feminist piece - delicate but large scale - depict female nude laying intimately alongside a wolf - speaks to smiths fascination with and reverence for natural world - plays around with old known stories (Little Red Riding Hood, Bible) - inspired by Sainte Genvieve who was perhaps able to domesticate wolves - don't have traditional roles as predator and prey, but companions - wolf could be symbol of what man should be equal in scale and purpose - domesticity, fragility, and humble materials of craft and folk art strongly feature - feminist work, interested in nature and folk tales

Chartes Cathedral. Chartes France. Gothic Europe. c. 1145-1155. Reconstructed c. 1994-1220 C.E. , Limestone, Stained Glass

- first gothic cathedral Chartres has always been associated with the worship of the Virgin Mary 9th century: the church received a relic* from Constantinople: the tunic of Mary (or the Sancta Camisia) this relic made the church a hugely popular pilgrimage site (which also made the church very rich) the Romanesque church on the original site burned down in 1194--but the tunic was found three days later, unharmed! the people of the town took this as a divine message that they should rebuild the church so that it would be as grand and beautiful as possible, deserving to be the worship place of Mary work on the reconstruction of the cathedral started around 1220 the formal plan of the Church is a Latin cross with three aisles, a short transept, and an ambulatory the high nave is supported by double flying buttresses three part elevation of nave arcade, triforium, and clerestory the absence of a gallery, which would have usually been present as a four-part elevation, was a conscious choice made by the architect in order to increase the amount of space for stained glass windows uses pointed arches and ribbed vaults inside the body of the church, which is very typically Gothic everything was meant to move the eye upward the radiating chapels, which in a Romanesque church would have been separate spaces of their own behind the altar, were integrated into the larger area of the church, which allowed for light to permeate all parts of the church Gothic unified space based on a cruciform basilica plan, with a transept intersecting the nave being added after the fire transept provided an extra entrance/exit, which was good for the flow of people in total, Chartres has nine portals (aka doors) the nave is the widest in France and is 121 feet high - create "heaven on earth" - jamb figures the relief figures that are carved into either side of the portals/doorways kings and queens of the Old Testament each is attached to a column carved in Gothic style representations of spiritual beings--not naturalistic in any way they seem to levitate, with no real weight to their bodies stretched out vertically their drapery obscures their bodies - hugely popular pilgramage site

Beaker with ibex motifs Susan, Iran. 4200-3500 B.C.E. Painted terra cotta.

- found in cemetery/ burial ground - not functional cup for drinking - long necks of birds mimic neck of the cup - not abstract or naturalistic - primitive: - emphasis on shape - lush valley; water birds may be important

Self-Portrait as a Soldier Ernst Ludwig Kirchner. 1915 C.E. Oil on canvas

- impotent, or lacking power - arm been amputated - naked woman behind him - limp cigarette - looking old and frail - in studio - primitive evidence: looks paired back and simple - Kirchner did sign up for war, but never fought: depicting personal fear - profound mental breakdown - suffered alcoholism and drug abuse; hands and feet partially paralyzed for some time - a part of forward thinking painters who wanted to change the future

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

- functional; spiritual leader activates and can do "things" to it to affect outcomes; similar to voodoo - sacred medicines and divine protection central beliefs of Kongo - nikisi or spirit represented as a container of sacred substances activated by supernatural forces that can be summoned into the physical world - can act as an oath taking image (swearing on the bible) - can also be an avenger or guardian of sorcery - "nganga" or spiritual specialist - nails, pegs, blades, etc. inserted into surface - medicine deemed important put into belly - belly sacred because it connects mother to her child

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

- give offerings; pilgrimage destination - supposed to be the first - Rinpoche means precious one - full of color (bright blue hair, orange, etc) - hand gesture (mudra) of calling the earth to witness (right) and left is in meditation - together, mudras signify Buddhas enlightenment - wearing robe - most important Buddha in Tibet, came from India and was carved by celestial architect Viswakarma - people dress it so that its style changes with the time - feed it also - people thing it has a direct line to Buddha

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

- guitar player - everything fractured - cubism, or an art style that values the reduction of natural forms to their geometrical equivalents, and the organization of the planes of a represented object independently of representational requirements - experiment with perspective - show visual understanding on flat canvas - no atmospheric or liner perspective

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

- head is eagle with garnet eye - found in graves, give information on barbarians - love interlacing design-- stronger together - Cloisonne, means partitioned in French, characterized by inlaid semi-precious stones - could be symbol of Christian art-- fish - Eagle--sun for non-christians; St. John for Christians

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

- highlights his religiousness/ good heart - influence of the west is evident - consulted with Sufi (Islamic mystic) - divine right (emperor during day and night) - more interest in religion than politics and government - based off European painting of King James (with hand on sword) only his hand is not on the sword - bottom of seat says you may live 1,000 years - took opportunity to immortalize himself - Time is passing abstract and realistic at the same time

Portrait of Sin Sukju (1417-1475) Imperial Bureau of Painting. c. 15th century C.E. Hanging scroll (ink and color on silk)

- honored for being loyal to the king at a tumultuous time - government official (political propaganda) - most detail on face - solemn visage exudes wisdom and dignity - ancestral worship: given to family for generations to come; portrait painting served as focus for ancestral rituals after his death

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

- humanist in its nature - no hierarchy in scale; Madonna somewhat somber as she forsees her son's future - symbols of divinity - aligning frmae of painting and frame of window - atmospheric perspective-- depth through atmosphere

Virgin (Theotokos) and Child between Saints Theodore and George. Early Byzantine Europe. 6th or early 7th c. Encaustic on wood.

- icon (greek for image) - lots of gold (byzantine art) - depicting two soldier saints and two angels - displays spatial ambiguity that places the scene in a world that operates differently from our world - only ones who look at us are saints, others aren't of our world-- too sacred - passive saints seem to stand nearby to reveibe the veneration of the viewed and pass it inward and upward from our earth to heaven

Rebecca of Eliezer and the Well of Jacob Wrestling the Angel, from the Vienna Genesis. Early Byzantine Europe. Early 16th c. Illuminate manuscript (tempura, gold, and silver on purple vellum)

- illustration of biblical story showing two episodes, which is common in medieval art - artist not interested in realism, or realistic nature -Depict the first book of the bible - Not sure who would have been reading this book o Probably a royal individual's - Illuminated manuscripts not only aimed to depict stories of the bible but be a symbol of the owner's piety

Akhenaton, Nefertiti, and three daughters. New Kingdom (Amarna) 18th dynasty. C. 1353-1335. B.C.E. Limestone.

- incised - sunken relief - domestic scene (would've been in a home) - Egypt typically polytheistic, but Akhenaten wants there to be one god, or monotheism - depicts King Akhenaten, his wife Nefertiti, seated on thrones holding three of their daughters on their laps - In new religion, Akhen is the god (sun god) - names himself Akhenaten which means god is pleased -monotheistic god, "Aten", represented by the sun disc in the center -Cobra in the sun disk implies SOLE leadership, ONLY ONE GOD (monotheism); Aten is the supreme deity - ankhs (symbol of life) radiate out from the sun disc and reach toward the king and his wife this shows that Aten connects directly to the royal family, and to them alone - curvalinear: consisting of curved lines - issue with anatomy: bloated belly, elongated foreheads

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

- indented in middle each signifying an event or person - held by guardian of history who is the only person who can read it (like brale) - meant to be held - functional and artistic - not solely history but also solves current problems - "mnemonic device" commonly used in ceremony - "Lukasa" means memory board - diviners who have the ability to predict the future can also read - the most important function is that it tells about past kings

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

- inflatable: wasn't initially meant to be permanent - deeply critical of Vietnam War - themes of gender, consumerism, and war - critique hawkish hyper masculine rhetoric of military and consumerism - also criticizes is US consumption with beauty - juxtaposition; lipstick on top of tank

Fallingwater. Pennsylvania. Frank Lloyd Wright. 1936-39. Reinforced concrete, sandstone, steel, and glass

- influence by Bahaus movement (artist Corbusier, elevated, etc.) - organic architecture: promotes harmony between humans and natural world - only color is painted red; would blend in surf red of trees in the fall - windows allow nature to be seen - just outside Pittsburgh - domestic building - cantilever allows structure to sit the way it does over the waterfall - most architects would build home at the bottom of the waterfall however Wright wanted to make the house a part of the waterfall - uses rock projected above living room to adjoin house and waterfall - able to see nature; makes resident "one" or United with nature - corner turning windows; no walls - influenced by Corbusier but outdoing him - paints balconies a warmer tone - steel reinforcements — everything strong (people can't live in now but is a museum) - choses fero (iron) concrete

Vietnam's Veteran's Memorial. Washington D.C. U.S Maya Lin. 1982. Granite

- inscribed with names of serviceman in Vietnam War - surface of stone reflectant like a mirror - 58,000 names - place for family to gather - name recalls everything about that persons life rather than a picture that just captures specific moment in time - people see themselves with the names - grass along the top changes landscape in a subtle way - physical cut into earth symbolizing wound that mist heal

Narcissus Garden. Kusama. Original installation and performance 1966. Mirror balls

- installation that can be put up anywhere - 1500 mirror balls; see reflection - culminated in 33re Venice - forcing confrontation with ones own vanity and ego 1500 times over - performance art originally: would sell balls for $2 along with flyer about Kusama's own work; would wear gold Kimono to draw exotic attention - recreates in Central Park and Brazil as statement about expense

The Crossing. Bill Viola. 1996. Video/ Sound Installation.

- interested in Zen Buddhism (meditation) - purpose to get rid of desire - man burns to get rid of himself: rebirth - one screen fire from below other water from above - wiping away old stuff to start anew - using high speed— detail incredibly great - register 300 frames/sec - invite a meditative and contemplative response to require viewer concentration for long duration simultaneously increasing viewer awareness of detail - time opens up - diptych in a sense— fire and water elevating it - self annihilation represents metaphor for the destruction of the ego

Villa Sovoye. Poissy-sur-Seine, France. Le Corbusier. 1929. Steel and reinforced concrete

- just outside of Paris- escape from crowded city for its wealthy patrons - Post WWI - sometimes called Bauhaus style - functional, nothing but a house - articulate the essence of modern architecture - "the house should be a machine for living in" - searching for modern perfection - curvy staircase contrast with rigid straight line of floor plan Five Points of Architecture: 1.) Pilotis (slender columns) raise building off the ground allowing air to circulate beneath 2.) roof terraces (gardens) bringing nature into the urban setting 3.) open space and a free interior plan allowing interior space to be distributed 4.) a free facade whose smooth plane used for formal experimentation 5.) ribbon window to let light in - its careful consideration of procession and proportion connect the building to its classical ideals - out of the chaos of WWI, longing for simplicity and order distancing itself from pre-WWI

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

- largest building project on Japanese soil - reflects intermingling of Buddhism and politics - Emperor Shomu - Administrative capital - mix of spiritual and pragmatic; promote national unity - mother temple - great Buddha inside - display of power, prestige, and piety of the Imperial house of Japan -painted in eyes to bring to life - Great Buddha hall (84 massive cypress pillars) - Guardians at gate - Kei school noted for austere realism and masculinity of the figures--warrior centered culture - contrapusto - wood closely linked to natural environment and long history of wood and craftsmanship in Japan - whole forests were cleared to find tall cypresses for pillar - 2/3 of original size

The Gates. New York City. U.S Christo and Jean-Claude. 1979-2005. Mixed Media Installation

- lasted 2 weeks, but took 2 years to put together - orange really delightful; splash of color nice during dreary winter (February) - Time! Decades of planning only to take down after 2 weeks - 7500 gates over 23 miles of walkways - testament to two controversial topics: how to create meaningful art and how art responds to and impacts our relation shop with our environment - gates tied to paths that neander through the park - architects environmentally aware - cost $21 million; not financed by city of NY but by sponsors - ephemeral, or not meant to last - beauty of seeing it and knowing 2 weeks later it will be gone

Woman, I William de Kooning. 1950-1952 C.E. Oil on canvas

- layers of different textures of paint - some thin and drippy, others thick and pasty - brilliant pinks and yellows against blush tones - somewhat of a nude (boobs apparent but everything else abstract) - Where is leg? Arms? Thighs? - abstract field - art historians noted aggression, or even misogyny, in the treatment of subject - almost melting into picture - starring at viewer in a gruesome manner; ferocious and somewhat grinny

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

- looks somewhat like a video game - interested in reaching Nirvana - perfume spits out at the end - a photograph of a video from a show Nirvana, an animation that inquires meditation - sunrise in the landscape of the Dead Sea - lotus blossom: opens and closes symbolizes rebirth - this is Amida Buddha, who descends to great devotees at the moment of death and takes back to place of pure bliss - little aliens are boddhisativas, who help others receive enlightenment - Mori casts herself in principle role, as Amida Buddha

Untitled (#228), from the History Portraits series Cindy Sherman. Rome, Italy. 1990 C.E. Photograph

- looks staged - arising feminism; female artist putting herself in position of powerful women throughout history - makeup heavy handed; almost tacky - trick; trying to confuse photograph with Renaissance painting - feels both familiar and original, contemporary and classical, creating a feeling of unsettling anxiety - dressed in red, color of lust seduction (blood also) - came of age during feminist movement - doesn't see herself in them, but sees Judith - self-invention

Palette of King Narmer. Predynastic Egypt. c. 3000-2920 B.C.E. Greywacke

- low relief: barely stand out from the background - Purpose: unify upper and lower Egypt - ceremonial - more than 2 feet - not functional - Bull symbolizes strength - Hierarchy of Scale: biggest thing most important - Serpopard: mythical animal known from Ancient Egyptian and Mesopotamian art - Serpopard obvious symbol of unification - used to make eye makeup -Clear Narmer: Narmer was an ancient Egyptian king of the Early Dynastic Period - Nudity viewed negatively - Bulls' tale to represent power

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

- many sculpted figures and masks used during masquerade - the physical presence of a mask can allow the invisible world to interact with and interlace with the visible world - used for celebrations and feasts; more of a source of entertainment - in photograph, older woman seated next to mask with her stepson holding it (stepson danced in Gbagba performance with it) - Oval face, elongated nose, small open mouth, slit eyes (modesty), high forehead (wisdom) - triangles on cheeks suggest age, possibly wisdom

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

- nature piece - beautiful hanging scroll - 3 parts: foreground, background, and middle space - Daoism (likes nature) not realism, but naturalism - Artist-- rustic hermit winelover; hates city - orderly statement reflecting artists worldview - Chinese viewed mountain as sacred and water as very important also - did sign it, but made it very tiny - nature dominates hierarchy of scale - artist creates a microcosmic image of a moral and orderly universe

Illustration from The Results of the First Five-Year Plan Varvara Stepanova. 1932 C.E. Photomontage.

- new medium: photomontage (collage of juxtaposing/ mounting 2+ images) - Stalin in charge of Russia with one goal: modernization which he does through 5 year plans; set targets way higher than what you want - Lenin present (wants to associate) - industry depicted - Red everywhere (communist) - female artist (Bolshevik revolution equalized the sexes) - constructivist: artistic philosophy using for social purposes (communist propaganda) - meant for internal and external audiences (we are industrial leaders) - images celebrating results of five year plans; artists interpretation of events - Stepanova admits no fault or imperfection such as starving, collectivization, etc

Rebellious Silence, from the Women of Allah series Shirin Neshat (artist); photo by Cynthia Preston. 1994 C.E. Ink on photograph.

- not Koran on her face - about western perception of Middle East - woman staring out at you - examines complexities of women's identity - artist doesn't wear hijab, but piece about association with Middle East - host to internal contradiction by having her split in half with a gun - alongside binaries such as culture religion - 4 symbols: veil, gun, text, and the gaze - 9/11 hadn't happened yet; perception at the time probably different than now - artist clearly touched by revolution in Iran; became a repressive specifically of women - symbol of freedom and repression - fraught with preconceived notions of Middle East by westerners - veil protected women's bodies from being sexualized - in artists image, women return the gaze - contradiction b/w piety and violence, empowerment and oppression - - quiet gaze but rebellious - liberated by veil, not sexualized but repressed

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

- ostrich eggs on the top of pillars symbol of purity and fertility - have festival every year to remud the mosque called Plastering the Great Mosque - wanted building everybody could identify with using local materials - rectilinear in plan - roof has terra cotta allowing air in - 3 minarets - courtyard - focal point of the community

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

- unfolds sequentially, so main character appears multiple times - beginning with a point of calm - in depicting an event that really happened, it comes fully to life only when we know something - one small part of Heiji Insurrection - celebrate Japan's change from a realm controlled by a royal court - Sanjo palace home of bad emperor who is going to be overthrown

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

- part of Dada movement, which rejected conventionality - upside down urinal - reaction to WWII - suggested that traditional values of craftsmanship and aesthetic experience are not essential to a work of art.

Dream of a Sunday Afternoon in the Alameda Park Diego Rivera. 1947-1948 C.E. Fresco

- portable mural; Fresco (painted on concrete) - depicts 400 years of Mexican history (conquest to Mexican Revolution) - surrealism— typically dreamscapes however this more like a nightmare - establishing new republic out distances from dictatorial past - stroll through Mexico City's largest park - violence depicted; man being shot - Sor Juana, Hernan Cortes, and Frida Kahlo present along with other major figures - Porfirio Diaz, who incited revolution, also shown - Rivera has skeleton body, which serves as a critique of the elite - left side highlights conquest of Mexico, central space fight for independence, and right modern achievements - pointing out all parts of Mexican society pulled together to push Mexico forward

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

- post modernist (want something new) - borrows from different places, juxtaposing, collaging, and reinterpreting forms - prefers complexity over abstract - built for family of 3 - not functional, but decorative arched screen - borrowing from Ancient Greeks/ Romans with decorative Doric columnade - evoke the Carpenter gothic and Queen Anne styles

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

- prayer in a home - Maintain the viewer's interest (why there are so many small details) - Lead viewer from everyday objects to spiritual ideas (why there are so many every day objects that have spiritual significance) - Private devotion - 3 panels - extremely detailed in the north - Annunciation is story of the new testament where angel telling mary she is pregnant with Jesus even as a virgin - enclosed garden- symbol of virginity - pot symbol of Mary's purity "most pure vessel" - holy spirit flying through the window, almost as if it's impregnating Mary - Right depicts joseph making objects to sell with a mouse trap: God trapping the devil

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

- primitivism (pre-industrial time) - supposed to be displayed with wood - from Romania which has a history of stone/ wood art: "folk art"; idea that purer society - Rodin (Burghers) is the sculpture most people think about: broke tradition - she's slightly thinner; curve on her thought to be her breast - simplified carving in the hair - honoring material nature of the rock - rejecting authority and high art - didn't want it on anything

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

- print makes art accessible to the middle class - artist had curious intellect and scientific mind in addition to being an artists - Skill and inspiration made him a leading artist in the Renaissance - Embraced the ideals of the Renaissance first hand while continuing to celebrate his german heritage The four animals in lower right are representations of the four humors: Phlegmatic Sanguine Melancholic Choleric This ancient theory, existed into Dürer's time, which was that each human possessed all four humors A person's personality was determined by his or her predominant humor Complex notion about how humankind was linked to the natural world The medieval doctrine formulated in the 12th century, the perfect equilibrium of these humors in the human body was upset after the Fall, causing one or the other to predominate and make man mortal (durer represented this through animals) Animals = symbolic meanings Melancholic: elk (black bile)-despondent, sleepless, irritable Phlegmatic: ox (phlegm)-calm, unemotional Sanguine: rabbit (blood)-sensual, courageous, hopeful Choleric: cat (yellow bile)-cruel, easily angered, feminine A series of preparatory drawings for the figures and animals reveal the artist's intense investigation of form and narrative, and document the genesis of this composition more thoroughly than any of his other prints

Darkytown Rebellion, Kara Walker. 2001. Cut Paper and projection on wall.

- projection on wall calls to mind cut out silhouettes - brilliant patterns of color - gives viewer feeling of being in the artwork - seductive at first glance but closer releases horrors - interested in silhouettes because you can see but you can't see - are legs being severed? gender? - depicts rebellion - recalls Aunt Jemima and Brooke's Slave Ship - challenges radical issues - inspired by article of lynched black woman who flew through the air - start discussion. Merely past? - incomplete history, not knowing who they are - can't tell who's white or black - enjoys ambiguity b/w history and fiction

Pisupo Lua Afe (Corned Beef 2000), Michel Tuffery. 1994. Mixed Media

- public art - comes alive - New Zealand artist interested in indigenous communities and cattle - focused on children as primary audience - lesson; wants to teach people about ecological and population health issue - made of beef cans - Pisupo first Canned food in Pacific Island "pea soup" - became part of ceremonial gift economy: weddings, birthdays, etc. - Hugh in saturated fat and sodium - diets formerly high in fruits and vegetables - made into design of cow with fire coming out of its eyes - food sovereignty or food security is the right of a nation to chose who controls how, where, and to whom food goes to

Preying Mantra, Wangechi Mutu. 2006. Mixed media on Mylar.

- questioning how we see gender, sexuality, and cultural identity - body portrayed African body - as someone from Kenya, interested in imperialism - interested in notion of hybridity, or mixing of cultures of colonized and colonizer, creating a third space - seems to be mythical tree - snake (Serpent) nod to Bible - westerners have fear of African body

Dancing at the Louvre, from the series The French Collection, Part I; #1. Faith Ringgild. 1991. Acrylic on canvas, tie-dyed, pieced fabric border.

- quilted - Mona Lisa, Leonardo Davinci, in background - from series that tells story of young black woman - weaves modern art, AA culture, and personal biography - alternative to European and masculine perspective, highlighting implicitly biases - central image acrylic on canvas border actual quilting, then seams whole thing to look like a quilt

Folio from a Qur'an. Arab, North Africa, or Near East. Abbasid. C. 8th to 9th century c.e. Ink, color, and gold on parchment.

- read backwards (right to left; down to up) - Qur'an means recitations suggesting oral tradition more important than art, although calligraphy most important - red circle signify vowels - triangles made of gold circle mark verses - sura is beginning of Chapter written in gold ink (vegetative) - written in Arabic calligraphy - because figurative imagery of human/animals considered inappropriate ornamentation for sacred mosques and monuments; use of vegetative designs - materials suggest dignity of sacred text and the wealth of its patron (large quantity and high quality) - calligraphic style know as Kufic

The Kiss. Gustav Klimt. 1907-1909. Oil and gold leaf on canvas.

- real gold: important medium - Byzantine (typically iconography that's religious); taking human love and elevating it to a spiritual realm in a way - she's very curvy, flowery, and soft - Halo over them made with gold - male has rectilinear garb, female curvalinear - lost in intensity/eternity of that kiss - get a sense of his physical power - permanence

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

- shamanism: nature worship - ceremonial purpose - - 3 tree shaped vertical elements evoke sacred tree that once stood "world tree" - the two antlers coming off of the piece represent the reindeer that were native to the Eurasian steppe - coming off of the tree branches are gold disk and jade pieces called gogok - these are supposed to be ripe fruits that represents the lands fertility and abundance - placed in burial mounds when royal family members died -On special occasions it was worn by high ranking people to show their power and influence - expensive materials and imagery

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

- represent naturalistic scene - first portrait of specific individual - in sumptuous robe with servants - not image in former life, but in after life - It was found in the Nesting coffins of Lady Dai - It also was a clear display of wealth - Only the most elite could afford these silk banners 4 Realms: 1.) Heavenly Realm -It is wider and longer than the other registers -Two men stand guarding the gate to the heavenly realm -Deity with dragon body and human head -Pink sun and crescent moon -Used to portray the supernatural aspect of the heavenly world 2.) Lady Dai and her Attendants -Portrait of Lady Dai in an expensive embroidered silk robe -Leaning on a staff -Standing on a platform -Two servants in front of her and three being -She is focal point of this register -Long different colored dragons frame the register (white and pink) - She is standing on a bi (a disk with a whole, thought to represent the sky 3.) Body of Lady Dai with Mourners -Sacrificial funerary rituals -There are large containers and vase-shaped vessels -Were used to offer food and wine to the gods -Two rows of mourners are present -Wearing the same silk robe she was wearing in the register above 4.) Underworld -Two huge black fish -Red Snake -Two blue goats -A human looking deity -Beings in the underworld symbolize water and death

Bundu Mask, Sub-Saharan Africa (Mende peoples), Late 19th Century, Wood

- representation o the values and characteristics of ideal woman - water spirit with rings around her neck to represent fertil, with the lines indicating she can have kids/ is healthy - When young women of the Sande society educated on history, masks are worn for dances almost to let the spirits into their body - shown with scarification marks - large forehead - closed mouth - closed ears - matrilineal: inheritance passed down from the woman

Great Hall of Bulls Lascaux, France. Paleolithic Europe. 15000-13000 B.C.E. Rock Painting

- represents the earliest surviving examples of the artistic expression of early people. Shows a twisted perspective. - schamanism: focus on our connection to nature and promote the well-being of all creation. -Used as religious rituals, storytelling, and preserving their history by drawing what they saw early cognitive development depth and perspective

Female Pwo mask. Chokwe peoples. Congo. late 18th early 19th centurys. wood, fiber, pigment, and metal

- scarification or tattoo above eyes marking beauty - men wear masks to celebrate womanhood - dances very gracefully and stately - symmetrical face - symbol of fertility - idealized - large forehead: wisdom - closed eyes: introspection - closed mouth and ears to discourage gossip - used during male intuition to show young boys what look for in a wife while simultaneously celebrating womanhood

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

- should think of religious art with diptych, however we're looking at Marilyn Monroe - demonstrates manner that the public deifies celebrities - pop art: based on modern popular culture and mass media; especially as critical or ironic moment - speaking to mass production— assembly line feel - 25 garrish color Marilyn's and 25 black and white color Marilyn's - 6 by 9: huge and confronting - announces importance of subject matter - emotional flatness: 2D - appropriates image that already exists - looks embalmed on the color side and fades on black and white side

Petra, Jordan: Treasury and Great Temple. Nabatean Ptolemaic and Roman. C. 400 B.C.E-100 C.E. Cut Rock.

- similar to Ancient Greece - pediment - columns - Tholos at the top (circular temple) - Massive trade - Key Word: Nabateans - siq canyon that you enter through causes "wow" factor - Heart of Petra—monumental tomb (treasury) - Petra capital of Nabatean Kingdom - Nabateans great traders who controlled trade during late Hellenistic and early Roman period - 4 burial chambers discovered (tomb) - Rock cut facade parts iconic parts as Petra - so many tombs people thought it was a necropolis - Architecture reflects the diverse and different cultures How is the structure Hellenistic? - reflects influence of Alexandria - broken pediment - central tholos (circular building) - sculptural decoration also underscores Hellenistic connection - on upper level, Amazon's and victories stand flanking a central female figure on the tholos - lower levels feature Greek gods who acted as protectors of travelers and dead on their journey - also features rosettes which come from the near east - most credit Aretas IV (king) -temple might have been audience hall

Statues of votive figures, from the Square Temple at Eshnunna (modern Tell Asmar, Iraq) Sumerian. c. 2700 B.C.E. Gypsum inlaid with shell and black limestone

- standing male worshiper - formal - found in temple dedicated to Amu- sun god - clasped hands - emphasis on eyes (made of shell) represent attentiveness - incised dress work - not naturalistic

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

- stealing from Medici palace and colosseum - domestic property - Tuscan--> ionic-->corinthian--> cornice - Alberti first to write a book on architecture - entablatures-- horizontal space above columns or pilasters - emphasis on horizontality - had 4 floors 1st floor: business 2nd floor: entertainment 3rd floor: family 4th floor: servants - decorative purposes rather than structural support

Objet (Le Dejeuner en fourrure) Meret Oppenheim. 1936 C.E. Fur covered cup, saucer, and spoon

- surrealism - wrapped in gazelle fur - not just what you're looking at, but also the internal psychology of what you're thinking about - sex? - transformation; taking something cool and ceramic —-> warm and brisk - reinforces the way we can readily imagine feeling fur while drinking cups - visceral memories open for interpretation - title itself "object" adds sexiness

The Two Fridas. Frida Kahlo. 1939 C.E. Oil on canvas.

- surrealist: interested in symbols - wearing European clothes on the left and indigenous on the right - unibrow and facial hair - themes depicted are culturally mixed heritage, harsh reality of her medical conditions, and repression of women - divorced after 10 years when picture is made; heart bleeding out may be from sadness - right Frida holding picture of husband as little boy (maybe angry she has to take care of him) - cloudy background - Frida familiar with human anatomy: has polio and also has bus accident - blood ties: symbol of union - doesn't make herself prettier than she is - suffering but resilient

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

- symbol of wealth - inherited by Shona people - zimbabwe- importance of stone (translates to "judicial order" - Shona ruler uses granary, or giving, to show generosity - testament to organization, autonomy, and economic power Categorized into 3 Areas: 1.) Hill Ruin (rocky hilltop) 2.) Great Enclosure (narrow passageway leading to it 3.) Valley Ruins - seated muscular bird - wall was NOT for military purposes, but to symbolize power and strength of kings

Pyxis of al-Mughira Umayyad. c. 968 C.E. Ivory

- symbols of Umayyad family on it - references to exile - deep relief carvings on it - carved ivory popular in mediterranean - decorated with 4 eight-lobed medallions - These medallions are surrounded by figures and animals, including falconers, wrestlers, griffons, peacocks, birds, goats and animals to be hunted - each medallion has princely iconography - used for cosmetics

Improvisation 28 Wassily Kandinsky. 1912 C.E. Oil on canvas

- synesthesia-- when senses get mixed up (see what you hear; taste what you smell) - about music - moving toward the abstract - hill in the background with church on it - suggesting like music, art can be of significance - strings of an instrument - maybe heavenly Jerusalem (flood) - almost looks like battle field

The Steerage. Alfred Stieglitz. 1907 C.E. Photograph.

- technologically advanced much further than where we started - picture of a boat with people moving around - first class with rich people on the top deck; although sole purpose isn't to address class distinctions - looked at a man with a hat and thought: that would make a good picture; if he leaves the picture is ruined - ironically heading back to Europe from America - ***elevate photography to the status of a high art by engaging the same dialogue around abstraction - explain his preference to avoid addressing the subject of the steerage, and to see in this photograph not a political statement, but a place for arguing the value of photography of high art

Bahram Gur Fights the Karg, folio from the Great Ilkhanid Shahnama. Islamic; Persian, Il'Khanid. C. 1330-1340 C.E. Ink and opaque watercolor, gold, and silver on paper.

- tells story of all Persian kings - Karg, or horned wolf - Chinese influence:branches and trees - produces Persian Pride (cultural identity) - linking themselves to earlier revered political rulers—political propaganda - book of illuminations depicting stories from Persian book of Kings - history of Persia before arrival of Islam— great pride - still learned today - Mongol artists creates this work to be fulfilled - original poet Firdawsi - silver and gold accents over ink and opaque watercolor - intended to express the owner's power and wealth, and it is the most luxurious - stylistic blend - feel of it coming from further eastern area - sahram Ghur depicted with kingly garb, a golden crowd, leopard skin, etc. - calligraphy above and below image - new mongol rulers wanted to link themselves to hero's and kings of the past to enhance their authority

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

- the physical traits of this portrait image are meant to convey seriousness of mind (gravitas) and the virtue (virtus) of a public career by demonstrating the way in which the subject literally wears the marks of his endeavors. - probably made him look older than he is - veristic (extremely naturalistic) almost exaggerated precursions would be death masks of ancestors - man may not have had ancestors that he wanted to be depicted

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

- the sculpture of the seated scribe is one of them most important examples of ancient Egyptian art because it was one of the rare examples of Egyptian naturalism, as most Egyptian art is highly idealized and very rigid. - not idealized, has tubby rolls of fat - meant for a funeral - most likely a real person - crystal eyes: intelligence - not pharaoh, relaxed - painted

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

- theory that the plaques are on pillars- supposed to immediately think about wealth and power - evidence of trade with portugal: Brass and Coral Beads - Hierarchy of Scale - Oba, or king, is on horse (equestrian statue) - intendants fanning him or protecting him with shields - coral necklace asserts power - use lost wax casting technique - metal, cross shape, and horse come from Britain

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

- transportable; don't go on pilgrimage like Church of Sainte Foy - container for relic - talisman-- good luck peace; keeps ancestral remains from bad spirits - noble person would have their relics put in a reliquary - unlike reliquary of Sainte Faith, who have remains in the peace, relics are in a box that the reliquary sits on (protect) - elongated torso, closed mouth, closed eyes, big forehead, arms clasped, power musculature (coiled energy) - dignified - belly button serves as a connection to the spiritual world/ mom - during initiation, used to educate on ancestors

Morturary temple of Hatshepsut. Near Luxor, Egypt. New Kingdom, 18th dynasty. c. 1473-1458 bce partially carved into a rock cliff and red granite

- typically think of pharaohs as male, but Hatsheput wants to assert authority as a woman - art speaks to the authority of the king - persuading people Hatsheput is powerful - role followed period of instability so she wanted to establish predominance with a mountain of her own - "towering cliffs" very dramatic with her mountain - in situ, or carved in a place - uses signs of kingship, such as beard and headdress - slight indication of womanhood but majorly masculine - no negative space - jars as if to make an offering

Guggenheim Museum Bilbao Spain. Frank Gehry (architect). 1997 C.E. Titanium, glass, and limestone.

- undulating - Building towards water; back towards city - one of first museums of challenge traditional neo-classical style - part of an ambitious urban renewal program for Bilbao to bring good attention - nods to Guggenheim in NY (huge central spaces) - undulation evokes aspects of Italian baroque style - 165 ft atrium

Seagram Building. New York City. Ludwig Mies van der Rohe and Philip Johnson. 1954-1958. Steel frame with glass curtain wall and bronze.

- vertical eye beams mimic interior eye beams that are actually functional - give sense of verticality - use of bronze take back to Ancient Greece and Rome - marvel interior - courtyard in front makes more of public and social space - has a patina like a sculpture would. - symmetrical, it's a very disciplined aesthetic - various pillars that run across the front, they look vaguely like fluted columns. - have these vertical striation, so it a kind of fluting. In fact, the whole building is up on this platform. It's almost like a Greek style, as if we were looking at the Parthenon. - When you look up at it from below, it just soars. The term that comes to mind is vertical velocity. - girders for decorative purposes (so it's not flat and gives texture) - minimalist movement "less is more" - steel frame with glass curtain wall and bronze - set back from the street on a wide plaza that is balanced by reflecting pools - the bronze veneer gives the building a monolithic look - this model of skyscraper became the main model after World War 1

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

- vertical sculpture meant to be along structure of palace post porch (porch that holds up structure) - naked woman more of a spiritual support system; represents fertility (motherhood and overall life abundance) - can see it in the round (360 degrees full body) - naked woman behind man offering support

Basin (Baptistere de St. Louis) Muhammad bin al-Zain. C. 1320-1340 C.E. Brass inlaid with gold and silver.

- very expensive materials - bowl used for religious ceremonies - Originally used for washing hands at official ceremonies - later used for french royal family baptisms - people used this bowl to wash or purify themselves before the ceremonies - later was used by royal families for baptisms -adapted from its original use - people of the time valued the inlaying of metals because it was very difficult to do - also used very expensive materials to show the wealth shows people hunting alternating with battle scenes along the side; Mamluk hunters and mongol enemies - shows the conflict between the two groups - bottom of bowl decorated with fish, eels, crabs, frogs, and crocodiles - all can be found in water Cross Cultural - Niobides Krater - Virgin of Guadelupe - Trade, Quick-To-See-Smith - Kngwarreye, Earth's Creation

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

- very first evidence of Christian iconography - Christ as the shepherd - woman with hands raised is not Christ, but a woman ascending into heaven - places where earliest Christians were buried in Roma - first image of madonna and child found here - cubiculum - Scenes from Old and New Testaments (on the walls) -Depiction of figures suffering on account of their faith -Book of Daniel -Place where the earliest Christians were buries -Some Christians would come here to practice their faith covertly - Passageways are stacked on top of each other (general) - actual burial place for Priscilla and her family Grant Frescoe: - sacrifice of Isaac - depiction of woman in a veil (marriage, motherhood, ascension) - Very first kind of Christian art

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

- ziggurat: raised platform with temple at the top, meant to mimic a mountain - theocracy-- religion and government joined - Rooms for different functions. - Cella (highest room) for high class priests and nobles. - Very geometric (4 corners of structure facing in cardinal directions) Platform stair stepped up - importance of mountains and gods-- polytheistic - Anu- sun god - Anu was thought to descend to the cella - bent axis plan-- floor plan that incorporates 2 or more directions

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

-In the relief sculpture, the theme is the treatment and portrayal of women in ancient Greek society, which did not allow women an independent life. - Relief sculpture of Hegeso and servant girl servant holds a jewelry box, and Hegeso hold and looks at a necklace - now we cant see the necklace because it was painted on the stele and has worn off - might represent a dowry - drapery - elaborate forms and swirls very close to her body - She does not touch the ground; her foot is on a pedestal - Inscription on top says Hegeso, daughter of Proxenos - naturalistic

Great Pyramids (Menkaura, Khafre, Khufu) and Great Sphinx Giza, Egypt. Old Kingdom, Fourth Dynasty. c. 2550-2490 B.C.E. Cut limestone. The Great Sphinx is believed to be the most immense stone sculpture ever made by man. (stone, tombs, statues, animal symbolism)

-slaves used to make pyramids -place pf regeneration -shape of pyramid pointing to the sun Pyramid of Khafre: - inter-burial chamber Pyramid of Khufu: - largest - 7 large boat pits to lead to afterlife

Stadia II Julie Mehretu. New York. 2004 C.E. Ink and acrylic on canvas

1950's = new medium = acrylic dry faster dont change color when dried BUT they crack faster oil is still preferred also many abandoned the canvas for a computer screen marble carving = dead modern forms of sculpture are faster to produced and reproduce assemblages: sculptors made of objects installations: large assemblages; can take up a whole room Julie Mehretu, Stadia II, 2004, ink and acrylic on canvas, Carnegie Museum of Art, Pittsburgh Ethiopian lives in NYC large scale paintings abstract elements titles allude to meaning stylized renderings of stadium architecture FORMs suggest excitement, frenzy, of a competition held in a circular space surrounded by international images dynamic competition -- sweeping lines create vibrant pulse multi-layered lines = animation for the work sweeping lines = depth, focus of attention around central core (from which colors, icons, flags, and symbols resonate.) Stadia II is meant to portray a large stadium, A sports arena. Country flags, confetti, and the eruption of the crowd are prevalent.

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

2 Parts: 1,) domestic (women and servants lived) 2.) administrative - city in its own right - political and ritual center of China 500+ years - moved to consolidate power - ceremonial, ritual, and living space (administrative as well) - The function of the palace was to serve as home to the Chinese emperor and his (or her) court - By separating the court from the city on a physical island, the emperors considerably strengthened their influence - During his reign of secretary general of the PRC, Chairman Mao hung his picture from the Gate of Heavenly Peace, one of the entrances to the city -The portrait still hangs on the wall of the city today - This emphasized his despotic rule over China Form fits Function: all activities condiucted in manner appropriate to participants - sense of hierarchy - each building according to people living in it Public and Private Spheres: Outer Court-- state affairs only men had access to its spaces some doors more important than others Inner Court-- domestic space dedicated to imperial family

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

= Like one of many, this was a jade piece with decorative carvings, unique shape, and symbolic purpose. - The stone might have held spiritual or symbolic meanings to the early cultures of China. - emphasis on rectangular linear qualities - importance of circle: could be heaven, sun, etc. - found in burial ground - made of jade so probably belonged to rich powerful family - neolithic period: was characterized by stone tools shaped by polishing or grinding, dependence on domesticated plants or animals, settlement in permanent villages, and the appearance of such crafts as pottery and weaving. - face on corner; not known if it's a human or God - abrading technique

Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On). Joseph Mallory William Turner. 1840 C.E. Oil on Canvas.

A ship (slave ship) sailing directly into a storm, abandoning the slaves that were thrown overboard to drown Fiery sunset, writhing foam and waves Fish with teeth chomping at the slaves' chained limbs A wall of water and grey clouds dooming the ship to shipwreck (as punishment and vengeance for the death of slaves; upsetting of the balance of nature) "Turner's chaotic canvas shows a fierce storm. Body parts, still shackled and being attacked by sharp-teethed fish, can be seen in the central and right foreground." (Gateways, p. 544) Context: J.M.W. Turner (1775 - 1851) Twenty or so years before Impressionist movement; Turner uses techniques that are not yet popular Man vs. nature (popular theme during late 1700s and early 1800s Slavery was banned in Britain, but not in some of the countries it had colonized (e.g. the United States of America) Form: Abstract, fabricated quality Makes it difficult to discern the subject matter and the action of the scene "Turner uses intense colors and turbulent brushstrokes to convey the heightened emotion of the event." (Gateways, p. 544) Function: Wanted to protest any reconsideration on the subject Prevent slavery from ever becoming a normalized practice in the future with a harsh reminder To shock the critics and general audience into seeing just how brutal slavery could be, and why it shouldn't ever come back Tell a story Moral of the story being you are morally condemned if you participate in such a horrific, dehumanizing practice Slave ship is doomed to wreck because of the actions of its captain 'Communicate sympathy and judgment'

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

All of the great thinkers and philosophers of antiquity are gathered here in this classical space, surrounded by Roman architecture. Plato and Aristotle are the central figures. The central vanishing point is the space just between them at hip level, and the viewer's eye is drawn to them as they engage in discussion and stride forward towards the us. Plato was actually Aristotle's teacher; we can identify him by his book the Timaeus in his hand. Plato focused on the ethereal and theoretical, so he points upwards to the sky, and wears red and purple robes, which symbolize fire and air. On the other hand, Aristotle focused on the physical and observable, so he gestures towards the ground, and wears blue and brown robes, which symbolize water and earth. On Plato's side, the left side, there are the philosophers who focused on the theoretical, ethereal issues of philosophy. This includes Pythagoras, who believed in a reality that transcended reality. On the right side, Aristotle's side, there are the philosophers, such as Euclid, who focused on the physical and concrete. Euclid is modeled on Raphael's friend Bramante, the architect who Pope Julius II commissioned to create a model for the new Saint Peter's. Appropriately enough, Bramante's design for the new Saint Peter's was based on perfect geometry of squares and circles. The same is true of the architecture painted by Raphael; as we can see, he used coffered barrel vaults, pilasters. On Plato's side, there are classical sculptures of Apollo, god of Sun, Music, and poetry. On Aristotle's home, we can see Athena, god of war and wisdom, the more human and practical affairs. Raphael's work opposed the Medieval idea of an authority passing down knowledge. He glorified the history and sharing of knowledge, and emphasized his subjects' grace and wisdom. The patrons of the day would've understood and recognized all the figures in the work without their being labeled. The coffered ceiling, which uses the rules of perspective, is a tribute to man's dominance over nature. On the stairs is Diogenes, and writing on the tilted marble block is Heraclitus, writing quietly to himself. Heraclitus has Michelangelo's features, who was known for his lonely and impersonable affect...so Raphael has appropriated the personas of some of these philosophers to include some aspects of his current surroundings. Heraclitus was added after Raphael had completed the frescoe. Raphael stands to the right in a black cap, with some of the most important philosophers of antiquity, including Ptolemy and Zoroaster. Having departed from the Medieval perception of artists as mere craftsmen, Raphael includes himself as a skilled and capable intellectual.

Still life in Studio. Louis Jacques Mande Daguerre. 1837 C.E. Daguerreotype.

Anatomy of a daguerrotype One-of-a-kind image on a highly polished, silver-plated sheet of copper Handful of still lifes, Parisian views, and portraits from the dawn of photography Images of other works of art Sculpture, painting, photography, etc. Context: Louis-Jacques-Mandé Daguerre (1787-1851) Daguerrotypes accompanied the invention of photography Less than 25 of his photos survive the devastating fire on March 8, 1839 Form: "Each daguerreotype is a remarkably detailed, one-of-a-kind photographic image on a highly polished, silver-plated sheet of copper, sensitized with iodine vapors, exposed in a large box camera, developed in mercury fumes, and stabilized (or fixed) with salt water or "hypo" (sodium thiosulphate)." Black and white; no usage of color, only grey areas in between Function: Duality Medium of artistic expression Powerful scientific tool Artists feared photography would eventually supplant painting Photography was in itself an art form; even if not considered such at the time

Running horned women Tassili n'Ajjer, Algeria. 6000-4000 B.C.E. Pigment on rock.

Anthropomorphic: having human characteristics

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

Art historians differ in their interpretations of the function of this painting Documentation of a wedding (why it's sometimes called "The Arnolfini Wedding Portrait") Evidence of a sacred event taking place their shoes have been removed hands joined together man raises one hand as if swearing an oath one candle in the chandelier is a symbol of God's presence dog is a symbol of fidelity serves to bless the marriage with this symbolism significant amount of religious imagery candle in chandelier (God's presence) prayer beads on the wall, next to the mirror roundels on the mirror show biblical scenes Significance of Van Eyck's signature "Jan van Eyck was here" makes it seem like he was acting as a witness, rather than just signing a work of art in the mirror's reflection of the room, there are several figures standing in the doorway, looking in on the scene of man and wife these figures could be witnesses to the wedding ceremony This was the leading interpretation of the Arnolfini portrait for a while, but now art historians generally agree that this is likely NOT a wedding portrait Double portrait of an already married couple Showing off their wealth Arnolfini was a wealthy merchant from Bruges, a "thriving economic town in the early 15th century" high fashion wearing furs, heavy clothing, despite warm weather wife is wearing gathered skirt to make her appear pregnant she is not actually pregnant, this was the style during this time oranges had to be imported expensive receiving guests in their lavish bedroom bedrooms were where people received guests, rather than living rooms they are welcoming the guests shown in the mirror reflection husband's hand may be raised in greeting rather than oath/prayer carpet sign of wealth and taste Showing off their piety, status as good christians prayer beads roundels around mirror shoes removed Content Portrait of a husband and wife Possibly Giovanni Arnolfini (?) art historians are not positive which Arnolfini this is but definitely a wealthy merchant who worked in Bruges prosperous economic town in the 15th century surrounded by token symbols of their life that give evidence of what may be happening (see various interpretations in "Function" section) dog oranges removed shoes prayer beads biblical imagery in the decorative roundels surrounding the mirror lavish drapery, carpets, clothing light streaming in from window shows Van Eyck's mastery of light and shadow, soft texture

The Stonebreakers, Gustave Courbet, 1849

Artist: Gustave Courbet Date: 1849 (destroyed in 1945) Medium: Oil on canvas Movement: Realism Context: Submitted to the Parisian Salon of 1850-1851 as a reaction to the labor unrest of 1848 (people had demanded better working conditions.) Emphasizes two figures, who will be poor their entire lives, to show the unforgiving passage of time and the lack of social mobility for people of the time. Form: Large canvas sizes were usually reserved for important historical paintings; Courbet instead states the importance of the commonplace workers. Content: Breaking stones down to rubble for pavement; theme of poverty; tattered, ripped, patched clothing; using hammers and smithing tools. Function: To "consider two men breaking stones on the side of the highway...to meet the complete expression of poverty." To show poverty and the struggle of working-class peoples in Europe around 1850, especially given recent injustices and the fact that they were never portrayed in art.

Nadar elevating Photography to Art, Honoré Daumier

Artist: Honoré Daumier Date: 1862 (Right after a court decision in 1862 that permitted photographs to be considered works of art. Medium: Lithograph Movement: Realism Context: Nadar was famous for taking aerial photos of Paris since 1858. Daumier depicts Nadar as a bizarre, daring photographer; Nadar's hat is flying off, and in his own excitement to capture the perfect shot, he almost falls out of his balloon. Daumier mocks the new declaration that photography could be equal to "high art;" it's an ironic artwork. Appeared in a journal called Le Boulevard. Content: All buildings in Paris below have "Paris" written on them. Form: Lithograph (printing from a stone or smooth metal plate to produce mass images.) Function: To mock Nadar; to show that ridiculous and dangerous means have to be used to elevate photography to the height and importance of "high art." Serves as a commentary on the 1862 court decision permitting photography to be seen as high art. Also foreshadows modern aerial-surveillance photography; Nadar's balloon was used in the 1870 Siege of Paris for intrusive photography.

Olympia, Édouard Manet

Artist: Édouard Manet Date: 1863 Medium: Oil on canvas Movement: Realism Context: Caused a scandal at the Parisian Salon of 1865. Inspired by Titian's "Venus of Urbino." Olympia was a common name for prostitutes at the time. Olympia's frank, aloof, unnerving look startled viewers. Upper class Parisian men had mistresses. Content: Traditional art subject of a female reclining nude. Maid delivers flowers from an admirer. Form: Uses simplified modeling (the brushwork is active, smooth.) Colors are sharply contrast. Function: Manet's take on a female reclining nude. Commentary on the sub-culture of prostitution, admirers, adultery, mistresses, and having African servants.

A Philosopher Giving a Lecture on the Orrery, Joseph Wright of Derby.

Color and Lighting Contrast between the dark background and dramatic lighting coming from the center of the Orrey Light illuminates peoples faces to expose their expressions Philosopher is dressed in red = importance Perspective People have their backs turned to the viewer = viewer is a part of the scene Function: Shows scientific advancements Content: Shows a group of people (including 2 small children and a veiled woman) gathered around a scientific device called an Orrey Man in the center = philosopher delivering lecture Man on the left = note taker Context: Orrey = mechanical clockwork device (recreates the movements of the planets in the solar system) Artist used this object to communicate scientific information that was becoming available to the upper class on a global scale ---> Enlightenment Challenged peoples myths and preconceived ideas Painting suggests that even woman and children were beginning to have an opportunity for higher education

Al-T'oqapu Tunic

Complete Identification: All T'oqapu Tunic No known artist 1450 - 1540 (Peru) Camelid fiber and cotton Inka people Form: Tunic: A woven rectangle piece of cloth folded to be a square, with a slit woven into the middle for the neck, decorated with small red woven squares. T'oqapu: composition of these square geometric motifs that make up the entirety of the tunic, found around stomach or shoulders on upper class tunics. Normally, an Inka tunic with t'oqapu on it would have a band or bands of the motif near the neck or at the waist. The All-T'oqapu Tunic is made of dyed camelid wool warp over a cotton weft, which was a common combination for high-status textiles. Cochineal red and indigo blue dye Collecting, spinning and dyeing fibers for a textile represented a huge amount of work from numerous people before a weaver evan began their task. Especially the process of dyeing the cloth into its vibrant red and blue colors. The red was one of the hardest colors to make, requiring the collection and grinding of hundreds of small bugs from cacti. It takes hundreds and thousands of them just to make a small amount of dye The blue dyeing requires a high level of technical skill and a large investment in time. Red- and blue-dyed textiles were not only beautiful, they also represented the apex of the resources needed to produce them and the social and political power that commanded those resources. Because of the amount of work needed to create these dye's, they were reserved only for high-status textiles Warp & Weft Thread Two techniques of threading - Warp thread and Weft thread Warp thread: vertical background threads, usually cotton, does not show in final product. Weft thread: horizontal threads, dyed vicuna wool, what shows in final product. The weft threads are made of finest and softest alpaca hair, dyed with most expensive dye from cochineal, and the presence of all of the T'oqapus show that the king, who wore this tunic, identified with his people but was also in charge, laid claim to all of them. The threads in the All-T'oqapu Tunic were spun so finely that there are approximately 100 threads per centimeter, making for a light, strong weave. Cotton and Camelid Fiber Two main fibers spun into the threads of the tunic came from cotton and camelids Cotton plants grew well on the Andean coast, in a variety of natural colors Most camelid fiber textiles were made with the silky wool of alpacas, which thrived in the highlands These fibers were used because they were dyed easily than other materials such as plant fibers. So when weavers wanted bright colors they'd most commonly used this alpaca wool. Content: Symbolism Individual t'oqapu designs are believed to represent various peoples/ethnicities, places, and social roles within the Inka empire. Covering a single tunic with a large variety of t'oqapu, as seen in this example, likely makes it a royal tunic, and symbolizes the power of the Inka ruler (the Sapa Inka). Sapa Inka The Sapa Inka's power is manifest in the tunic in many different ways Firstly, its fine thread, expert weave, and bright colors signify his ability to command the taxation of the empire, access to luxury goods like rare and difficult dyes, and the weaving expertise of the acllas. (We'll talk about the acllas later on) Secondly, among the t'oqapu in the tunic is one pattern than contains a black and white checkerboard which was the tunic pattern worn by the Inka army, and shows the Sapa Inka's military power. Lastly, the collection of many patterns shows that the Sapa Inka (which means "unique Inka" in Quechua) was a special individual who held claim to all t'oqapu and therefore all the peoples and places of his empire. It is a statement of absolute dominion over the land, its people, and its resources, manifested in an item that is typically Andean in its material and manufacture. (since textiles were very prominent before the Inka's time) Acllas Textiles were produced by a number of groups, but the finest cloth, called qompi was produced by acllas ("chosen women"). . Wove specifically for the elite government officials and royals. These women were collected from across the empire and cloistered in buildings to weave fine cloth. The acllas also performed religious rituals, and made and served chicha (corn beer) at state feasts. These women spun, dyed, and wove fibers that were collected as part of the Inka taxation system. Backstrap looms Weaving in Andean cultures was usually done on backstrap looms made from a series of sturdy sticks supporting the warp, or skeletal threads, of the textile. A backstrap loom is tied to a post or tree at one end, while the other end is attached to a strap that passes around the back of the weaver. By leaning forward or tilting back, the weaver can adjust the tension on the warp threads as he or she passes the weft threads back and forth, creating the pattern that we see on the surface of the textile. It was traditional to weave garments in a single piece if possible, as cutting the cloth once it was off the loom would destroy its spirit existence (camac), which formed as it grew on the loom. By the time of the Inka, an incredible number of variations on this basic technique had created all kinds of textile patterns and weaves. Function Worn by the king (Sapa Inka) to identify him and keep him warm Tunics like these served as power symbols in the Incan culture with each small insignia, or T'oqapu, representing an accomplishment or history of an individual. The mass of T'oqapu on this tunic ensure to us that it belonged to a royal. Believed the cloth had spirit (camuc) Textiles were also used for maps, quipu (bookkeeping or like numerical storage device) The textiles they produced were then given as royal gifts, worn by the royal household, or burned as a precious sacrifice to the sun god, Inti. Special clothing marked changes in life cycles, both as costume for initiation ceremonies and as a mark of age, social status and distinction. Speicific people wore specific clothes for specific occasions. Cloth was offered to the gods in burnt offerings, used to dress and preserve mummies, and offered in burials. Finally, cloth provided a medium for representing the gods and religious imagery reflecting cosmological concepts Context: The All-T'oqapu Tunic created during the height of Andean textile fabrication Direct link to Inka's value of power Name derives from how the tunic is decorated Each geometric square displays a unique motif that combines together to make up the whole tunic. These individual squares are called "T'oqapu" The tunic's were a symbol of royalty, only those of high status were allowed to wear the society. A single tunic with a vast number of different t'oqapu makes it a royal tunic, and symbolizes the power of the Inka ruler (the Sapa Inka). No other known tunic incorporates such a large number and variety of t'oqapu into its design. Possibly worn by the ruler himself, this all-t'oqapu tunic portrays the message that he controlled enormous diversity and almost the totality of possible motifs in his clothing. Background: The Inka were masters of statecraft Forged an empire that at its height extended from modern Quito, Ecuador to Santiago, Chile. One of the engines that drove the empire was the exchange of high-status goods Helped to secure economic and power relationships that were unequal between the Inka and their subjects. Inka's had more influence over their subjects. Precious materials such as Spondylus shell from the warm waters of coastal Ecuador or gold from remote mountain mines were shaped into high-status objects. These were given to local leaders as part of a system of imposed obligations that gave the Inka the right to claim portions of local produce and labor as their due. Importance of Textiles: Along with jewels, political feasts and gifts of finely-made textiles would also cement these unequal relationships. Textiles and their creation had been highly important in the Andes long before the Inka came to power in the mid-15th century—in fact, textile technologies were developed well before ceramics. Finely-made textiles from the best materials were objects of high status among nearly all Andean cultures, much more valuable than gold or gems. The All-T'oqapu Tunic is an example of the height of Andean textile fabrication and its centrality to Inka expressions of power. Textile creation was very important culturally and economically Weaving was an important job Textiles were more important than and valued more than anything else in the culture. More than gold. Religion: Viracocha was the creator of everything, from the sun to the moon and stars Inka's believed they were derived from the sun god. The Inka ruler- believed to be the physical embodiment and representation of Inti, on earth. Inka religion - rituals were aimed at trying to control the natural disasters like earthquakes, floods, drought etc.

Bandolier Bag

Complete Identification: Bandolier bag no known artist 1850 C.E. Beadwork on leather Lenape people Delaware tribe, Eastern Woodland Form: Bandolier and bag are connected Bandolier Red trimming around entire cloth and tassels at the end Floral blue, black, green, and pink pattern on cloth Ends of the bandolier have trapezoidal extensions which end in green, red, tan, and blue tassels The bandolier is a long rectangle, would reach below the waist (but likely not to the knees) Only one side of the bandolier is decorated → the other side is brown Bag Follows same color story as bandolier → shares the pink, blue, and red Tassels decorate the opening of the bag (shorter and thinner than the tassels on the bandolier) Rectangular in shape Function: Bandolier bag is worn as a cross-body bag → a strap crosses the chest and allows the bag to rest on the hip Bags were commonly decorative → even those with pockets were not necessarily used to hold anything Men could wear more than one bag at a time Express group identities and social status Especially in the face of displacement → represent the determination and perseverance of Lenape people and Lenape culture Content: There are thousands of beads strung together across the bandolier bag's surface Show mastery of technical skill Based on bags carried by European soldiers that held ammunition for rifles Large in size Trade cloth (cotton, wool) and hide are used as the base for the bags and straps Seed beads (tiny glass beads) are acquired from trading with Europeans Prized for color Replaced porcupine quills as base for colors in the bags Porcupine quills would be dyed and woven into the cloth Silk ribbons are also used for decoration → gained from trading as well Expanded the surface of the bag in an interesting way Trading with the Europeans allowed for new materials to be added as decoration to the bags Replaced further quillwork and dying of the bandolier's fabric Beads would reflect sunlight, ribbons would flap in the wind Red wool tassels on the bag are attached with metal cones → add more colors and textures Designs Abstracted and asymmetrical White beads act as contour lines Each side is slightly different in design Small size of the beads allows for more intricate designs than quillwork Contrasting colors could represent Sky and Underworld realms Design could also represent cardinal directions, as they go in four different directions Context: Called Aazhooningwa'on in Ojibwe language ("worn across the shoulder") Made across tribes in Great Lakes and Prairie regions Styles depend on tribe and on contact with Europeans (for materials) Bandolier bags especially popular in Woodlands region (Great Lakes and territory East of Mississippi) in nineteenth century Women created the bags, while mostly men wore them Prairie style Incorporates styles from older Delaware traditions as well as other displaced native peoples Result of different peoples coming together Used glass beads to make abstract or representative floral patterns against a dark background Bandolier bags still worn today → show preservation of culture Lenape Originally from Delaware → the Eastern woodlands Some lived in large villages but most lived in smaller communities of up to 25 people Had three clans (Wolf, Turtle, Turkey) that traced lineage through mother's ancestry Very communal → land belonged to community, shared shelters, no theft Political leaders were chosen based on leadership characteristics and ability to lead successfully War leaders were chosen based on success in battle They could act without the approval of the political leader Men Woodcraft and hunting, cleared the land, built/repaired houses Women Housekeeping, gardening, planting and harvesting crops Making clay pots; weaving; making slippers, mats and dolls; preparing hides for clothes and shelters Were removed from their ancestral lands by Indian Removal Act (during Jackson's presidency) but kept their traditions in creating art Bandolier bags are an example of the perseverance of their culture Religion was animistic → spirits (both helpful and harmful) were everywhere and should be treated with respect Ceremonies throughout year to drive off evil spirits and celebrate good ones Celebrations of maple tree and corn planting, harvest rituals Shamans were important spiritual leaders (sometimes political too)

Transformation Mask

Complete Identification: Transformation mask no known artist Late 19th century Red cedar wood, paint, and string Kwakwaka'wakw Northwest coast of Canada Form: Large, exaggerated bird head Large beak Opens to show a human face Multiple bright colors Hair made of string Function: Creates a powerful effect during ceremonies Worn during potlatch where the host displays his status Conveyed a high social status Portrayed family genealogy-- could contain family crests Passed between family members of a clan Content: In the shape of an eagle Pull chords and the mask opens The open form seems like a bird spreading its wings The human face is of an ancestor Uses elements of formline style Bilaterally symmetrical when opened Uses wavy, calligraphic lines The eyes and other forms are ovoid (oval) shaped S and U shapes are frequent Context: Mask worn during dance ceremonies Dancers open the mask while dancing Masks takes months to years to make Carving techniques changed after tools introduced by Europeans etc. and brighter synthetic colors were also introduced Transformation masks were an integral part of the culture and existed in multiple forms Masks were worn with a cloak made of red cedar bark Kwakiutl Native name: Kwakwaka'wakw → group of people who speak the Kwakwaka'wakw language They do not identify as a single nation Pacific Northwest Coast indigenous people Community is based on fishing Men hunt and women gather fruits and berries Weaving and woodwork Wealth is defined by slaves and material goods Potlatch → ceremony in which wealth is displayed Wealth is seen as how much you can give away → wealth is given away during Potlatch Potlatch was eventually banned by the United States government Society is organized into communities, which are then organized into family units (loosely patriarchal ancestry) called na'mima ("of one kind") But are bilineal → ancestry could also be traced through mother's side Primogeniture political structure Four classes: nobility, aristocracy, commoners, and slaves Largely barter and trade economy → later became loosely currency based with wool blankets as the currency Masks are very important in Kwakiutl culture → used in ceremonies and rituals Religious beliefs have commonalities across Kwakwaka'wakw society Thunderbird (important deity/creature/spirit across many indigenous peoples) Polytheistic with several deities/spirits Believe deceased ancestors are present around them

Black-on-black ceramic vessel

Completely Identify Date: 1939 Artist: Maria Martinez and Julian Martinez Material: Blackware ceramic, pigment, volcanic ash Culture: Pueblo Location: New Mexico Context Although women did not have official religious/ceremonial roles and authority, Puebloan rituals centered on mimicking female reproductive ability, and women were afforded respect in the domestic sphere. Form Ceramic mixed with volcanic ash to make it black. pot made by building up coils, not shaped on a wheel. Bottom image is an olla (rounded pot) from the Bandelier National Monument. Function Content Vocabulary Olla: rounded pot. Matte: dull black. Burnished: polished with a stone (as opposed to being glazed).

Yaxchilán lintel 25, structure 23

Content: The site is host to an impressive number of structures and monuments (over 100) Famous for its high-quality relief carvings. Carved lintels (the beam at the top of a doorway) Stairs have hieroglyphic writing and stele (upright wood or stone slab monuments) Structure 23 (most famous lintels): a toot (palace building) and shows Shield Jaguar II's wife (Lady K'abal Xook) (The three lintels on Structure 23)= 24, 25, and 26 depict different ritual moments in the life of Lady Xook showing a narrative Lintel 24: Lady Xook pulls a thorned cord through her tongue so that she can bleed onto paper that fills a basket on the ground before her which is called bloodletting Her husband (Shield Jaguar II) holds a lit torch above her beautiful diamond pattern decorates Lady Xook's huipil Lintel 25: from the central doorway also bloodletting ritual carried out by Lady Xook kneels before a vision serpent, from whose mouth emerges a figure. She holds bowl in her left hand as she looks up towards rising serpent addition, she has on headdress, elaborate bracelets, earrings, and a necklace (jade) In the bowl are pieces of paper stained with her blood. Figure emerging from the vision serpent's mouth has a shield, spear and a war helmet; (like Lady Took) has elaborate headdress, a breastplate and ear spools A glyphic inscription (written backwards) in the upper left corner: the date of Shield Jaguar II's ascension to the throne in October 681 All scenes are carved with great precision and detail decorating the raised surfaces The Yaxchilán lintels: were painted but only traces are seen now: red on Lady Xook's clothing and Maya blue color on the background of Lintel 24 Structure 33 three entryways in the exterior Decorated with stucco ornamentation The top step of Structure 33 displays rulers, including Bird Jaguar IV and his father and grandfather playing the ballgame in a series of thirteen carved limestone blocks: They play against Yaxchilán enemies—such as Lord Jeweled Skull who Bird Jaguar defeats Elaborate roof-comb= a masonry "wall" that rises upwards above a building to give the impression that it is taller than it actually is - has a decorative frieze, niches, and sculptural elements (sculpted human being in the central niche) - Lintel 1: Bird Jaguar festooned in the fantastic clothing of a Maya ruler - Lintel 2: Bird Jaguar and his son and heir, Chel Te' Chan K'inich Structure 40: -unusual concept of ideal beauty -often had a chacmool (half sitting half lying down figure, head turned 90 degrees) Function: Relief sculptures: (Lintel 45 on Structure 44) show Shield Jaguar II with war captives to commemorate his victory in battles against rival city-states Reinforce the reign of the ruler and his dynastic ties and wife Structure 33: built by Bird Jaguar IV, (like a father to Shield Jaguar II) ordered series of building projects and monuments= to legitimate his rule, insist respect, and show power. Structure 33: placed on the side of the main plaza= making it a focal point for the area and to attract attention of the people The building is narrow: only able to hold a small amount of people: for royalty or elites To show the people their difference in status (lower) Focus on Lady Xook: the ruler wanted to promote his lineage and power through his most important wife (who had more prestige than his other wives) important for showing Shield Jaguar II's power important role of royal women in Maya culture Context: Yaxchilán's dynasty 4th century C.E: Lord Shield Jaguar II who ruled for 60 years beginning in 681 He commissioned famous sculptural works at the site Bird Jaguar IV (heir) followed his father: built buildings and sculptures were created before the city-state collapsed in the 9th century Prior Structure 23: gap/halt in building at Yaxchilán for about 150 years Lintels (not when they were built) but when they were excavated Bloodletting was a common ritual among elites Very common in depiction of Mayan art Ruler, elites (including women): would let blood to honor and feed the gods= ceremony of a building, children were born, or special occasions Rulers needed to shed blood in order to maintain order in the cosmos Rulers were believed to be a descendent of the gods & bloodletting was important for maintaining power and order in the community Bloodletting was act related to rebirth and rejuvenation. -The loss of blood and the burning of incense produced hallucinations: to access other realms. - Lady Took burned the paper to allow the blood to ascend to the gods attract the vision serpent. - Structure 33: Maya Classic architecture Form: -Yaxchilán's central complex of buildings (called the Central Acropolis) -The contour and incised lines of the lintels possess a calligraphic quality, as if they were drawn or painted rather than carved. - Great attention to detail, sophistication, formal: other mayan cultures in vaes and murals -Many of the exteriors had elaborate decorations, - the carved stone lintels above their doorways which have made this site famous -lintels: provide a lengthy dynastic record in both text and image. include carved lintels (the beam at the top of a doorway), stairs faced with hieroglyphic writing, and stele (upright wood or stone slab monuments). - Structure 23: a yotoot (palace building) showing Shield Jaguar II's wife, Lady K'abal Xook -underneath it are the limestone lintels when entering the doorway

Palace of Westminster (Houses of Parliament), Charles Barry, A.W.N. Pugin.

Description: Charles Barry and A.W.N. Pugin, Palace of Westminster (Houses of Parliament), 1840-70, London Augustus Plugin Interior designs + stained glass Gothic style Context: Across from River Thames Among Houses of Parliament in London Built in the early Victorian era The Great Fire in 1834 burned down the original; had to be rebuilt Competition held to see who could build the best replacement - won by Charles Barry and Augustus Plugin English 19th century Form: Was intended to be either Gothic or Elizabethan In the style of Gothic only (late medieval period; Shakespearean times) Function: Serve as the House of Parliament Primary function; practical and not based in aesthetic appearance, more so the reinforcement of traditional values Still today the seat of government House of Commons House of Lords

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

Fauvism-all about extreme contrasting colors - pure vivid color and bold distinctive brushwork also want to go back to a more primitive (natural and pure) state - imperialism still going on; Matisse goes to Morocco and enjoys the cultural activity of watching goldfish - color "pops out" at you - weird/ different perspectives; not realistic coming from 2 perspectives - top of table perfectly round as if viewer is looking down on it, but legs are thin as if looking at it from the side - goldfish is a symbol of paradise - thinking about garden-- symbolizing divine beauty - painted at home in France; not Morocco

Ruler's Feather Headdress

Form Materials: Feathers, gold, plant fibers, wood, leather, paper, textiles, and gilded brass 3.8 feet tall, 5.75 feet wide Feathers mounted on wooden sticks layered in semi-circles with small plates of gold Originally included a golden bird beak Each of the 450 feathers is a tail feather from a different bird, specifically quetzals and contigas Function Thought to have ceremonial purpose Was carried on a long stick through town Performed in as part of a costume Feathers were a very important part of the Aztec Economy Art made of feathers were seen as a symbol of wealth and status Were used to create fans and shields as well as headdresses Were also a part of a warrior's clothing Especially rare feathers were received as payment from cities conquered by the Aztec Empire Content Vibrant colors and rare materials indicate importance and status Took a long time and much dedication to make, as each feather was retrieved from a different bird Feathers used in this headdress are from birds located in the Yucatan peninsula, meaning that extensive trade was required to acquire these feathers Quetzal tail feathers from the male birds, each of which carry only two long tail feathers that are used in the headdress Made by amantecas (feather workers) who were highly skilled artists and lived in a special quarter of the capital Context Presumably belonged to Motecuhzoma II, ruler of the Aztec Empire Capital of the Aztec Empire was Tenochtitlan (present-day Mexico City) Acquired by Hernán Cortés, a conquistador who led an expedition that led to the fall of the Aztec Empire Sources vary on whether the headdress was gifted as a diplomatic gesture or taken forcefully First mentioned in European inventory as a "Moorish hat" in 1596 when it was acquired by Austrian Archduke Ferdinand II von Tyrol Displayed in ethnology museum in Vienna (now called the Weltmuseum Wien) Mexico has claimed ownership of the headdress and has been asking for its return since 1991 The museum of Austria suggested a replica be sent instead, claiming that the original would be destroyed if it was transported

Painted Elk Hide, Americas (Eastern Shoshone), Late c. 1890-1900 C.E.,Elk Hide, Cotsiogo(Cadzi Cody)

Form: - Artist named Cotsiogo, American name is Cadzi Cody - Known for his numerous animal hide paintings on deer, elk, and buffalo using natural pigments such as chalk and red ochre - Was a member of the Eastern Shoshone tribe - Essential in the transformation from traditional and even ancient tribal methods and art into a modern society and art form that fits into the contemporary Western society - Pigment used on elk hide - Animal painting tradition used to record history - Combination of free-hand penciling and using a stencil Function: - Multifunctional, working for both the economic and cultural benefit of the Wind River Reservation - Led to economic development because it created sales from white visitors and also led them to attend Sun and Wolf dances, in which they would also spend money - Important as a cultural survival statement for the tribe, as it helped move the once antiquated and ancient tribe artwork into the modern world by making it increasingly contemporary Content: - Combines contemporary tradition to the historical record of tribes - Displays important ritualistic Sun Dance and Wolf Dance - Sun Dance was especially ceremonial and used to honor deities - Depicts daily life on the Wyoming reservation such as men hunting buffalo on horses and women sitting near fires at a campsite (teepee) - Warriors shown in feathered war headdresses to show their honor and importance Context: - painting on animal hides is a long-lasting tradition in the Great-Basin region of the U.S. - functioned to preserve history, similar to the oral tradition of story-telling - Animals such as horses and buffalo on the painting were especially important to livelihood, as Buffalo was a source of food and horses were used during hunting. - An era of intense poverty on the Wind River Reservation in Wyoming, important because this artwork kept both the culture and economy alive

City of Cusco, including O0rikancha (Inka main temple), Santo Domingo (Spanish colonial convent), and Walls at Saqsa Waman (Sacsayhuaman) Central highlands, Peru. Inka. c. 1440 C.E.; convent added 1550-1650 C.E. Andesite Cuzco, which had a population of up to 150,000 at its peak, was laid out in the form of a puma and was dominated by fine buildings and palaces, the richest of all being the sacred gold-covered and emerald-studded Coricancha complex which included a temple to the Inca sun god Inti.

Form: Red roofs Buildings are close together The city was built on a flat valley that is surrounded by a mountain range -- ideal place for a settlement Fertile land Fed by several rivers Extremely organized Technical stone constructions Stones at Sacsayhuamán are huge (two or three times the size of humans) Urban layout Function: Capital of Tawantinsuyu ("Land of the Four Quarters," name for the Inca empire in Quechua) Divided into four quarters that represent the four divisions of the empire People in each section are specific to that division Two main sections → hanan (upper/high) and hurin (lower) Axis mundi → center of existence Inca rulers and nobles lived in Cusco, as well as local leaders Women came to Cusco to become acllas ("chosen women"), to weave cloth for deities and nobles, and to make chicha ("corn beer"), serve in shrines, sometimes chosen for marriage Men brought to Cusco for education Gods and mummies kept in the capital Qorikancha In the center of the hurin Most sacred shrine of the Inca → to the sun god Inti Imaginary lines called ceques connected to other shrines Was later turned into a Christian temple Monastery of Santo Domingo built around it Sacsayhuamán Built as a fortress, but function is debated Left unfinished? Possibly because of colonization Ancestral conditions Content: City is thought to be laid out like a puma (symbol of strength) The stone construction shows the advanced ability of the society with aesthetic values and structures The nobles' houses were separated from the rest of the city The architecture and urban layout solidified the city's importance as a political power Masonry demonstrates understanding of how stone is put together Each stone was modified with tools so that it fit with its neighboring stones (some had up to 12 sides because of this process) Stones had room for a little bit of room to wiggle → so that earthquakes would not destroy it Gods (captured) and mummies in the city were used to further control followers City represents 3,000 years of indigenous and autonomous cultural development in Peruvian southern Andes Qorikancha Ceques radiating from Qorikancha also served as markers of time and "landscape calendar and cosmogram" Renovated by emperor Pachacuti Inca Yupanqui He had a divine revelation → divine king Doorways and wall niches are Inca trapezoids Doorways are double-jammed to signify importance The exceptional masonry is reserved for important buildings Walls covered in thin sheet of gold → representing the sun (Inti) Inside → garden made out of jewels and precious metals (with people, animals, plants) Later stolen and melted down by conquistadors Sacsayhuamán Northwest of Cusco Parts could have been left uncompleted → possibly because of colonization Stones are much larger than the ones used for the Cusco houses Quarried and hauled into place using manpower Under the mit'a → labor tax applying to all able-bodied people canchas (housing units)-- kept intact architectural components and works of art inside structures Context: 15th century-- the city was redesigned and remodelled after a pre-Inca occupation Inca Empire Rose in the Andes mountains in the 13th century, lasted until Spanish conquest in the 16th century Very important (practically the primary) deity is the sun god Inti Patron saint of Cusco Emperor is called → Sapa Inti → son of the sun Did not have many features associated with old world (wheel, animals to ride and pull plows, knowledge of iron and steel, written system) Known for monumental architecture, extensive road network, textiles, use of quipu (knots) for record keeping and communication, agricultural accomplishments (especially in the harsh environment), and their political structure Did not have a money system Instead, labor and goods were exchanged Taxes were paid in the form of labor Rulers then granted access to land and hosten celebrations Important coming of age ceremony at three years of age → rutuchikuy High infant mortality rate, so babies are not invested in much until they reach three years old Each family member would cut off a piece of hair to keep, then the father cuts off the rest Coming of age/maturation ceremonies when they become sexually able and potent Celebration for men → performance, new clothes, shows of strength Girls are made go into the forest and fast until bleeding stops then come back and be celebrated Inti Raymi Ceremony of the sun and sun god, which they highly worshipped It was limited and later banned when the Spanish took over Men and women were seen as equal Women were weavers and did a lot of domestic work Men did a lot of the farming, combat, and herding (spun and wove when necessary) Spanish saw the woman as slaves but Inca women did not see themselves as slaves → worked for the betterment of the family and the community Women could own land → inheritance passed down through mother and father lines 16th century Spanish conquest City of Cuzco was preserved Temples, monasteries, and manor houses built over the Inca city (mostly using Baroque style) Showed juxtaposition between cultures One of the most important centres of religious art creation in the continent Earthquakes in the 20th century have compromised some of the buildings Today it is recognized as cultural heritage and a monumental area

Mesa Verde Cliff Dwellings

Fully Identify Mesa Verde Cliff Dwellings 450-1300 C.E. Sandstone Ancestral Puebloan (Anasazi) Montezuma County, Colorado Form Built directly into the cave Dwellings built both on top and in/along the mesas Over 600 structures Made of stone, mortar and plaster Stone and mud mortar, supported by wooden beams adapted to the natural clefts in the cliff face Shaped the sandstone using harder stones Used chinking pieces to fill gaps in the mortar New building technique from other dwellings that were built using adobe Adobe - type of brick made from clay, sand, straw and/or sticks Composed of architectural units and kivas (see context) The paintings and murals were pigmented with clay, minerals and other organic materials. Function Continued use for ceremonies, though not specifically the Mesa Verde structures Originally both residential and ceremonial Originally covered but now they do not have roofs The space around the buildings was used as a small plaza Circular and rectangular/square rooms for living One room in the architectural unit that was facing the plaza usually used for family gatherings Smaller rooms off the hearth were used as storage rooms Cliff Palace has some unusual structures including a circular tower, which the use for is still unknown Content Kivas- underground circular rooms used for ritual purposes Had a wooden roof held up by sandstone columns (sat on the the top of the columns like a shelf Had a firepit in the center with a vent and a deflector Also had a small hole in the ground called a sipapu for ceremonial purposes Spaces in between Kivas and housing spaces Small rooms off the hearth (storage rooms) had holes large enough to squeeze an arm through to grab anything on may need Plastered and painted murals, many that remain are fragmentary Murals and other paintings decorated the walls Geometric designs, plants, and animals The geometric designs were used to depict the geography of the land Context Mesa Verde means "green table" table refers to the mountains Ancestral Puebloans lived in the Mesa Verde for about 850 years (450-1300 C.E) Not all the people lived in the Mesa Verde, but the structures are the best preserved 500-1300 CE, Ancestral Puebloans were mainly sedentary farmers Originally farmers lived closer to their crops but later they began to lie near sources of water and would walk farther to reach their crops Exact reasoning for the cliff dwellings is unknown, possibly provided protection from invaders, snow, and provided shade. There could also have been a ceremonial or spiritual reasoning Abandoned around 1300 CE probably due to drought, lack of resources, or violence

The City of Machu Pichu (15th Century)

Fully Identify: Machu Picchu Built by the Inca People c. 1450-1540 CE Individual stones (mostly granite) ➝ shaped to fit together Andes Mountains, Peru Form: Ruins of an Inca city Located near the Inca capital (Cusco) Composed of houses & terraces built by fitting individually carved stones together Terraces essentially = steps built into the side of the mountain Slow process of erosion Provide land for agriculture 16 stone channels drain water out of structure or into fountains One fountain may have acted as a ritual bath for the emperor Walls resemble mosaics Wood & thatch used for roofing Entrances, windows, & niches are trapezoidal Observatory Made up of a stone enclosure with windows above a cave structure Context: Originally used as a palace for Inca emperors- Pachacuti Inca Yupanqui- mid 15th century Overlooks the Urubamba river (near modern day Peru) near Inca capital of Cusco, and nearly 3,000 feet lower in elevation In a fertile climate Chosen because of its proximity to Adean landscape- sight lines to other mountains "apus" These mountains symbolize the spirits of ancestors Emperor would only live there for part of the year in a "separate compound southwest of the sight"- shows his "stand alone" royal status Pachacuti believed he was the descendent of the sun or the sun himself- why this work was known as the "temple of the sun" People viewed the sun as divine- emperor had divine rights Cross cultural connection with other European emperors (i.e. Louis XIV) Yanaconas and Mitimaes lived there also (year round) Yanacona- "retainer" or person who commanded others to come and work for the Incan empire Most worked as metalsmiths on the side Mitimaes- the colonists that the yanaconas commanded to come and work at Machu Picchu. Hiram Bingham III (1875-1956) discovered Machu Picchu and proceeded to excavate it His team at Yale (Peabody Museum) agreed that after excavation they would return the artifacts to Peru (Memorandum of Understanding with the Government of Peru on November 23 2010, a second Memorandum of Understanding with the University of Cuzco (UNSAAC) on February 11, 2011) Content: Main building construction = typical Inca elite architecture Stones shaped to fit one another, not to look uniform Each stone had a protruding side & a concave side that locked them with other stones but allowed for movement during earthquakes Outward faces were always smooth Buildings & layout highlight social divisions Structures for people of lower class were made more crudely & not in the typical Inca elite style Most high status buildings are together in the northeast Emperor lived to the southwest, further symbolizing his status as ruler The observatory is next to his residence, drawing connections between status, royal authority, ritual, and astronomy Pachacuti was claimed as a descendent of the sun (Inti), a position that contributed to his right to rule Was responsible for conducting many rituals Machu Picchu contains many religious structures A testament to the importance the Inca placed on religion & ritual Used rituals to reinforce their relationship with the supernatural force of existence Emperor Cave of the observatory may represent the Inca underworld Structure acts as a representation of Inca myth as much as a center for astronomical study Intihuatana Carved boulder located in ritual sector of Machu Picchu Reflected belief in spirits within the earth Reinforced Inca connection to them Function: Emperor was very spiritually engaged and was the spiritual leader of his people- performed rituals relating to supernatural forces at this site Number of religious artifacts represent power of the emperor The Intihuatana or a carved boulder ("hitching post of the sun")- used sun and shadows to tell the time (religious rituals were very time oriented) Used for astronomy and studying the sky- people went to the high points of the building Area where the elite could gather- plan the fate of the empire, have feasts, and perform religious acts. Recreation of Inca myth- people would travel to Machu picchu and feel connected to their ancestors who also made great pilgrimages Then and now Machu Picchu is burdened by its high visitation rate- difficult to maintain the historical integrity of the site

Chavin de Huantar

Function: - Temple and religious center for a supernatural being that was their primary god - An important pilgrimage site that drew people and offerings from all over - Designed also to unify the people of a previously distant and unconnected Pre-Inca Peruvian society - Held many spiritual ceremonies and rituals as well as near constant prayer and tribute to the gods, especially the supernatural anthropomorphic being depicted in several of the site's sculptures. Form: - Archeological and cultural site in the Andes of Peru - Architectural complex made primarily of stone - roughly shaped stones for walls and floors - smooth stones for elements and artistic designs inside - Lanzón and sculpture made of granite - Jewelry made of gold alloy - Materials such as granite and gold alloy are relatively nice compared to other similar structures at the time, demonstrates both size of the population making the pilgrimage and the importance of spirituality in the culture. - 10,330 feet above sea level - Temples, especially the first, have a lot of tunnels - No windows, use tunnels to bring in air Content: - Transportation of ceramics, textiles, and other moveable products - Consists of the old and new temple - old temple is "U" shaped and built around 900 BCE - new temple built around 500 BCE, which made it larger and added a sunken court - Includes a large stone carving and sculpture of the supernatural being for whom the temple was originally built. - Also included similar mysterious, supernatural, and spiritual art throughout - The serpent motif was a nose ornament found there used and worn by elites of the Chavín culture to demonstrate status and power. - Includes quarried stone buildings, terraces around plazas, an internal gallery, and plentiful anthropomorphic artwork in an ode to the supernatural being

Great Serpent Mound

Function: Snakes, which were seen to have supernatural powers, were often incorporated into spiritual rituals. The astrological alignment of the serpent—the head aligns with the summer solstice sunset and the tail with the winter solstice sunrise—suggests that it was used to mark the seasons. Similarly, the curves in the serpent's body may follow lunar phases or equinoxes. It's possible that the snake is swallowing the ovoid shape at its head, which could represent the sun. Perhaps the swallowing of the sun was meant to document a solar eclipse. The direction of the (North) Pole Star aligns with the first curve of the serpent from its head; thus the serpent may have served as a natural compass. It also may have represented the constellation Draco, which included the Pole Star. Created around the same time that Haley's Comet appeared—may have marked this astronomical event. Although burial sites from the earlier Adena culture nearby indicate a possible burial purpose for the serpent, no archaeological evidence suggests this. Scholarly debate over the mound's purpose (clearly) continues. Context: Created by Native American tribes (primarily the Fort Ancient culture) who lived in the valleys of the Ohio, Missouri, Mississippi, and Illinois rivers before settlers of European descent came to the region in the 19th century. The people who made this mound lived in settled agrarian communities; farmed squash, maize, and beans (the "three sister" crops); had a stratified social hierarchy with a large labor force, and did not leave behind written records. Effigy mounds of animal figures were common creations of the tribes of the Upper Midwest; however, many of these mounds were destroyed by the plows of European settlers. Many of these cultures believed snakes to have supernatural powers; tribes of the Middle Ohio Valley frequently made copper serpentine figures as well. Geography: the mound follows the topography of a high plateau over Ohio Brush Creek—the serpent's head points to a cliff overlooking the creek. It's speculated that the plateau's lizard like shape evoked (and inspired?) the creation of the serpent. Geology: a meteor struck the site 250-300 mya, creating folded bedrock. The Fort Ancient peoples lived in densely populated agrarian villages of 100-500 residents, composed of circular or rectangular houses surrounding an open plaza. In addition to agriculture, some members seasonally lived and traveled in hunting groups, supplementing their diet with deer, elk, turkey, bear, small game, nuts, fruits, and berries. During this period (after 1000 A.D.), the culture shifted from making burial mounds to cemeteries surrounded by trash and storage pits. The Fort Ancient culture lived contemporaneously alongside the Mississippian culture, which built Cahokia and heavily emphasized the theme of the rattlesnake. It's possible that this serpent mound is a testament to the influence of the Mississippian rattlesnake-worshipping practices. Some scholars consider the Fort Ancient culture just to be an offshoot of the Mississippian culture. Perhaps the mound is just a restoration/refurbishment of an earlier mound made by the Adena culture (c.1100 B.C.E.-200 C.E.) or the Hopewell culture (c. 100 B.C.E.-550 C.E.). Form: Dirt Snake effigy mound, the largest one in the world, over 1300 feet long. An average height of 4-5 feet and an average width of 20-25 feet. Thought to possibly be a rattlesnake Depicts a snake with three curves and a tail ending in a spiral that appears to b swallowing a circular shape. The mound conforms to the natural topography of the area The head faces east and the tail faces west Head aligns with summer solstice sunset Tail points to the winter solstice sunrise. Erected c. 1070, although the construction date is entirely speculation and no one, is completely certain of it Is a national historic landmark Content: A snake, slightly crescent-shaped With the snake's head to the east and the tail to the west The ovoid shape at the eastern end of the serpent is thought to be its head, eye, or possibly an egg or even the sun that the snake is swallowing (representing a solar eclipse?) Depicts a large snake, possibly a rattlesnake Many Native American cultures east of the Mississippi believed the snake to be a powerful deity of the underworld. Vocabulary: Effigy: a model or sculpture Cross-cultural comparisons: Stonehenge Aligning different parts of the structure with solstice/ equinox and connection to celestial cycles. Both very large structures that would have required an organized plan and innovative methods to be made. Apollo 11 stones Are both very basic depictions of animals (detail wise) Both have very ambiguous and unknown meanings

Temple of Amun-re and Hypostyle Hall Karnark, near Luxor, Egypt. New Kingdom, 18th and 19th Dynasties. Temple: c. 1550 B.C.E.; hall: c. 1250 B.C.E. Cut sandstone and mud brick.

Hypo-style Hall - The Hypo-style Hall, a large room with columns, is also the largest and most elaborately decorated of all such buildings in Egypt - columns designed with lotus (number of large water lilies) to reflect marsh like environment - 70 ft columns - Temple of Amun-Re - As the temple of Amun-re is the largest religious complex in the world. - Amun-re principle religious temple - place of God to dwell on earth - axially planned: parts of a building are organized longitudinally, or along a given axis; based on a line (nsew) - sacred lake for the priests - clerestory: section of wall that allowed light and air to enter building - higher the story, the more exclusive - connected to the beginning of time or first of the earth - pylon: gateway

Maize cobs. Inka. 1440-1533. ce. sheet metal/repousse, metal alloys

Inka metalsmiths combined silver and copper to mimic the internal and external components of actual corn Art-making process (materials and techniques): The Maize cob was made out of a mixture of copper and silver by Inka metalsmiths It was made so that it retained the lifelike proportions of actual corn, and was thinner on the husk and thicker on the actual corn The Maize cobs kernels were individually sculpted so that they are still visible, just like on actual corn Content: A life sized metal corn cob sculpture made of silver and gold. Mimics the appearance of ripe corn ready to be harvested Sculptural representation of Zae mays Corn was a very important part of life, honoring the corn Context\Audience: Displayed in a metal garden in the courtyard of one of the most important Inka temples, the Qorikancha, in the capital city of Cuzco Inka art (unlike many other Andean artistic traditions) favored naturalistic forms, as seen in this life like portrayal of corn European invaders desired the gold and silver the Inkas had. Some of the earliest Spanish chroniclers record the placement of a garden composed of gold and silver objects among many of the offering and ritual spaces in the Qorikancha (including similar sculptures of the corn) Plants and animals represented in the golden garden cannot grow and survive at every point in the empire, but only at certain altitudes. Maize grows up to a mid-range altitude, metallic maize cobs would have represented one of the most important imperial foodstuffs, used for making the chicha (maize beer) consumed at feasts Intended Function\Purpose: The Maize cob was supposed to be a ritual offering performed by the Inca government or state religious officials Many gold and silver objects as well as some textiles were used as offerings and sacrifices in the Inka religion The rituals and offerings help retain Inka offical's power (the Qorikancha's garden reinforced the Inka's divine right to rule) All these offerings acted as symbols of the supernatural origin of the Inka's in the Sun, and their control over the natural world as descendants from the most powerful deity Artistic Innovation\Convention: Inkan metalsmiths were able to sculpt silver, copper, and gold alloys into realistic animals and objects

Pink Panther, Jeff Koons. 1998. Glazed Porcelain.

Kitsch: designed in poor taste, or tacky, but almost cool - satire, seems like piece looking to past - benal or boring wha koons is interested; not original - not what's expected from post modern art suppose to be critical or modern culture - Kitsch mass production appealing to undeduxatw masses - koons used cartoonist emblems an assault upon sincerity and taste

The Swing. Jean-Honore Fragonard. 1767 C.E. Oil on Canvas

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

Templo Mayor (Main Temple) Tenochtitlan (modern Mexico). Mexica (Aztec). 1375-1520 C.E. Stone (temple); volcanic stone (The Coyolxauhqui Stone); jadeite (Olmec-style mask); basalt (Calendar Stone) The most spectacular expansion of the Templo Mayor took place in the year "1 Rabbit" (1454 A.D.) under the ruler Motecuhzoma I when impressive art works and architectural elements were added.

Myth Summary associated with war god aspect of temple: Huitzilopochtli's mother, Coatlicue (Snakes-her-skirt), became miraculously pregnant. Her daughter, Coyolxauhqui, became angry when she heard this, so with her 400 brothers, she attacked their mother. Right away, Caotilcue's son, Huitzilopochtli emerged out of her womb, fully grown, clothed and armed to defend his mother on the mountain called Coatepec (Snake Mountain). Eventually, Huitzilopochtli defeated his sister and brothers, then beheaded her and threw her body down the mountain and her body broke apart. Huitzilopochtli became the patron deity of Mexica. Form: Volcanic stone and covered in stucco the post classic period and Mesoamerican style A large symmetrical building with twin staircases leading up to two identical temple towers Was a focal point of the society and taller than all the other buildings Content: Main temple of the Mexica people Design is inspired by Mexica mythology Either side of the temple was dedicated to and represented the two primary gods Wooden statues of the two gods were inside of the two temples God of war and sun on one half Huitzilopochtli Included sacrificial stone and standard bearer figures and serpants This side of the temple represents snake mountain or Coatepec South side of the temple Painted red → symbolic of the dry season during the winter solstice Steps leading to Huitzilopochtli's were painted bright red, symbolizing war and blood Stairs also had sculptures of snake heads with feathers God of rain/agriculture on the other half Tlaloc Included altar of the frogs and chacmool sculpture to receive offerings This side of temple symbolized the mountain of sustenance, which produced rain and allowed crops to grow North side of the temple Painted with blue stripes → symbolic of the wet season during the summer solstice Stairs leading to Tlaloc temple were blue and white, again representing water Stairs also had sculptures of snake heads with blinkers These halves were very contracting to each other, showing a value in balance and harmony of opposites in nature from life and death, peace and violence, power and humility. Function: A place of worship for their gods, Tlaloc and Huitzilopochtli Rituals, ceremonies and reenactment of their myths Panquetzaliztli ("Banner raising") performed Honored Huitzilopochtli's triumph over Coyolxauhqui Gifts were offered to Huitzilopochtli Tamales were eaten and there was dancing Reenact the myths associated with Coatepec A representation of Aztec warfare and conquest as well as their power Context: Aztec empire was from 1345 - 1521 CE Tenochtitlan, Mexico (present day mexico city) Sacred precinct and center of former mexica empire On on island in the middle of lake Texcoco Means "The Greater Temple" A UNESCO world heritage site Taken apart and destroyed by the Spanish in 1521, remains were buried When the Coyolxauhqui stone was found, the site of Templo Mayor was also rediscovered Now the temple is an excavation site of ruins Thousands of ritual objects have been recovered related to the temple Included objects from other cultural traditions showing the Mexica awareness, value, and appreciation of past culture, such as the Olmec mask The aztec Invasion of neighboring territories to spread Aztec ideas and religion Tenochtitlan dominated smaller city states to establish itself as the capital around the 12 cent CE Constant threat of military intervention maintained the order Tenochtitlan could hold 200,000 people by the 16th century Was a Trade center Gold, pottery, food exports Coyolxauhqui Stone Form: C. 1500 Volcanic stone Found in Templo Mayor in 1978 A Monolith relief carving and was originally painted red orange white and blue Content: Connected to warfare and the sun→ was located at the base of the huitzilopochtli side of temple Depicts the Aztec goddess Coyolxauhqui (Bells-Her-Cheeks), sister of the patron god, Huitzilopochtli (Hummingbird-Left), who was killed by her brother when she attempted to kill their mother. Graphic imagery depicts themes of death and chaos. She is beheaded and dismembered Items mark her status, but the goddess is naked connecting to motherhood but Also symbolizes Humiliation and defeat Function: A sacrificial stone Used to transformed temple into a symbolic coatepec ("snake mountain") by placing it at bottom of structure to reenact their myths to honor Huitzilopochtli During the monthly festival of panquetzaliztli, war captives were killed and rolled down the structure so that they landed on the monolith to reenact and symbolize the defeat of Coyolxauhqui who fell off the snake mountain Ritual was to assert power and authority over enemies of Mexica and make them fear Mexica War captives were killed in a way that mirrored the death of Coyolxauhqui Calendar Stone Form: called the sun stone From 1502-20 CE Discovered in 1790 Basalt, Originally painted Content: angry face resembles sun with open mouth and ear spools to symbolize elite. Possibly of Tonatiuh the Aztec sun god Related to aztec myths of the five suns which is the creation all previous eras of the world including the current, or fifth era/ sun called four movement Prophesied the 5th era will end in death by earthquakes, relating to the volcanic landscape 20 symbols → the days of the calendar Arrows point in cardinal directions to symbolize quadrants of the universe Tenochtitlan was also divided into four quadrants, capital represents center of universe Fire Serpents represent time→ carry sun across the sky Includes a Symbol of Montezuma II→ dates to his reign Function: Modern day Emblem of mexican culture Records the origins order and structure of the universe Tells story of cosmos History of creation and time Olmec-style mask Form: C. 1200-400 BCE Small Polished sculpture made of jadeite Recovered at the site of Templo Mayor From Olmec culture, before the Aztecs In Gulf coast of mexico→ distant in geography and time Function: Was and Offering buried in the temple in 1470 Aztec collected them and ritually buried them to offer to gods Aztec collected objects from many different culture→ connection between cultures Shows the vast trade networks of mesoamerica Context: It was from 1000 years prior to Mexica's existence in Teotihuacan → Mexica people saw it as valuable and historically significant Shows Aztecs revered past culture and cared about history Olmecs thrived and had enormous pyramids that the Aztecs admired and believed the fifth sun was born

Self Portrait. Elizabeth Louise Vigee Le Brun. 1790 C.E. Oil on canvas.

Naturalism Form Return to the more naturalistic ideals that appeared in the Renaissance Elisabeth is shown in a natural active position Function: Self Portrait Content: Self Portrait Elisabeth shown in the act of painting Brushes and pallet in hand Wears a black dress with white ruffles, dark red sash, and white headscarf Context: Elisabeth Highly famous for her portraiture in Europe Her paintings did not utilize many Rococo styles Embraced natural beauty First women to be accepted into the Royal Academy of Art Not invited back after the reconstruction of the institute

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

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

Monticello. Virginia, US. Thomas Jefferson (architect). 1768-1809 C.E. Brick, Glass, Stone, Wood.

Neoclassical Structure Classical European Structure = basilica plan Colonnades Pediment Persian windows Dome Transept = intersects like gothic church Steps = ancient Etruscan temples Gardens = French imitation Function: Served as a personal home for Thomas Jefferson Content: Served as a residence for Thomas Jefferson Designed as livable home space Context: Thomas Jefferson = father of the American Revolution Fascinated with classical antiquity during travels to Europe as an ambassador Moved to re-establish his inspiration in the America's Neoclassicism = movement seeking to reinvent classical ideas

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

Order of the Columns: Corinthian ---> Ionic ---> Tuscan - Function: for show - Form: sand to soak up the blood, Roman Numerals to correspond with the seats, most important people close to the ground - could also retract roof so it doesn't get too hot - would've been known as Flavian amphitheater - Romans use concrete - can hold between 50-80,000 people - Roman pieces focus on inside - Egyptian and Greek focused on outside - control shape as much as you want; almost as if controlling nature - 76 entrances and exits

Liberty Leading the People. Eugene Delacroix. 1830 B.C.E. Oil on canvas.

Personification of Liberty (central figure) Marching over dead bodies Leading the way to freedom Carrying flag of revolution and a musket in her hands Young boy holding two pistols Represents sacrifice Upper-class gentleman in a top hat, holding a rifle Represents the rich's inability to stay out of the war Materials - medium: canvas; oil on canvas Context: Romanticism/during Romantic period Based on July Revolution of 1830 Lasted 3 days Form: Realistic, but with dramatic, theatrical lighting Soft, rounded lines that embody the figures depicted more so than the sharpness of their objects Depth and foreground but little to no background; shrouded in a cloud of fog (theatrical effect?) Function: Glorification of everyday people who were involved in the war and the role of France's citizens in that war Acknowledgment of the sacrifices civilians made for the sake of revolution against a corrupt governmental regime Takes on a poignant tone as the revolution would be thought by some to have been in vain; pre-Napoleanic rule

Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preparation for Passover) Late medieval Spain. c. 1320 C.E. Illuminated manuscript (pigment and gold leaf on vellum)

Preparation for Passover: - slaughtering of sheep - cleaning the house - getting ready for passover The Plagues of Egypt - disease - death of animals - plague of frogs Haggadah (narration), the story of passover - the golden haggadah luxurious, lavishly decorated - signal of wealth - includes prayers and readings said during the meal - may have had ceremonial purposes - gothic - looks Christian in style

Isenheim Altarpiece. Matthias Grünewald

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

Remnants of enlightenment but starting to get into romantic - paints in neoclassical style but subject of nature is romantic - prostitute in Morocco - no ret to Venus. It's okay sues prostitution because in Africa - justification for imperialism -get rid of harems; western idea of harem - sensuality off figure more important to Ingres - breaking rules of anatomy. - relate to Pontormo mannerism - bridge from neoclassicism to romanticism - distance from figure; eye contact but she's aloof - long frame; comes close to touching all 4 corners - be able to compare to Titian

Y no hai remedio (And There's Nothing to Be Done), from Los Desastres de la Guerra (The Disasters of War), plate 15. Francisco de Goya. 1810-1823 C.E. (Published 1863). Etching, drypoint, burin, and burnishing

Romanticism Form Potent subject Uncensored style Grotesque imagery Depiction of brutal military action Strategically structured Directed line to lead the eye Triangular composition Function: Etching Content: Single print Documented the Peninsular War Shows man tied in front of a firing squad Surrounded by already shot bodies Context: Napoleonic French Wars (waged on Spain) Goya Worked as a painter for the French and Spanish royalty His work was so controversial Prints intended to install Spanish nationlaism Went deaf and became a recluse

Kui Hua Zi (Sunflower Seeds) Ai Weiwei. 2010-2011 C.E. Sculpted and painted porcelain.

The material used, the way it was produced and the narrative/personal content make this work a powerful commentary on the human condition. - The material used, the way it was produced and the narrative/personal content make this work a powerful commentary on the human condition.

The Oxbow (View from Mt. Holyoke, Northampton, Massachusetts after a storm). Thomas Cole. 1836 C.E. Oil on canvas.

Tree being bent Symbol for nature being at the mercy of itself River Far below Clouds Stormy in the foreground, white and clear sky in the background (far corner) Context: Romanticism/Romantic period Hudson River Hudson River School founded by artist, Thomas Cole Form: Realistic but cartoonish in an exaggerational way; like a charicature Warm hues (yellows and greens) for nature, dark, cool colors for weather (grey, blue) Function: Reference (real-life river) Reminder of humanity's insignificance in the grand scheme of things (as applies to many works created during the Romantic movement)

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

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

Shibboleth. Doris Salcedo. 2007-2008 C.E. Installation.

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

Venus of Urbino Titan. c. 1538 C.E. Oil on canvas

ade with "glazing" o layers of oil paint o layered to create shades not sure who she is and there are not many indicating features o the fact that she is nude indicates that she is a Venus o by calling her a venus it makes the viewer feel safe to look at the nude of a woman and think about ideas of beauty · beauty of the physical · direct gaze that is pulling the viewer in · the way her hair falls combines with the flowers she is holding creates a sensual environment · the oil paint creates an incredible softness o embodies the Venetian style by using glazing to create a soft feel but rich color o look of flesh · beginning of the tradition of the reclining nude · canvas divided into two o each side is in perfect balance o the figures on the right balance the mass of her body · her torso is too long and her feet are too tiny · dog is a symbol of marital fidelity · the woman in the background looking through a chest represents motherhood the architectural regularity and stability of the setting is at contrast with the curves of her body the patron for the work was Duke Urbino Guidobaldo II Della Rovere for a gift to his young wife · represents the allegory of marriage to be a teaching to the young wife of erotisism, fidelity, and motherhood · to remind the women of her responsibilities she has as a wife to her husband.

Apollo 11 Stones Nambia. c. 25000-25300 B.C.E. Charcoal on stone

depiction of some animal thought to be called a Therianthrope. The animal resembles a feline body and human hind legs. Thought it could be some supernatural being. Context: It was found along with seven other tablets that contained animal figures on them. Found during the Apollo 11 moon landings and there was given the same Apollo 11.

Camelid sacrum in the shape of a canine Tequixquiac, central Mexico. 14000-7000 B.C.E. Bone.

made from the now fossilized remains of the sacrum—the triangular pelvic bone—of a camelid (now extinct), a member of the camelidae family (along with alpacas, llamas, camels) Function: Intended function and original meaning unknown prehistoric artisans drew/painted/carved/sculpted what they saw in their everyday life so, choice to render image of a canine makes sense study and depiction of animals was common in prehistoric art Content: head of a canine natural shape of sacrum bone probably suggested image of canine to the carver nostrils, mouth, other details added by carver Context: There is not much known about this work, because: No stratigraphic analysis from site of discovery, so date of creation is difficult to determine Prehistoric, so no written records of artisan, purpose, meaning, date, etc. Lost to scholars for about 60 years (1895-1956) because it was privately owned during that time it was, for a time, questioned whether this sculpture was actually made by human hands, or if its likeness to a canine head was just its natural shape art historians have resolved that it was indeed carved by a human proven by symmetrical, precisely cut nostrils (precision and sharp cut indicate someone using tools, carving with a purpose) spiritual significance of the sacrum by looking at later Mesoamerican cultures, which viewed the sacrum as spiritual and sacred, it can be inferred that this sacrum was chosen for similar spiritual reasons pelvic bone is the fulcrum of the body, and central to internal organs in particular, reproductive organs sacrum could be symbol of fertility, or connection to ancestry and posterity The English word "sacrum" is derived from Latin: "os sacrum," meaning "sacred bone."