ALL 250 Pieces

1. Apollo 11 Stones

1. Apollo 11 Stones

Form: -stones with charcoal drawings of animals -geometric designs

• 4-5"

Function:

• depict animals =some of world's oldest works of art Content:

• animal figures with human legs added on probably later

Context:

• found in Apollo 11 caves in Namibia -probably were made about 25500 BCE (oldest representational art in Africa) and buried in these caves -named because it was discovered at the time of the Apollo 11 moon landing

2. Great Hall of the Bulls

Form: -naturalistic charcoal drawings in a cave -natural materials: plants, charcoal, iron ore -twisted perspective

• human are stick figures while animals are realistic looking Content:

• pictures animals in motion

• pictures on top of pictures (all from different artists from many time periods) -cows, bulls, horses, deer -650 paintings Function:

• to show an animal ritual (very unusual to find pictures of humans/hunting) -ancestral animal worship Context: -sacred place (deep in a cave)- in situ -not a dwelling because the creators of these were nomads -Paleolithic Europe- Lascaux, France

3. Camelid sacrum

Form:

• carved bone Function: -spiritual mask -house spiritual essence of a hunted animal -sacrum bone powerful symbolism of Osiris and rebirth- triangle Content:

• sacrum bone (hip bone) carved in shape of a canine/wolf Context: -found in a tomb in Mexico (MesoAmerica) -14000-7000 BCE

4. Running horned woman

Form:

• canyon painting (layers of painting from different times so makes it hard for carbon dating) -depicts motion Function;

• show this person as holy or a god bc of the horns Content:

• shows a woman with horns running

• dots on her body represent body painting

• shows a deity wearing ceremonial headgear? Context:

• in situ on canyon walls in the Sahara

• 6000-4000 BCE (neolithic)

5. Bushel with ibex motifs

Form: -painted terra cotta, clay

• geometric forms

• set in registers, controlled and repeated planar composition Function: -funerary object Content: -dog figures, mountain goat, cranes Context:

• Susa, Iran in 4200-3500 BCE -neolithic -new technology: use of potter's wheel

6. Anthropomorphic stele

Form: -sandstone Content:

• 3 of them all 3ft tall -belted robe with knife hanging from it Function:

• used in incense trade -religious/burial practices Context: -found on trade routes in the Arabian Peninsula, Saudi Arabia -fourth millennium

7. Jade cong

Form:

• carved jade -low reliefs -abstract designs

• square with a circle inside Function: -jade usually appears in burials of high ranked people Content: -low reliefs decorations on this refer to spirits/ deities Context:

• Liangshzu, China in 3300-2200 BCE -jade in China is linked with virtues like beauty, durability, and subtlety

8. Stonehenge

Form:

• sandstone -post and lintel (two vertical posts support a horizontal beam)

• arranged in a circle (cromlech) Content:

• stones in a centralized plan -small stones surrounding in no specific pattern Function:

• probably religious ceremionies

• burial?

• marker of mid-summer solstice Context: -Wiltshire, UK in 2500-1600 BCE

9. The Ambum stone

Form: -greywacke stone Content: -sculpted to look like an anteater -human/animal characteristics (mostly animal) Function:

• objects like these are believed to have supernatural power

• used as a spirit stone in rituals Context:

• Ambun Valley, Papua New Guinea around 1500 BCE

10. Tlatico female figure

Form: -ceramic Content:

• pinched waist and big hips with two-heads

• no hands or feet -naked except for jewelry Function:

• show fertility -two heads represent life and death that happens everyday Context:

• Central Mexico in 1200-900 BCE -many of the other figures show deformities like this

11. Terra cotta fragment

Form: -terra cotta with dentate stamping Content: -dentate designs (circles, hatching, dots) Function: -unknown Context:

• Lapita peoples

• Solomon Islands, Reef Islands in 1000 BCE

12. White Temple and its ziggurat

Form:

• mud brick -collosal scale -built to resemble mountain Content:

• sloping walls, bent access (ramp up to enter the altar), 3 entrances -mosaic surface Function:

• temple that is a meeting place for humans and gods in the center of the city -votive figures and dedicated to Anu the sky god -top temple was only for royals or clergy to enter Context:

• Uruk; Modern day Warka, Iraq -Sumerian

• 3500-3000 BCE

13. Palette of King Narmer

Form: -greywacke -organized in registers -hierarchic scale -low relief, twisted perspective Content: -Front: Narmer (on large scale) looking on the beheaded bodies of his enemies wearing crown of lower Egypt, harnessed lionesses (symbol of unification), bull knowcking down a city fortress (Narmer knocking over enemies) -Back: Hawk=Horus, Narmer wearing bowling pin crown (symbol of unification), stands barefoot (he is a divine king), palette for eye makeup, hieroglyphics Function: -represents the unification of Egypt and country's growth as a powerful nation Context: -found in temple of Horus -Old Kingdom of Egypt -3000 BCE

14. Statues of votive figures

Form:

• bilateral symmetry

• eyes exaggeration (beholding the divine) -gypsum and black limestone Content: -the hands are placed in prayful gesture

• elite male and female figures Function: -placed in ziggurat to resemble the people that aren't allowed to be in the ziggurats Context;

• found in the Square Temple of Eshunna (modern day Tell Asmur, Iraq) -2700 BCE

15. Seated Scribe

Form: -painted limestone -crystal limestone eyes Content: -royal scribe -depicted with sagging body (realistic not ideal), thin face -holding tools to show he is ready to write Function: -shows that the scribe is important but not perfect like a pharoah -made for tomb at Saqqara for the ka Context: -Saqqara, Egypt 2500 BCE -found near tomb (funerary object)

16. Standard of Ur

Form:

• wood inlaid with shell, lapis lazuli, and black limestone -mosaic -hierarchic scale to show who was more important in society -front shoulds, body in profile Content: -2 sides: war side and peace side -war side: shows Sumerian king on larger scale descending from his chariot to inspect captives, lower register shows him riding over dead bodies in his chariot -peace side: food brought to a banquet, ruler wears a kilt of wool (larger scale) Function:

• shows the different classes of people -democratic leadership Context:

• found in the Royal Tombs at Ur (modern day Iraq)

• 2600-2400 BCE Sumerian

17. Great Pyramid (Menkaure, Khafre, Khufu) and Great Sphinx

Form: -square base with 4 sloped sides (represents rays of sun) -polished limestone Content: -pyramids with adjoining funerary complex; get to these through secret passageways -Great Sphinx: human head with lion head -descending order on West side of Nile Function: -maintain and protect tombs for eternity -Great Sphinx: protecter the pyramids behind it Context: -built by Khufu, Khafre, and Menkuare (each temple name after) -Khufu temple (oldest and largest) -Old Kingdom- 2500BCE -Giza, Egypt

18. Menkaura and queen

Form: -greywacke -under life-size -symmetrical -Egyptian style: one foot in front of the other Content: -king and queen same height, idealized figures -pharaoh crown -wife gives simple affectionate gesture Function: -temple sculpture -symbolize his power and kingship Context: -Old Kingdom 2500 BCE

19. Code of Hammurabi

Form: -black-stone stele with words carved in it -basalt -frontal shoulders, everything else profile Content: -divine law code carved in stone -sun god, Shamash, giving laws to Hammurabi to be king -god is bigger (hierarchic scale) Function: -tells us where the laws came from -exercises justice and divine authority to carry out the law Context:

• Babylon (modern day Iran) -Susian (1760-1750 BCE)

20. Temple of Amun-Re and Hypostyle Hall

Form: -cut sandstone and mud brick -hypostyle hall -symmetrical plan, axial plan -open ceilings -colossal columns with sunken relief Content: -134 sandstone columns -inscriptions/images of kings and gods on walls and columns -gates (suggesting old world to new world) Function: -used for festivities and prayer -only priests and pharoahs allowed Context: -Karnak, near Luxor -New Kingdom 1250 BCE -East side of the Nile

21. Mortuary Temple of Hatsheput

Form: -sandstone -red granite statue -built into rock cliff Function: -mortuary temple for Hatsheput but she wasn't buried there -statue shows her power in male ways (beard and kneeling is priest-like gesture Content: -statue of Hatsheput kneeling: offering plants to Amen, the sun god -ascent up to temple -chapels and shrines dedicated to her -hypostyle hall Context: -site specific -across from Amun temple

22. Akhenaton, Neferiti, and three daughters

Form: -sunken relief piece, limestone, hieroglyphics Content: -couple receiving blessing from Aten (the sun god-rays shown) -show husband and wife seated with their children -rays shining upon the family showing their divinity Function: -shows intimacy of the family -conveys realistic fidgetiness of children -state religious shift in evolving Egyptian art Context: -New Kingdom (Amarna) 1350 BCE

23. Tutankhamun's tomb (innermost coffin)

Form: -gold -inlay with stones and enamel Content: -crook and flail- symbols of Osiris -cobra and vulture coming from headpiece- gods of Upper and Lower Egypt -Son of Akhenaton Function: -sarcophagus (body inside) -materials used represent the royal wealth (143 objects buried with him) Context:

• New Kingdom 1325 BCE

24. Last Judgement of Hu-Nefer (page from Book of the Dead)

Form: -painted papyrus scroll -continuous narrative Content: -Hu-Nefer being lead to final judgement -heart weighed on scale against Osiris (test to see if has a heavy heart) -sin must weigh less than feather -Hu-Nefer is accepted into afterlife Function: -guide people to the afterlife and make journey from life to death Context: -New Kingdom 1275 BCE -found in Hu-Nefer's tomb -from the Book of the Dead

25. Lamassu

Form:

• alabaster -limestone Content: -god-like figures -animal body, human head -5 legs Function; -support doorways of Assyrian palaces -intimidate those who enter Context:

• from the citadel of Sargon II (modern day Iraq)

• 720-705 BCE -Sumerian

26. Athenian Agora

Form: -long buildings (stoa) -covered places- public markets -at foot of Acropolis, road that leads up Function: -marketplace/meeting area -temple (pay tribute to Athena) Content: -participated with government -democracy- didn't vote representatives but instead participated directly Context: -600-150 BCE -Athens, Greece

27. Anavysos Kouros

Form: -marble with remnant of paint -archaic smile -Egyptian inspiration shown through the stance of one foot slightly in front of other -incaustic paint Content: -not a specific civilian depicted (not individualized) -male nude (warrior) -observing the human body Function: -grave marker Context: -530 BCE -large scaled

28. Peplos Kore from Acropolis

Form: -archaic smile -patterned hair -marble with paint remains -smaller scale Content: -women with arm out (supposed to hold out a oil lamp but hand broken off) Function: -in front of temples to "light the way" -votive figure Context: -530 BCE

29. Sarcophagus of the Spouses

Form: -terra cotta (sign that this is Etruscan) -lifesize -archaic smile, patterned hair -extending arms Content: -husband and wife reclining on a couch dining "dining in banquet for eternity" -four pieces put together Function: -funerary container to hold ashes not the body Context: -520 BCE Etruscan

30. Audience hall (apadana)

Form: -hypostyle hall -cut sandstone and mud brick -built in a hillside with big platform -72 columns (3 portico made of 12 columns) Content:

• relief on the side pictures Darius and Xeres -stairs have central relief of king enthroned with attendants -reliefs Function; -used to hold thousands of people (audience hall), king's receptions

• ascend upwards symbolic Context:

• Persepolis, Iran; Persian influence

• 520-465 BCE -built by Darius and Xeres; destroyed by Alexander the Great

31. Temple of Minerva and sculpture of Apollo

Form: -temple: wood, mud brick, tufa (volcanic rock) -sculpture: terra cotta -animated and moving sculpture (estruscan) Content: -Apollo apart of a narrative of Herakles, acroterion (roof sculpture) -deep porch, 3 cella (entrance is emphasized) -archaic Greek smile Function: -Estruscan temple made to be a place to worship the Estruscan gods and goddesses -acroterians probably shows a mythic event Context: -Veii (near Rome, Italy) -Imperial Rome 2nd centry BCE -sculpture made by Vulca

32. Tomb of the Triclinium

Form: -tufa and fresco -wall paintings -great detailed piers -color coding to show genders (not race) Content: -pictures people casually dining in triclinium (reclined on couches) -fully furnished -lively paintings of people dancing and in motion Function: -keep record of domestic life -holds ashes (crematorium) and any other offerings to the dead Context: -Tarquinia, Italy -Estruscan 480-470 BCE

33. Niobides Krater

Form: -calyx krater (type of painted pot) -stiffness in the figures contrast the other relaxed side of the vase -sense of depth perception -red figure technique with white highlight Content: -one side: mortal woman named Niobe with 12 children would always brag to the goddess Leto that she had more children so Apollo and Artemis (Leto's children) take revenge for their mother by killing all 12 children -other side: Hercules (identified with club and lions skins) is actually a sculpture (contraposta) and Greek soldiers are offering tribute and prayer to protect them before going into battle Context: -460-450 BCE -not signed

34. Doryphoros (spear bearer)

Form: -marble (Roman); bronze (Greek) -contrapposto: shifted weight -not meant to portray a specific person but rather specific characteristics of a Greek Function: -portray the physical perfection of a human figure Content: -everyone is imperfect but brings together different body proportions to make physical -missing its spear -athlete and warrior -gazes off in the distance Context: -Artist= Polykleitos of Argos in 450 BCE -Roman copy of the Greek original

35. Acropolis

Form: -marble (wealth) -winged figure (nike) -elevated Content: -buildings, temples, statues -Parthenon (constructed under Pericles): -doric temple -East Pediment on parthenon: birth of Athena from the head of Zeus (Helios) -plaque of ergastines: procession held for Athena every 4 years -Temple of Athena Nike: commemorate Greek victory over the Persians -Victory Nike adjusting her sandal Function: -hold image of goddess Athen (in cella) -celebrate the female figure -civic pride (Athena) -commercial, civic, religious, and social building Context: -Athens, Greece 450-410 BCE

36. Grave Stele of Hegeso

Form: -marble with paint -hierarchic scale -drape accentuates the body Function: -funerary object -put on graves in Classical period -commemorates the death of Hegeso Content: -genre scene: slave bringing jewelry box to nike figure for her to examine the jewelry -inscription identifies Hegeso Context: -410 BCE

37. Winged Victory of Samothrace

Form: -marble -textures shown -very dramatic motion, explosive, -forward movement counteracted by the backward movement of her wings Content: -nike lands on front of ship descending from the heavens -wet drapery look to the sculpture -twist and contrapposto of the torso Function: -war monument -commemorating a naval victory -nike is a symbol of victory Context:

• 190 BCE Hellenistic Greek

38. Great Altar of Zeus and Athena at Pergamon

Form: -marble frieze -elevated with steep dramatic staircase -complex forms with big muscles showing violent energy and detail -ionic columns Content: -frieze wrapping around the monument shows gods overpowering the Titans -Titans vs. Olympians -"Athena": gigantomachy, battle between the gods and giants (gods win) Function: -war monument (Greek defeat of Gauls) -break architectural boundaries -altar dedicated to ZeusContext: -175 BCE

• Asia Minor, Turkey

39. House of the Vettii

Form: -cut stone and fresco -axial symmetry Content: -atrium (inner courtyard with pool) -reception area (atrium) has open ceiling -catch basin to collect rainwater -peristyle garden in back of house -living room with frescoes -frescoes show person's taste and used as conversation pieces for businessmen to discuss Function; -represents the wealth of the people who lived there Context: -Pompeii, Italy -Imperial Rome 2nd century BCE rebuilt 62-79 CE -wealthy family's home set in the middle of markets

40. Alexander Mosaic

Form: -mosaic copy of a Greek wall painting -tessarae: individual pieces of a mosaic -spacial illusionism -interweaving of figures Content: -Alexander the Great confront Darius III at Battle of Isos -dead tree signifies the death and sadness Function: -floor mosaic showing dramatic representation of a historical event -last major defeat of the Persians Context: -Roman Republic -House of Faun, Pompeii 100 BCE

41. Seated Boxer

Form: -bronze -realistic- shows the exhaustion of a real athlete Content: -boxer seated naked with only his boxing gloves -copper shows blood -cuts and bruises Function: -show a boxer after a fight Context: -Greek 100 BCE -Hellenistic

42. Head of a Roman partician

Form: -marble -deep wrinkles, hooked nose, defined cheek bones Content: -realistic portrayal of a Roman patrician -show sense of civic virtue: wisdom, seriousness, public service Function: -kept in shrines of Roman houses -mask of values and virtues of Republican men in Rome Context: -Republican Roman 75-50 BCE -influence of Greek Hellenistic art

43. Augustus of Prima Porta

Form: -marble, over life-size -elevated to be more god-like -contrapposto Content: -Augustus barefoot -cupid riding dolphin (shows divinity -breastplate is about the Pax Romana: the power of empire is due to the military Function: -shows Augustus as a god because he thought he was (barefoot and cupid riding dolphin signs of this) -shows him as civic ruler (judge's robe) and warrior (breastplate) Context: -Imperial Rome (early empire) 1st century CE

44. Colosseum

Form:

• stone + concrete -Corinthian, Doric, and ionic columns -outside mostly intact -barrel vaults, thick walls, groin vaults, arches Content: -2 theaters -downward force of arches -bronze shield on top, 4 layers -76 entrances Function: -entertainment for the public -usually dangerous like gladiator fights or animal hunts Context:

• Rome, Italy 70-80 BCE

• Imperial Rome

45. Forum of Trajan

Form: -column: marble, low relief -brick and concrete architecture -scroll-like frieze on column- continuous narrative -groin vaulting/barrel vaults in market Content: -forum: basilica in back with equestrian figure in the center and two libraries -marble column of trajan: ashes of trajans put in bottom, crowded composition, story of defeat of the Dacians -market of trajan: multilevel mall with 150 shops Function: -column: monuments celebrates the victory in the Dacian war -forum: marketplace Context:

• Rome, Italy 106-112 CE column 113 CE

46. Pantheon

Form: -marble -coffers: indentations in the ceilings -15' thick walls Content: -big portico in the front with a rotunda in back that has a dome with an oculus -sculptures of gods in niches Function: -houses all 7 planetary gods -famous burial space -coffers create illusion of heaven Context: -imperial Rome 118-125 CE

47. Ludovisi Battle Sacrophagus

Form: -marble -high relief Content: -figures piled on top of each other, crowded surface -Romans shown as the good guys (ideal/noble) -Romans trampling over defeated barbarians

• enemies very caricatured with great detail Function: -tomb Context: -late imperial empire; 250 CE

48. Catacomb of Priscilla

Form:

• excavated tufa and fresco -figures flat and with less detail (roman painting style) -passageways underneath city of Rome, 100 miles long -pendentives with picture Content: -shelves for bodies; wealthier people: sarcophagus -scenes of New and old Testament -curriculum -Good Shepherd Fresco -orants figure: arms stretched out Function: -tombs of poor and wealthy for 1000s of people -poor people has body one on top of the other Context:

• wealthy woman donated land for her family and other Christians to be buried -3 stories deep -Greek and Latin

49. Santa Sabina

Form: -brick, stone, wooden roof -2 levels: upper (windows), lower (arches/columns) -spolia (reuse of architectual pieces from other buildings) Content: -apse: half dome in back that is decorated -narthex: lobby -nave: center aisle -depiction of crucifix on doors -3 aisled basilica -columns from temple of juno in Rome (spolia) Function: -basilica- diverse building -used aisle for law courts -early Christian church Context:

• Rome, Italy 422-432 CE -Late Antique Europe

50. Rebecca and Eliezer at the Well and Jacob Wrestling with the Angel, from Genesis

Form; -tempera, gold, and silver on purple vellum (animal skin) -illuminated manuscript (pictures with words) -continuous narrative Content:

• stories from Genesis -Jacob wrestles an angel at night -Rebecca quenches thirst of camels and camel driver -letters black now bc silver oxidized -Greek writings> Byzantine Function: -tell stories Context: -Early Byzantine Empire 6th century CE

51. San Vitale

Form: -brick,marble, stone, veneer, mosaic -all glass covered in gold leaf -octagonal plan -groin vaulting -not longitudinal Content: -central domed octagon surrounded by radiating wall niches (exedrae)- attention directed at the center -big windows -covered by vaults -mosaic: clergy on right, military on left, Justinian in the middle Function: -holds icons -basilica -reestablish Orthodox Christianity Context:

• Ravenna, Italy- Early Byzantine 526-547 CE -Julianus Argentarius financed this building

52. Hagia Sophia

Form: -brick, ceramic elements -mosaic veneer -ionic columns -centralized dome supported by penditives -buttress supports -pendentives: triangular curving vault section -squinches- quarter domes Content:

• Byzantine architecture -attention to detail -mystical building -altar at the end of nave (center aisle) -minarets Function: -originally a basilica (church) -converted to mosque- now has minarets Context: -Justinian's reign -changed to mosque by Ottomans 1452

53. Merovingian looped fibulae

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

54. Virgin (Theotokos) and Child between Saints Theodore and George

Form: -encaustic (wax base paint) on wood -spacial recession but compressed space Content: -angels looking towards heaven -Mary looking over viewers while the warrior saints look directly at viewer -light falling on Virgin -depicts Mary and Jesus in a different realm than others Function: -portray Mary and Christ protected by saints and hand of God Context: -6th-7th century -Early Byzantine

55. Lindsfarne Gospels

Form: -illuminated manuscript Content: -cross carpet page: cross forms out of chaos, creates illusion of 3D in which viewer can lose themselves in contemplation -portrait page (luke): holds quill/looks prepared to write, gold halo (divinity), ox above his head, robe with purple and streaks of red -incipit page (Luke): it "begins", animal life, spiral forms, swirling vortexes Function: -earliest known translation of the Bible Context: -created by monks

56. Great Mosque

Form:

• hypostyle mosque -spolia (using roman and Christian pieces from old church it used to be -vossoir: wet stone that holds arches up -grid vaulting -culturally diverse Content: -horseshoe arches with vaults above -mihrab- niche is Qibla wall (mostly decorated in geometry and text) -wooden cieling -mosaics everywhere- byzantine artists from Constantinople -Qibla Wall- direction of where Muslims have to pray in order to pray towards Mecca -Kufic calligraphy -856 columns Function: -1st: Roman temple (Janus) -2nd: Chirstian church -3rd- mosque -now: cathedral Context: -Cordoba, Spain- Umayyad 785-786 CE

57. Pyxis of al-Mughira

Form: -ivory -carvings of text and pictures -text used as a decoration Content: -roaring lions -4 8-lobed medallions showing pleasure activities -human and animal figures -geometrical and vegetal motifs Function: -luxury cosmetic holder: text on top/decorated richly -coming of age present from caliph to his younger son Context: -968 CE Umayyad, Muslim Spain

58. Church of Sainte-Foy

Form:

• romanesque style -symbolic Latin cross plan -vaulting, groin vaults -spolia -archivolts: bands that go around tympanum Content:

• reliquary of Saint Foy -tympanum of Last Judgement (Christ as the judge of the damned and saved) -gallery on top (distributes the weight) -barrel vaulting -tympanum -radiating chapels, nave arcade -3 aisles -dark building Function:

• pilgrim church, people come to see -built so that it could handle a lot of people -reliquaries

• part of monastery where monks lived Context:

• Conques, France 1050-1130 CE (12th century)

59. Bayeux Tapestry

Form: -embroidery on linen -Romanesque (English or Norman) -2/3 of a football field in length -continuous narrative Content: -a great epic -2 main scenes -story of William's conquest of England in the battle of Hastings -Haley's Comet Function: -show Norman conquest Context: -Cantebury, NW France -commissioned by Bishop Odo -1066-80 CE (11th century)

60. Chartres Cathedral

Form: -3 phases of Gothic (Early in facade, High French in back, Late in the North Spire) -painted arches, rib vaults- Gothic elements -colors vivid -knowledge, nature, light -limestone, stained glass Content: -stained glass- triforium -narrow passageway -jamb figures -relic: Mary's dress Function: -Church with great beauty that honors Mary and gives her the respect she deserves -built after they found Mary's Tunic unharmed in the fire Context: -Chartres, France 1145-55 CE reconstructed in 1194 because of a fire Roman> Gothic

61. Bible Moralisees

Form: -dedication page -Gothic -gold leaf, tempera, ink on vellum -illuminated manuscript Content: -King Louis IX -Blanche of Castile -passages from Old and New Testament Function: -made for Frnech royals' home (King Louis IV) -create a moral through visionary readings Context: -Paris, France 1225-45 CE (center of learning and bookmaking)

62. Rottgen Pieta

Form: -painted wood -Medieval/Gothic and realistic Content: -Mary holding her dead son after Cruxifiction -Mary is pained and anguished Functions: -versperbils (German devotional) -feel the pain she feels -intended to be used in contemplation and prayer -devotional image -shows them closer to the humanity side Context: -Bonn, Germany 1300 -German Gothic

63. Arena (Scrovegni)

Form: -fresco -brick and architechture -painted plaster -grisaille (gray tones) -quatrefoils -tracing -plain outside, transformative inside Content: -Last judgement scene -lancet windows -Scrovegni at bottom offering up chapel to Jesus (artist portrait included) -The Lamentation (Jesus has been crucified and now he is being mourned) -Mary with others grieving -Life of Mary>Passion of Jesus Function:

• private family chapel (connected to a house) Context: -Padua, Italy -on grounds of an old arena -artist: Giotto di Bondone 1303 CE -Italian Gothic -Proto-Renaissance

64. Gold Haggadah

Form: -illuminated manuscript -pigments and gold leaf on vellum (animal) Content: -Left: plagues of Egypt -Middle: scenes of liberation (Israelites leave) -Right: Passover Function: -book used by a wealthy Jewish family to tell the story of Passover around the sedar table each year Context: -Late Medieval Spain 1320 CE -similar to Christian Gothic manuscripts

65. Alahambra

Form: -whitewashed adobe stucco, wood, tile, paint, and gilding -complex arches -elevated on top of a hill (power) -arabesques (organic/natural designs- flowers/vines) on arches Content: -court of lions: courtyard with gardens and water- luxurious -4 quadrants -channels of water run throughout Function: -complex of palaces -some markets -garden provokes sense of paradise/heaven -palace of Nasrid Context: -Granada, Spain- Nasrid Dynasty 1354-1391 CE

66. Annunciation Triptych

Form: -triptych -altar piece (portable) -renaissance -Flemish (oil paint, glowing, vivid color) -hyper reality/hyper clarity -closed during the week, open during mass Content: -scene of the Anunciation -Holy Spirit and Jesus coming through window -couple asking for divine intervention -Joseph on right making mouse traps -Mary laying down on pew -image of Chris coming from the window going to Mary's womb Function: -private devotional place Context: -workshop of Robert Campin (master of flemalle) 1427-32 CE (15th century) -Flemish Renaissance

67. Pazzi Chapel

Form: -masonry -articulate, everything white on the inside -dome cieling -simple geometry -pietra serena- soft gray tone -inlaid marble, terracotta tiles -strigil pattern -Franciscan Content: -entablature -arch forms -family crests Function: -show Pazzi family wealth -served as chapter house (meeting room for the Franciscan monks) Context: -Filipo Brunelleshi (architect) -Florence, Italy 1429-61 CE (15th century)- Early Renaissance

68. The Arnolfini Portrait

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

69. David Donatello

Form: -bronze -exaggerated contrapposto -beautiful, ideal, classical, cultured, independent, wealth, power (like Florence) Content: -shepherd's hat with flowers of Florence (small can conquer giants) -biblical figure of Florentine Republic -religious AND political connotation -return to the nude powerful figure in contrapposto -Goliath's head under his foot Function: -made for private viewing -made for Medici Courtyard Context: -Florence 1440-60 CE (15th century) -early renaissance -artist: Donatello

70. Palazzo Rucellai

Form: -3 levels (like classical) -round arches Content: -3 levels: each different column style -built around courtyard -levels around divided by entablatures with frieze -Medici and Rucellai symbol in frieze -humanism: domestic architecture Function: -show allegiance to Medici -civic pride -beautiful city -residences and businesses -show their good taste Context: -architect: Leon Battista Alberti -1450 CE Florence, Italy -Giovanni Rucellai commissioned it -Early Italian Renaissance

71. Madonna and Child with Two Angels

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

72. Birth of Venus

Form: -tempera on cancas -curvy body (flexibility) -neoplatonic love (classical and Christian) -sense of pattern and beauty Content: -Venus standing on seashell -born by the sea fullgrown -couple intertwines; pushing Venus to land -someone on shore ready to receive Venus with cloth -floating figures -Earthly and celestial love Function: -probably wedding gift Context: -artist: Sandro Botticelli 1484-86 CE -Medici commission -Venus is goddess of love -Early Renaisasnce

73. Last Supper

Form: -linear perspective, spatial illusionism, frieze-like -triangle in center (Christ @ the point) -monumental forms -oil and tempera Content: -Jesus and his apostles having a final meals before Jesus is arrested -the betrayal (Judas) -the Eucharist (body and blood of Jesus) given to his people -uses models to paint the people so he can make it more realistic Function: -dining hall/refectory for monks eating in silence Context: -artist: Leonardo DaVinci -High Renaissance- Milan 1494-98

74. Adam and Eve

Form: -engraving on metal -contrapposto -tiny details (high renaissance) Content: -animals representing temperaments and humors being let into the world -artist signature on sign -Tree of Knowledge and Life -fall of humanity Function: -shows his knowledge of classical act Context: -artist: Albrecht Durer (german) -Latin -1504 CE -High Renaissance (north) -16th-17th century

75. Sistine Chapel ceiling and altar wall frescoes

Form: -frescoes -sculptural element to his paintins -neoplatonic (classical and Judeo-classical) -hellenistic figures Content: cieling: -scenes from the OT (9) -Noah's Ark -men working on ark hoping for salvation -duster seeking sanctuary altar wall: -counter reformation -last judgement, life and death -saved and damned people -sibyls: monumental (hellenistic figures) -portraits of certain artists on lower walls Function: -election of new pope and masses happen in this building -art is made for this building (Sistine Chapel) Context: -artist: Michaelangelo -High Renaissance 1508-12 (ceiling), 1536-41 (altar wall) Vatican City, Italy -under Pope Julius II

76. School of Athens

Form: -fresco -spatial illusionism -fluid/interlocking -same style as Sistine figures -roundalls -barrel vaults -coffers Content: -branches of knowledge under faith -philosophy and science -Plate: idealism (points up) -Aristole: realism (points down) -Raphael self portrait -Michaelangel on block of marble -poetry, imagination -disputah: faith and reason -heavenly court of prophets and saints -Jesus in full body halo -Stanza della Segnatura: room of signatures -acorns: symbol of family Function: -expresses knowledge and faith Context: -artist: Raphael High Renaissance 1509-11 Vatican Palace under Pope Julius II

77. Isenheim Altarpiece

Form: oil on wood, diptych (two panels/wings) Content: -predella: base of the altarpiece -1st panel: shows Jesus suffering on the cross symbolizing the suffering of the patients -2nd panel: shows Jesus resurrection -3rd panel: statue of St. Anthony who was patron saint of the hospital Function:

• made for a hospital to relate their suffering to Jesus' suffering in order to make them feel better Context:

• no longer in situ

• Boarder of France and Germany -Made by Matthias Grunewalkd in 1512-1516 CE

78. Entombment of Christ

Form: -manneristic: shows great knowledge of Renaissance but distorts it -figures stylized and elongated -primary colors and white -roundalls above of Evangelists -space is nonsensical -1D (no depth) Content: -no symbols of holiness (no cross, etc.) -Mary proportionately larger -everyone mournful -lower Jesus from the cross -chaotic figures/constant movement -self portrait -non balance (lots of different directions) Function: -altar piece -doesn't look Renaissance Context: -artist: Jacob de Pontorina -Florence, Italy 1525-1528 -family chapel

79. Allegory of Law and Grace

Form: -woodcut, letterpress -Protestant -German text Content: -written in people's voice -left: being chased by death (shows 10 commandments) -right-washes over with Holy Spirit (can only be saved by God's grace Function: -propaganda during Reformation -debates between Catholics and Luthers on how to get to heaven Context: -artist: Lucas Cranach the Elder (High Renaissance North 1530 CE) -German; worked with Martin Luther

80. Venus of Urbino

Form: -oil on canvas -rich colors (red) -nude reclining -celebrating female body -paints thin layer of paint to create flow and softness Content: -woman reclining while maids get her clothing -dog=wealth -seduction look= erotic Function: -wedding gift Context: -artist: Titian -Ventian Renaissance 1538 CE

81. Frontispiece of the Codex Mendoza

Form: -codex -city laid out in 4 sections -text -ink and color on paper Content: -Part 1: creation of the City of Tenochtitlan (eagle on cactus describes how city was founded) -Part 2: conquests achieved by Aztec alliances -Part 3: daily life -Templo Mayor -canals dividing cities Function: -made for Spanish viceroy -historical account for the Aztecs Context: -Aztecs 1541-42 CE

82. Church of Il Gesu

Form: -building: marble, brick -ceiling: fresco and stucco -Lation cross plan, simple -single aisle -Post Reformation Content: -faith through the senses -Last Judgement (ceiling) spatial illusionism, end of Baroque period -IHS: interpretation of Jesus' name Function: -mother church for the Jesuits of the world Context: -architect: Giacomo da Vignola -facade: Giacomo della Porta -ceiling: Giovanni Battista Gaulli -Jesuits are great defenders of the pope -ceiling made 100 years later (1676) -Rome, Italy

83. Hunters in the Snow

Form: -endless, winter landscape -panoramic view -apart of series of 4 seasons -oil on wood Content: -hunters coming back after an unsuccessful hunt (only one rabbit) -people iceskating and curling (shows daily life) -broken sign above inn -vastness and beauty of world Function: -part of calendar series 0show how they had to get their food 0for dining room of wealth merchant in Antwerp Context: -artist: Peter Bruegel the Elder 1565 High Renaissance North -Antwerp

84. Mosque of Selim II

Form: -brick and stone -similar to Hagia Sophia -dome, squinches, piers, apses -richly decorated dome from the inside -centralized, octagonal mosque Content: -slender, tall minarets -centralized with 8 piers -courtyard and prayer hall -madrassa (college for Islamic instruction) -souk: shops in the mosque -Qibla wall faces outwards showing openness Function: -mosque made to replace Hagia Sophia Context: -Edirne, Tukey: Ottoman -made by architect, Sinan, in 1568-1575 CE -part of a complex

85. Calling of St. Matthew

Form: -metaphysical painting -Baroque (Counter Reformation, through your sense) -diagonal light (tenebrism) -realism/illusionism -unusal setting for Jesus Content: -meant to be contemplated -Jesus extended hand (same hand as in Sistine Chapel) -Matthew sitting with fellow tax collectors Function: -body and soul are between a spiritual reality and physical reality -Jesus shown in modern environment -part of 3 part series -use of light -in chapel Context: -artist: Caravaggio; Rome, Italy -1559-1600 -Contarelli Chapel

86. Henri IV Recieves Portrait of Marie de 'Medici

Form: -oil on canvas -floating figures -part of a cycle -shows an event in her life -Catholic Baroque Content: -Henry IV present the picture of Marie that confirmed his religious identity; married a Catholic queen -marries her so he can have a son and recreate him in a Catholic way -Jupiter and Juno gives blessing to them Function: -"early harmony" -part of a tribute to her life -show that their marriage was official bc portrait -shows political power, sophistication, and stability Context: -Peter Paul Rubens (Flemish painter) -from Marie de' Medici cycle displayed in the Louvre -1621-25 CE Flemish Baroque

87. Self Portrait with Saskia

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

88. San Carlo alle Quatro Fontane

Form: -pure white inside with complex geometry -stone, stucco -rich orientation -balance convex vs. concave -flowing walls Content: -Trinitarian order in centers of ceiling (triangle=HS) -big columns -4 fountains Function: -dedication to Saint Carlos -represent the trinity -reminder of the Renaissance -Monastic Church (Trinitarian Order) Context: -Rome, Italy -architect: Borromeo 1638-46 CE (17th century) -Italian Baroque

89. Ectasy of Saint Teresa

Form: -marble, stucco, gilt bronze -rich color -many shapes and directions -spiritual vs. physical -Baroque -shallow carving -Counter-Reformation Content: -St. Teresa having a vision (physical and spiritual experience) -fresco on ceiling -Holy Spirit as a dove, light coming from HS -columns serving as a frame as you enter chapel -real daylight explosion Function: -Bernini's comeback after his scandal with mistress -inspire and involve the viewer by bring sculptures to life -after St. Teresa canonized -shows union of world Context: -Rome; 1647-52 -artist: Bernini (very religious) -sculpter, architect, painter -Italian Baroque

90. Angel with Aequebus

Form: -Spanish Colonial Baroque -idealistic -Latin inscription -oil paint -part of a large history Content: -guns from 80 years war -feathered crown -nobility -elegant clothing -Catholic missionary -Asiel fears God -Church=army -angel=soldiers -aristocratic clothing -Angel with gun Function: -militarist approach to faith -propaganda for war Context: -17th century Peru -artist: Asiel Timor Dei

91. Las Meninas

Form: -use of mirrors (Baroque) -movement in strokes not as detailed as you think -large painting -gaze Content: -maids of honor and daughter -dog=wealth -self portrait of Velazquez -painting in a painting (Velasquez painting this painting -people looking at viewer Function: -view of palace life -show wealth/status -made for Philip IV (the viewer) -genre painting Context: -1656 CE; Prado, Madrid -artist: Diego Velazquez -Spanish Baroque

92. Woman Holding a Balance

Form: -Catholic elements -Scientific lighting -genre scene -small scale, oil on canvas -use of light -vanishing point -color palette Content: -women part of upperclass (fine clothing) -fur coat -balance has nothing in it -weighing valuables -Last Judgement scene above Function: -material wealth -painting for merchants -religious meaning but not painted just for Church -time and change Context: -artist: Johannes Vermeer -1664 Dutch Baroque

93. The Palace of Versailles

Form: -east-west axis -rigorous geometry -classical architecture (symmetry, repetitive, and based on Greek temples) -gold -painted ceilings -outside is not as "ornate" -symmetrical -Greek/Roman influence -mirrors (hall of mirrors) Content: -Hall of mirrors (social gatherings) -700 rooms -gardens -sculptures, paintings, fountains tributed to him Function: -King Louis XIV decided to build a new palace -example of nobility -living for King, his close friends, family, servants, and soldiers) -emphasize Louis' importance (everything revolves around him Context: -Versailles, France -Louis Le Vaw and Jules Hardouin-Mansart= architects -began in 1669 CE, French Baroque

94. Screen with Seige of Belgrade and hunting scene

Form: -Japanese folding screen (Biombo) -Spanish Colonial Baroque -tapestry -tempora/resin on wood -shell inlay (Aztec) Content: -historical event from Europe -one side: battle scene -other side: landscape -Great Turkish War -combines multiple cultures Function: -expresses exonomic power of the Spanish in Colonial Mexico -made Spanish viceroy -room divider (biombo- Japanese folding screen) -relationship between Japan and Latin America Context: -Circle of Gonzalez Family, 1697-1701 CE -Spanish Colonial

95. The Virgin of Guadalupe

Form: -based upon the original -oil on canvas on wood inlaid with pearls Content: -artist signature -traditional view -story of Juan Diego (Aztec man) -roses with her image -radiating light off Mary -indigenous coming to Roman Catholic Church -dark-skinned people portraits FunctionL -tribute to Mary and show her as divine Context: -1698 CE, Spanish Colonial -Mexico City, Basiclia of Guadalupe -artist: Miguel Gonzalez

96. Fruit and Insects

Form: -still life -Baroque -oil on wood -colors, detailed Content: -insects, fruit -wheat and grapes= Jesus? -bringing different compositions together Function: -harvest in autumn -microscopic organisms: used microscope to study these organisms Context: -artist: Rachel Ruysch (Dutch arist; last famous still painter) -Florence, Italy 1711 CE (18th century)

97. Spaniard and Indian Produce a Mestizo

Form: -casta painting (displays mother, father, and child) possibly modeled after the Holy Family -text is the title of the piece -enlightenment Content: -woman wearing traditional Indian clothing and white father with their mixed race son (Father wearing French-style European clothing) -servant carrying the son -family appears content -racial purity=whiteness Function: -displays social status (tied up in one's racial makeup)- helped maintain European power and control Context: -artist: Juan Rodriguez Juarez -1715 CE (height of slave trade)

98. The Tete a Tete from Marriage a la Mock

Form: -looks like French Rococo (uses to make fun of the French Content: -critques upper-class for getting married because of bloodlines and family -shows the couple is married but not faithful to eachother -man being sniffed by dog because smell of another woman's perfume -woman has been out all night trying to become popular -part of a series (arranged marriages end badly, marriage should be about love) -sign that sex occurred before husband came back home (flipped over chair) -merchant gives up on couple because they won't take finances seriously Function: -satire from British to French -art being made for the growing middle class Context: -artist: William Hogarth (social critic) -1743 CE

99. Portrait of Sor Juana Ines de la Cruz

Form:

• style: enlightenment -oil on canvas Content: -typical nun looks -surrounded by books (educated) -nun=sor -wearing a shield -has painting of Virgin Mary -hold St. Jerome's translation of the Bible (her religious order is named after him) -toys with rosary in her left hand -gaze directly at viewer -red curtains shows higher status -woman taking on the clergy Function: -conveys religious and intellectual status -feminist Context: -artist: Miguel Cabrera -1750 CE -location: Mexico City

100. A Philosopher Giving a Lecture on the Orrery

Form: -Tenebrism now used in secular aspects (mimicking Caravaggio) -Chiaroscuro: contrast between light and dark Content: -orrery: model of the solar system (heliocentric) -philosopher explain something to people in painting (education is sacred) Function: -introduction to science -celebrates access to knowledge -shift from religion to science -philosophical groups emerging Context: -1763-1765 CE -artist: Joseph Wright of Derby