ARAH 301 Unit 2

Leonardo da Vinci, Mona Lisa, oil/wood, Florence, Italy, c. 1503-1506

who is this person? we dont see how she actually wouldve looked in her time like bellini influence by northern painters, many different glazes, very yellow because of age and lourve famous for dirty paintings, layers of varnish, to make it look brighter but collects dust and debris fad in 15th century in Florence of having profile portraits, but with mona, we feel like we are communicating with her chiaroscuro, light and dark juxtaposition, dramatic lit up face with dark hair and shadows, not different from tenebrism sfumato, hidden by smoke, merging all different portions of the painting, unifying it adding naturalism and vitality Subject may have been 24 year old lisa gherardini del giocondo Not a wealthy wife in profile view mysterious , hides thoughts and personality

Ardabil Carpet, Iran, dyed wool wile, undyed silk, Iran, 1539-1540

used for Muslim prayer, prostrating oneself Since the late Middle Ages, carpets have been the Islamic art form best known in Europe. highly prized among wealthy Westerners. Persian Shah Tahmasp (ruled 1524-1576) established royal workshops for the production of finely woven carpets. Maqsud of Kashan's name—presumably he was the designer—and the production date of 1539-1540 is woven into one of the most spectacular surviving carpets of Tahmasp's court. huge rug, measuring almost 35 by 18 feet. densely woven with 340 knots in each square inch— 25 million knots in total. central medallion, orbited by sixteen, radiating, pointed ovals in alternating colors, is flanked along the rug's long axis by two stylized representations of mosque lamps, one smaller than the other. the difference in size may have been calculated to make the rug seem even longer when viewed from the end of the long rectangle on entering the room.

Portrait Head Stirrup-Spout Bottle, Moche culture, Peru, painted earthenware, c. 400 BCE-600 CE

******* Moche lords ruled each valley in this region from a ceremonial-administrative center. largest of these contained the so-called Pyramids of the Sun and the Moon, built entirely of adobe bricks. The Pyramid of the Sun, one of the largest ancient structures in South America, was originally 1,000 feet long by 500 feet wide, rising in a series of terraces to a height of 59 feet. thought to be the capital of the entire Moche realm, but maintained a decentralized social network. exceptional potters and metalsmiths. Ceramic vessels shapes of naturalistically modeled human beings, animals, and architectural structures, at times combined in complex figural scenes. developed ceramic molds, mass-produce some forms. created vessels in the shape of human heads that seem to preserve individual likenesses. individual archaeologists have named "Cut Lip"—because of the scar on the left side of his upper lip—who appears on a series of vessels, showing him at various ages in his life, from boyhood, to adulthood to advanced age. Other vessels record mythological narratives in intricate fine-line painting and ritual scenes similar to those painted on the walls of temples and administrative buildings. developed several innovative metal alloys.

Giotto, Virgin and Child Enthroned (Ognissanti Madonna), Florence, tempera/gold/wood, 1305-10

******* icon image that is intrinsically holy long tradition from Byzantine church replacement with icon with an altarpiece placed behind of the altar more symbolic of sacred person very powerful religious impact labor intensive process wood cut precisely , plaster, underdrawing, gold leaf, underpainting, final layers tempera is egg and pigment years to make positioning of figures within a largely symmetrical composition influenced by Cimabue's No inclined head nor delicate gold folds in her drapery more naturalistic light and shadows used along with her holding her child's leg instead of pointing him out to us— less artificial reviving old classical ideals retains the hierarchically scaled and formal, enthroned image type, set against a flat, gold background but we get a sense that these figures are three-dimensional beings

Great Serpent Mound, Adams County, Ohio, c. 1070

1348 serpentine feet The people of the Mississippian culture (700-1550 ce) continued the mound-building tradition of the Adena, Hopewell, and other early eastern cultures. nearly a quarter of a mile long, Carbon-14 dating of wood charcoal samples from the mound suggests that the earthwork was built about 1070 ce. many interpretations of the twisting snake form, especially the "head" at the highest point, an oval enclosure that some see as the serpent opening its jaws to swallow a huge egg. Perhaps the people who built it were responding to the spectacular astronomical display of Halley's comet in 1066 image of Halley's comet, dated 1066, when the comet went by and the norman invasion this was inhabited by natives originally in Ohio and they saw the comet and were afraid, to appease the gods they built this mound

Grizzly Bear House-Partition Screen, Wrangell, Canada, Tinglit people, cedar, paint, human hair, c. 1849

Before European explorers, the Native American peoples composing the First Nations of the Northwest Coast Animals in Northwest Coast art because they were critical to survival, each extended family group (clan) claimed descent from a mythic animal or animal-human ancestor. derived their name and the right to use certain animals and spirits as totemic emblems, or crests. Emblems carved cedar house poles and the tall, free-standing mortuary poles erected to memorialize dead chiefs, who were males in the most direct line of descent from the mythic ancestor. ritual feasts were known as potlatches, during which they gave valuable gifts to the invited guests to validate their status. lived in large, elaborately decorated communal houses made of massive timbers and thick planks. Carved and painted partition screens separated the chief's quarters from the rest of the house. came from the house of Chief Shakes of Wrangell family crest was the grizzly bear. painted on the screen made up of smaller bears and bear heads that appear in its ears, eyes, nostrils, joints, paws, and body. oval door opening is a symbolic vagina; passing through it re-enacts the birth of the family from its ancestral spirit

Michael Wolgemut, The City of Nuremberg, Nuremburg Chronicles, woodcut, hand colored, Germany, 1493

During the fifteenth century, woodcuts to print books on paper in multiple copies The publication of the Nuremberg Chronicle by prosperous Nuremberg printer Anton Koberger is a landmark in this development. Michael Wolgemut and Wilhelm Pleydenwurff furnished woodcuts for the 1,809 illustrations dispersed throughout the book. Some spread across the width of whole pages. Others are tucked along either margin or inserted into the columns of text. Latin or German, parchment or paper, bound or unbound, as it came from the press or tinted with color. double-page picture—filling the entire expanse of an opening with text restricted to headings and labels—is a panoramic view of THE CITY OF NUREMBERG Illustrated here is a view of this expansive cityscape in a copy of the book that was originally owned by a bibliophile who could afford to have the woodcuts painted by hand with color to enhance the appearance of this proud portrait of a Renaissance city.

Kano Eitoku, Fusuma panels, Daitoku-ji Zen monastery, Kyoto, ink/gold/paper, c. 1563-1573

Eitoku from kano school done on paper screens that are moveable in a monastery During the Momoyama period (1573-1603), civil wars swept through Japan, fought among samurai loyal to their own feudal lords rather than to the central government. Portuguese explorers and traders arrived, bringing muskets and cannon, Altering Japanese warfare and thereby issuing monumental fortified castles built in the early seventeenth century. Many were sumptuously decorated, offering artists new opportunities to work on a grand scale. juko-in subtemple opening and closing of fusuma is 4 season of japan 16 panels encircle the room a huge plum tree with dynamic composition plum tree and melting snow represent spring wild geese autumn tea plants winter when panels in back slid open Buddhist statue appears seated above fathers paintings which link in with his painting carp folic in the stream that turns into a pond swallows summer

Scenes from the Life of the Virgin, Chichester-Constable Chasuble, Southern England, embroidery, silk/metallic thread/seed pearls, c/ 1330-1350

English renowned for pictorial needlework, using colored silk and gold thread to create images as detailed as the painters produced in manuscripts embroidery with luxurious material images formed by subtle gradations of colored silk chasuble-fancy vest worn by pope celebrating mass three scenes of the virgin mary, the height of mary devotion lots of decoration but still narrative going bottom to top 1) angel gabriel tells mary she prego (annunciation) 2) baby jesus is born (adoration of magi) 3) virgin made queen of heaven (coronation of the virgin) ramed by cusped, crocketed arches, supported on animal heads and twisting branches sprouting oak leaves with seed-pearl acorns. As the priest moved, the vestment would have glinted in the candlelight. medival and gothic opus anglicanum (English work). Mabel of Bury St. Edmunds may have been the artist gold and bejeweled garments became so heavy wearers often needed help to move.

J.M. W. Turner, Snowstorm: Hannibal and His Army Crossing the Alps, oil/canvas, England

Focused on mood and drama phenomena of colored light and the misty atmosphere became his true subject epitomized Romanticism's view of the awesomeness of nature. opposite, unclear brushwork, scene, irrational romantic time, heightened emotions, large work loose brushstroke, no longer emphasis on fine detail snowstorm enormous vortex of wind, mist, and snow masks the sun and threatens to annihilate the soldiers marching below it. Barely visible in the distance is the figure of Hannibal, mounted on an elephant to lead his troops through the Alps to meet the Roman army in 218 bce. allegory of the Napoleonic Wars. Napoleon himself had crossed the Alps Turner reduces Hannibal, the commander in his painting, to a speck on the horizon, threatening along with his troops by a natural disaster, as if foretelling their eventual defeat or the terror that comes with napoleons reign

Ivory panel from a box, Tamil Nadu, India, ivory/gilded paper, later 17th-18th C

Ivory is very expensive, precious as a painting, wood and ivory carving highest achievement, decorated a box not hard, fairly easy to carve therefore lots of detail but also somewhat brittle depicted is a palace, lots of vegetation, amorous intrigue with couples around the courtyard, signify harmony and fertility, satisfaction and desire very well-fed, if you were wealthy and had enough to eat you were plump might be an image of Krishna huge eyes under figures heavy brows represent an intense gaze, long noses and thick lip in the center there is a keyhole signifying wealth found in Pompeii many pieces similar to this have been melted down, disassembled, sold, etc

Caravaggio, The Calling of St. Matthew, S. Luigi dei Francesi, Rome, oil/canvas, 1599-1600

Levi the tax collector chosen to become an apostle known as St. Matthew table counting or collecting money, surrounded by elegant young men in plumed hats, velvet doublets, and satin shirts. Jesus points dramatically at Levi similar to pointing in the creation of adam bearded figure pointing toward the tax collector, as if to say, "Who, he?" light enters the painting from upper right, as if it were coming from the chapel's actual window used natural light above the altar to add to his illusionistic light in the painting to spotlight the important features of this darkened scene, encapsulating the viewer, wider range of shades but the use of reduced palette minimal detail, non-idealistic, strong diagonals to show us where to look pivotal moment in narritive, seemingly quiet with high drama

Gianlorenzo Bernini, Baldacchino, St. Peter's Basilica, Vatican, Rome, gilt bronze, 1624-1633

Maffeo Barberini elected to Pope Urban VIII (pontificate 1623-1644), gave young Bernini task of designing an enormous bronze baldachin, or canopy, over the main altar of St. Peter's. guide pilgrim to pilgrimage spot lookup to the great dome of st peters, the high altar why center? successive stages of st peter, where his bones are buried, indulgences of sanctity even floor is directing to center used to be an ancient roman burial ground many wanted to see tangible remains rest of the church. radiates outwards from the center stands about 100 feet high and exemplifies the Baroque taste for dramatic, multimedia extravaganzas twisting gigantic bronze columns copies columns from the altar shrine of Old St. Peter's believed to come from Solomon's Temple in Jerusalem. rich with symbolism- canopies of honor, little angels, saints, iconography winding grapevines ancient symbol of the wine of the Eucharist. symbolism from Judaism and Christianity, reinforcing the idea that Solomon's Temple supports the Christian Church just as the Hebrew Bible is the foundation of the New Testament. symbolizes the direct descent of Christian authority from this apostle to the reigning pope, a belief rejected by Protestants and therefore deliberately emphasized in Counter-Reformation Catholicism. The crowning structure is an orb and a cross representing Christ's universal dominion. angels and putti, as well as the tasseled panels imitating textiles on the entablature, are all cast in bronze. celebrates Urban VIII and his family by incorporating the Barberini emblems—honeybees, suns, and laurel leaves. against curving walls of the apse is a huge bronze reliquary containing an ancient wooden throne thought to have belonged to St. Peter as the first bishop of Rome. chair lifted upward by four theologians amid a surge of gilded clouds toward an explosion of angels, putti, and gilded rays of light, surrounding a stained-glass window depicting the dove of the Holy Spirit. The actual sunlight and the flickering candles reflected and multiplied by the gilded bronze dazzling effect

Gummarsmark Brooch, Denmark, silver gilt, 6th C.

Romans subjugated the native Celtic inhabitants of Britain in 43 CE but didn't invade Ireland, Christianity spread through brit and Ireland western Rome fell, new anglo Saxon and hiberno Saxon culture combination of Celtic germanic and surviving roman traditions silver-gilt because lighter cheaper and more plentiful tiny object with lots of detail a lot of gems have garments, a deep dark mineral found in and around Scotland great ceremonial clasp, used to fasten a cloak around the owner's shoulders, founded in a burial ground in England from a chieftain buried with boat no narrative or story just love of ornament and decoration interlace/animal style from Scythians, heraldic beasts-animal form, symmetric, protective and warding off evil akin to another piece such as Sutton hoo clasp influence of this animal style influence stretched from central Asia through Scandinavia out to the British isles chieftains didn't have set palaces and cities, raid a bunch of places, emphasis on small precious items less on building big splendid palaces moved from place to place like Charlemagne in the year 800 (itinerant courts) , anti-classical style, different region

Jacob van Ruisdael, View of Haarlem with Bleaching Grounds, oil/canvas, The Netherlands, c. 1670

The Dutch loved the landscapes and vast skies of their country. celebrates the flatlands outside Haarlem, reclaimed from the sea as part of a massive landfill project compared with God's restoration of the earth after Noah's flood. prominent Gothic church of St. Bavo, looming on the horizon. three-fourths of painting powerfully cloudy sky gives a spectacular monumentality, dwarfing the labor of the tiny humans spreading white linen across the broad fields to bleach in the sun. the glorification of the industriousness of citizens in one of Haarlem's principal industries appealed to the patriotic local market.

Muhammad Ibn al-Zain, so-called "Baptistery of St. Louis", brass, silver and gold inlay, Syria or Egypt, c. 1300

Wealthy courtiers commissioned works in metal, ivory, and precious stones, as well as glass. inherited techniques from their Roman, Byzantine, and Sassanian Persian predecessors. signed it in six places among the finest works of metal produced in the Islamic world crowded with overlapping figures, vigorous poses, but distinct by means of hatching, modeling, and framing exterior face divided into three bands. upper and lower depict running animals, and the center shows scenes of horsemen flanked by attendants, soldiers, and falcons severe silver shortage in the mid-twelfth century may have prompted the development of inlaid brass pieces, like this one, that used the more precious metal sparingly. Exquisite artistry and luxurious expense were lavished were highly valued for their beauty, cost, craft, and status they brought to their owners

Twin Figures (Ere Ibeji), Yoruba culture, Nigeria, wood, 20th C

Yourba highest twin percentage however due to the poverty that swept the nation often times one or even both twins died death in this culture however is not seen as the end but as the transition depicted as healthy young adults go to diviner, who guides the principles, women with all dead twins dance around carver put in shrine, polished and adorned with pigments, loved, fed, and dressed make the absent present in order to appeal to the new spirits and mourn the death of a child

Albrecht Dürer, Adam and Eve, engraving, Germany, 1504

c. 1504 engraving different technique than woodcut, intaglio better detail, texturing, light vs dark burin and a plate, relief, printing from surface, etch- acid to make a mark, removing metal making a line in plate engraving- burin is direct carving out of metal making a sharper cleaner line makes a pigtail drypoint, using etching tool called etching needle working directly on plate displacing metal rather than removed then fuzzy line, shavings make bur plate would be rough be perpendicular, apply pressure to tool, turn plate first documented use of an ideal of human proportions based on Classical sculpture probably known to him through contemporary prints or drawings can be seen through the use of contrapposto, greek nose, idealism. flora and fauna of their setting with typically Northern descriptive detail. symbols of the four humors, after Adam and Eve disobeyed God, they and their descendants became vulnerable to imbalances in body fluids that altered human temperament. black bile from the liver produced melancholy, despair, and greed yellow bile caused anger, pride, and impatience; phlegm in the lungs resulted in lethargy, disinterest, and a lack of emotion; blood made a person unusually optimistic, but also compulsively interested in the pleasures of the flesh. melancholy elk, the choleric cat, the phlegmatic ox, and the sensual rabbit. The scurrying mouse is an emblem of Satan; the parrot may symbolize false wisdom, since it can only repeat mindlessly what it hears. Dürer's pride in his engraving can be seen in the prominence of his signature—a placard bearing his full name and date hanging on a branch next to Adam.

Annibale Carracci, Ceiling of Gallery, Palazzo Farnese, Rome, fresco, 1597-1601

c. 1597-1601 fresco Peak of roman baroque illusionsism In roman palace of franese family Commissioned to celebrate duke ranuccio farnese of parma to popes niece wedding Symbol of earthly love Creates illusion of framed painting, stone sculpture, bronzen medallions and nude youths in the architectural framework Unlike michelangelo, warm light Greatly influenced italian art

Piero della Francesca, Battista Sforza and Federico da Montefeltro, oil /panel, Florence

during his sojourn at Federico da Montefeltro's court in Urbino, Piero painted a pair of companion portraits of Federico and his recently deceased wife who died in 1472 at age 26, We are told that Federico was disconsolate. although arranged marriage turned into a loving partnership Flemish painting in their detail and luminosity, their record of surfaces and textures, and their vast landscapes such as the hills around Urbino, seemingly dissolving into infinity through an atmospheric perspective as subtle and luminous as any Flemish panel painting. Traditional Italian fashion, figures are posed in strict profile, disengaged psychologically from the viewer. Federico's likeness without emphasizing loss of his right eye from a lance blow and broken nose. Dressed in the most elegant fashion (Federico wears his red ducal robe and Battista's jewels are meticulously recorded), they are silhouetted against a panoramic landscape.

Rembrandt, The Three Crosses (First State), drypoint, The Netherlands, 1653

etched first, then little burr shavings pulled in more ink emphasize light vs dark sought to capture moment during the Crucifixion when Jesus cried out, "Father, into your hands I commend my spirit" four successive stages of this print, from the relatively anecdotal depiction of the crosses and the surrounding crowd in the first state to the haunting blackness that characterizes the fourth and final state. As Jesus cries out, a mystical light beyond rational explanation illuminates the darkened scene. etching and drypoint is used to exploit strong contrast between light and dark suggesting a spiritual realism, we get a sense of a deeper message as in the eternal battle of dark and light, doom and salvation, evil and good, all seem to be waged anew.

Michelangelo, Creation of Adam, Sistine Chapel ceiling, Vatican Palace, fresco, 1511-1512

eve is the symbol of church dead center adam right under commisioned by pope Julius ii 9 scenes we see Michelangelo development as an artist throughout the job use of modeling with deeper hues to make a 3d object illusionistic architectural structure, the ceiling is a flat curving surface but with the use of shadowing and natural light he is able to organize the individual figures and narrative scenes fresco cycle, series of paintings that tell a story, while moving through space negative space gives us information, the void of space builds the anticipation of the moments right before God gives Adam the spark of life. Adam's heroic body, an outstretched arm, and profile almost mirror those of God, in whose image, he has been created. Emerging under God's other arm, and looking across him in the direction of her future companion, is the robust and energetic figure of Eve before her creation

Giovanni Bellini, St. Francis in Ecstasy, oil/tempera/wood, Venice, Italy, c. 1470s

finally sign their works recalls Flemish art in the fine detail with which he rendered the natural world. the saint stands bathed in the early morning sunlight, outspread hands displaying his stigmata signifying spiritual awakening as walking out of the cave and seeing the landscape that is both naturalistic with hint of idealism Francis had moved to a cave in the barren wilderness in his search for communion with God, but in the world Giovanni creates for him, the fields blossom and flocks of animals graze, due to his idea that god was in everything (radical) this made poor people happy natural world saturated in symbolism, landscape is a narrative element the shining city on a hill along with barren landscape the heavenly Jerusalem The tree symbolizes the burning bush; the stream, the miraculous spring brought forth by Moses. The crane and donkey represent the monastic virtue of patience. While the detailed description, luminous palette, and symbolic surroundings suggest Flemish art, painting in very very northern European style careful, precise, descriptive landscape

Bishop Odo Blessing the Feast, Bayeux "Tapestry" (embroidery), Norman-Anglo-Saxon, England or France, linen/wool, c. 1066-1082

product of British isles love of ornament and decoration Tapestry, colored threads for patterns or pictures woven during the process embroidery stitches applied on top of an already-woven fabric ground. 230 feet long, containing more than 600 human figures and 700 animals—narrates events leading to Duke William of Normandy's conquest of England in 1066 death of Edward the confessor and succession of king Harold spies tell William in Normandy and boom invasion along friezes top and bottom symbolism, animals, and references to fables (margin art) while main narrative is in the middle register needlework is sown with wool onto linen limited number of colors and thread not to scale halleys comet in 1066 could be rolled up and transported from residence to residence maybe a backdrop at banquets, while stories sung by professional performers who received their cues from the identifying inscriptions that accompany most scenes.

Rembrandt, The Night Watch (The Company of Captain Frans Banning Cocq), oil/canvas, The Netherlands, 1642

group portrait civic guard company commissioned Rembrandt to create a large group portrait of its members for its new meeting hall meant to be put in a militia hall, Netherlands got independence like us different than typical because of its dynamic prevalent in baroque painting composition- he breaks the picture plane; central figures in the foreground but not the people calling the shots, all the space behind from the weapons functioning as orthogonals but not precise captain is reaching out his hand, breaking the picture plane baroque drama, quietly dramatic, hand is lit almost coming out of space same with LT and his weapon this brings us into the picture painting glows with a golden light that ignites its palette of rich colors—browns, blues, olive green, orange, and red—around a central core of lemon yellow. rem uses light to show us what is important very common in baroque art if you look at the front figures (very lit) other figures in the dark for the most part the little girl is lit up by the artist, light in an iconographic way-telling us the meaning rather than the arrangement although unsure it could be the girl carrying a chicken with prominent claws (klauw in Dutch) may be a pun on the name of the guns (klover) that gave the name "The Kloveniers" to this company. The Night Watch because a layer of dirt and old varnish had so obscured its colors by the nineteenth century that viewers thought the scene took place at night. The complex interactions of the figures and the vivid, individualized likenesses of the militiamen make this painting one of the greatest group portraits in the Dutch tradition.

Masaccio, The Tribute Money, Brancacci Chapel, S.M. del Carmine, Florence, fresco, c. 1427

inspiration to Michelangelo very small very intimate giornata is a days work clear composition Portrays incident from the life of Jesus Center tax collector asks peter if Jesus pays the Jewish temple tax Jesus tells Peter to go catch a fish seen in far left Peter finds a coin in fish mouth, you can see his point to far-right to the tax collector Postures and diagonals avert our eyes to follow the narrative Uses both linear and atmospheric perspective to make all pieces of picture work together and look whole, linear perspective, objects away from central group of disciples get smaller Two vanishing points Atmospheric perspective, mountains fade to a green gray and space outside of painting looks hazy Uses light and colors to make figures appear volumetric, modeling to make it 3d Haloes gold disks that move with heads rather than those seen in medieval times Very romanesque

The Unicorn is Found, from the Hunt of the Unicorn, tapestry series, French/Flemish, wool/silk/metal thread, c. 1495-1505

medieval theme Flemish textiles, among the most treasured luxury arts of the Renaissance. Provided insulation and sumptuous decoration for the stone walls of castle halls, churches, and municipal buildings showed off their owners' wealth, included among aristocratic baggage as courts moved from residence to residence in a fancy garden, people have spears, dogs are courtly hunters, very elite art rich colors of fabric and foliage and the subtle modeling of human faces and animal fur landscape rich with flowers evocative of garden of eden very sumptuous material starts with wool than silk and metal thread woven in unicorn, a mythical horselike beast with a single horn supernaturally swift; captured only by a virgin, came willingly to and was also considered a stand-in for Jesus a symbol of the Incarnation and a symbol for romantic love. unicorn's horn was believed to be an antidote for poison; the unicorn here dips its horn into the stream to purify the water from the fountain. Lions, represent valor, faith, mercy, and—because they were thought to breathe life into their cubs—the Resurrection of Christ. rabbits with fertility and dogs with fidelity. strawberry stands for sexual love, the pansy for remembrance, the oak for fidelity, the holly for protection, and the orange for fertility

Porcelain Flasks, Ming dynasty, China, cobalt blue underglaze, c. 1403-1424

ming vases influence go worldwide, in renaissance painting, and delftware very courtly ming court didn't move around not an itinerant court, very very fragile compared to the brooch porcelain made from kaolin, extremely refined white clay, and petuntse, a variety of the mineral feldspar. properly combined and fired at a high temperature, fuse into a glass-like, translucent ceramic stronger than it looks. dragons spread across their broad surfaces giving a sense of fluidity associated with royal family, power, deities and ultimately Chinese authority The blue paint—made from cobalt oxide, finely ground and mixed with water—was applied directly onto the unfired porcelain vessel in a technique known as underglaze painting. Next, the painter applied a clear glaze over the entire surface. After firing, the flask emerged from the kiln with its blue decoration set sharply against white.

Hieronymus Bosch, Garden of Earthly Delights, Triptych, Brussels (?), oil/wood, c. 1505-1515

most mysterious painting in western world, three panels, triptych popular in medeival, renaissance, and altar pieces the creation of the world when closed, corner is god rest is globe bosch has vivid imagination, nice shading, not a traditional scene because usually, eve is coming out of adam but Jesus is between them maybe a marriage, why is christ holding eves hand, is it happy? right, fire up above, ears with a knife, looks like hell, zombie, weird af, king of hell taking a shit on a human, toad impurity, pig nun kissing a man, papal seal, before reformation, questioning the church? middle panel, no clue, a lot of shit going on there is a tree with tubes, people crawling out, happy, sad? vibrant colors, further down there is a circle with moving figures, morisco dance to impress, people eating apples which is bad in the other corner fate of humanity or secrets of alchemy, or criticism or catholic church, maybe a pervert? Although residence was politically unified, difference in artistic styles throughout the land many interpretations of this triptych. Christian belief in humanity's natural state of sinfulness, but it was not painted for a church. probably commissioned by Count Hendrick III of Nassau for his Brussels townhouse triptych format, the format of an altarpiece, may have introduced an understated irony. inspired lively discussion Creation of Adam and Eve on the left wing Last Judgment on the right. warning that damnation is the natural outcome of a life lived in ignorance and folly, self-centered pursuit of the pleasures of the flesh. Seemingly harmless diversions such as games, romance, and music turn into sins such as lust, gluttony, and sloth. Luscious fruits—strawberries, cherries, grapes, and pomegranates—appear everywhere in the Garden, serving as food, as shelter, and in one instance even as a boat. Herbalists believed these fruits enhanced sexual desire.

Katsushika Hokusai, The Great Wave, from Thirty-Six Views of Mount Fuji, polychrome woodblock print/paper, Japan, c. 1831

polychrome woodblock print, paper ukiyo-e or pictures of a floating world japan is becoming modernized less isolated, more trade with other regions of world, urbanizing the population which also creates a nostalgia for nature and the emergence of a booming city awe inspiring, nature focused becuase strong population woodblock prints required four specialists: the publisher, the artist, the carver, and the printer. The publisher commissioned, coordinated, and funded the project The artist supplied the master drawing for the print, executing its design in ink on tissue paper. The carver pasted the drawing on a hardwood block, cut around the lines with a sharp knife. chiseled away, leaving the outlines standing in relief separate block for each color. The printer brushed water-based ink or color over the blocks, beginning with the key block, placed a piece of paper on top, and then rubbed with a smooth, padded device called a baren to make an impression. The great wave is immense in size makes mt fuji look small, ready to crash down on the figures huddled in the boats below. not considered a fine art in Japan, but when they first appeared in Europe and America, they were immediately acclaimed and had a strong impact on late nineteenth- and early twentieth-century Western art Only within the past 50 years or so have Japanese museums and connoisseurs fully recognized the value of this originally "plebeian" form of art.

Hip Pendant of an iyoba (Queen Mother), Benin City, Nigeria, ivory/iron/copper, c. 1550

queen mother of edo society idealism and symbolism and iconography edo culture in Benin, dark portions metal staining detailed and precise made for idia, esigies mother raised an army and used magical powers to defeat enemies ivory precious and white associated with god olokun god of sea associated with trade the headdress has alternating Portuguese trader (white people who are first seen by Africans and help defeat their enemies) alternating with the African mudfish (olokun) manifestation of the sea god when everything dries up they can burrow and live for a long time symbolic of rebirth and survival during trying times scarification also royal lost wax technique matching pendants, (NY is us) very similar but crowns different

Templo Mayor (Great Aztec Pyramid), Tenochtitlan (Mexico City), reconstruction, c. 1500

sacrifice, blood is the ultimate act to reciprocate to the gods; not barbaric 7 versions, even version preserved on the inside After migration, arrived in the Basin of Mexico in the thirteenth century. settled on an island in Lake Texcoco, where they had seen an eagle perching on a prickly pear cactus (nochtli) growing out of a stone (tetl). a sign that the god Huitzilopochtli (the solar god of Mexico) told them would mark the end of their wandering. fifteenth century, the Aztecs, aggressive expansion. transformed Tenochtitlan into a glittering capital. At the center of Tenochtitlan was a walled, sacred precinct, whose focal point was the TEMPLO MAYOR (Great Temple) a 130-foot-high stepped pyramid with dual temples on top one dedicated to Huitzilopochtli and the other to Tlaloc (an ancient rain god tracing back to Teotihuacan). During the winter rainy season the sun rose behind the temple of Tlaloc, and behind the temple of Huitzilopochtli during the dry season. united two natural forces, sun and rain, or fire and water. At the spring and summer equinoxes, the sun rose between the two temples.