AP Art History FULL Notes

AP Art History Course Study Guide

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Unit One: Prehistoric Arts

1. Apollo 11 Stone (Namibia. 25000 B.C.E Charcoal on stone)

a. Context:

i. Found in the Hun's mountains of Namibia

ii. It was founded along with 7 other tablets that

contained animal figures

iii. Founded during the Apollo 11 moon landings hence

the name

b. Content:

i. Cave stones with animal-like figures with human legs

ii. Thought to be a Therianthrope. Animals resembles a feline body and

human hind legs

c. Form:

i. Made out of charcoal on cave stone

ii. Maybe used mineral based pigment bc they found ostrich egg painted

d. Function:

i. Unknown but it is small enough to be carried in one’s hand

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

painting)

a. Context

i. Stone Age

ii. Dordogne, France , Cave- 250 meters long, Hunter and gatherer lifestyle

iii. In 1963 original was closed but a replica was built to

preserve the artwork

b. Content

i. Animals that were of importance (bulls, horses,

cattle, deer)

ii. Human vs animals

c. Form

i. Charcoal and ochre on nonporous rock

ii. Hierarchical scale

iii. Patterns were prominent (could tell us about our past)

iv. Only one human painting

d. Function

i. Shows the importance of survival

ii. Used for religious rituals, storytelling and preserving the history

3. Camelid Sacrum in the Shape of a Canine (Tequixquiac, central Mexico. 14000-7000

B.C.E. Bone)

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a. Context:

i. Prehistoric-no written record

ii. Lost to scholars for about 60 years. It was privately

owned

iii. Spiritual significance of sacrum. Pelvic bone is the

fulcrum of the body & central to internal organs.

iv. Could be a symbol of fertility or connection to ancestry

and posterity

b. Content:

i. Head of Canine, natural shape of sacrum bone probably suggested image

of canine to the carver

ii. Nostrils, mouth

c. Form:

i. Made from the now fossilized remains of the sacrum-triangular pelvic

bone of a camelid (now extinct)

d. Function:

i. Unknown but prehistoric artisans drew/painted/carved sculpted what they

saw in their everyday life, so choice to render image of a canine makes

sense

4. Running Horned Woman (Tassili n’Ajjer, Algeria. 6000-4000 B.C.E. Pigment on Rock)

a. Context:

i. Found in an area with high elevation & unique

topography

ii. Hunter & gatherer society

iii. Thousands of paintings were found in the area

iv. Found in Algeria, Africa

b. Content:

i. White dots- body paint

ii. A horned woman running with arm and shin

guards

iii. People running along with the horned woman

c. Form:

i. Hierarchical scale

ii. Pigment on rock

iii. Illusion of movement

iv. Profile perspective

d. Function:

i. Emphasized importance of survival

ii. Recognition of the importance animal and human relationship

5. Beaker with Ibex Motifs (Susa, Iran. 4200-3500 B.C.E. Painted terra cotta)

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a. Context:

i. Found in Iran

ii. Belong to the susa people

b. Content:

i. Central ibex (mountain goat)

ii. Running greyhound like animals

iii. Diamond shapes at the top of the beaker

iv. Birds encircling the top of the beaker

c. Form:

i. Painted terra cotta

ii. Geometric lines & shapes

d. Function:

i. For funerary practices

6. Anthropomorphic Steele (Arabian Peninsula. 4th millennium B.C.E. Sandstone)

a. Context:

i. Pre-Islamic Northern Saudi Arabia

ii. Found with 60 other steeles

iii. Fertile ground and area

b. Content:

i. Represent a human

ii. Trapezoid head with a horizontal necklace along with

an awl

iii. The waist has a belt with two daggers

c. Form:

i. Made from sandstone

ii. Carvings are not intricate

iii. Bas-relief carving

d. Function:

i. Steele - a vertical stone monument or marker often inscribed text or relief

carving

ii. Shows the importance of human figure

7. Jade Cong (Liangzhu, China. 3300-2200 B.C.E. Carved Jade)

a. Context:

i. Developed in Yangzi delta (Neolithic era)

ii. Farming society

b. Content:

i. Square hollow tube

ii. Represents dead ancestors

iii. Lines and circles = animals, humans, and

monsters

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c. Form:

i. Made from jade

ii. Precise engravings (created from sanding the jade)

iii. Bas relief

d. Function:

i. Show power and wealth

ii. Protect in afterlife, Found in graves, Connections to nature, rectangle=

earth, circle= heavens of the sky

8. Stonehenge (Wiltshire, UK. Neolithic Europe. 2500-1600 B.C.E. Sandstone)

a. Context:

i. Founded in Salisbury Plain England

ii. 1st phrase started around 3100 B.C.E. (this would be be concurrent w/ first

dynasties of ancient Egypt)

iii. Construction continued the next 500 years. Building the structure would

require precise planning and massive amount of labor

iv. Used machinery to get the lintel stones on top of the post stones

v. Long term communal effort, shows that they are sophisticated

b. Content:

i. 3 Phases (Constructions), Before pyramids

ii. Concentric circles of huge stones- lintel stones are carved to create the

curved lines of a circle

iii. Huge pits dugged which allows stones to stay

upright

c. Form:

i. Made mainly of bluestone which is very durable

ii. Post and lintel construction

iii. Monolithic Stones

d. Function:

i. Evident that the 2nd stage of construction, Stonehenge was used as a

burial site (all Burials were males aged 20-50 important figures)

ii. Horseshoes of trilithons frames mark both mid-summer solstice and

midwinter sunset (longest/shortest day of the year)

9. The Ambum Stone (Ambum Valley, Enga Province, Papua New Guinea. 1500 B.C.E.

Greywacke)

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a. Context:

i. Neolithic

ii. Settled communities which allowed more time for sculpture

iii. Greywacke: Really hard to carve long lasting and durable; valuable

b. Content:

i. Most likely a depiction of an Echidna, which is an egg-laying mammal

that’s native to the New Guinea region

ii. The Ambum stone’s rounded belly provides balance and allows it to be a

freestanding sculpture

c. Form:

i. Used substances carving techniques which means they subtracted a certain

amount of greywacke stone to create they floaty neck

d. Function:

i. Unknown. But easy to pass around. Perhaps some religious purpose,

buried w/ dead people

10. Tlatilco Female Figurine (Central Mexico, sites of Tlatilco. 1200-900 B.C.E. Ceramic)

a. Context:

i. Founded with many others by brick makers who were getting

clay

ii. Appears to have come from graves

b. Content:

i. Figure of female form

ii. Elaborate style hair and lively expression

iii. Deformities: lack of defined hands and feet, 2 faces (may

symbolize duality: yin/yang or evil/good)

c. Form:

i. Balanced through symmetry textured hair, heavy bottom

ii. Rarely depicted males but when they are they are often wearing

masks/costumes

d. Function:

i. May have been part of a burial process

11. Terra Cotta Fragments (Lapita. Solomon Islands, Reef Islands. 1000 B.C.E. incised)

a. Context:

i. Created by the artisans in the Lapita culture

ii. Was discovered in New Caledonia islands ~about 85,000

indigenous people lived on these islands

b. Content:

i. Clear anthropomorphic figure depicted

ii. faces=highly geometric, large,

iii. Different groups have specific designs in their pottery.

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c. Form:

i. Made from molded terra cotta , a reddish, brown, unglazed type of clay

ii. Used method called dentate stamping involves carving designs into

existing natural materials

d. Function:

i. Fragments are from a pot used to store food

ii. Could have been a form of reverence for ritualistic/religious usage since

pottery was a large part of Lapita Culture

iii. Pottery was exchanged within this group: this shows trade and

communication

Unit 2: Ancient Mediterranean

12. White Temple and its Ziggurat (Uruk [modern Warka, Iraq]. Sumerians. 3500-3000

B.C.E. Mud Brick)

a. Context:

i. Located in Iraq

b. Content:

i. 40 feet tall

ii. Tripartite plan

1. Rectangular central hall

2. Three entrances

iii. White temple

1. North, west and east entrances

2. Chambers with northeast with wood shelves

3. North end contained a podium and altar

4. Found lion & leopard bones

iv. Ziggurat

1. Raised platform with sloping sides

2. Has a stairway and has

c. Form:

i. Made out of mudrock and asphalt top

ii. Whitewashed

d. Function :

i. For government and religious purpose

ii. Rituals & sacrifices ( dedicated to Anu)

13. Palette of King Narmer (Predynastic Egypt. 3000-2920 B.C.E. Greywacke.)

a. Context:

i. Found in the temple of Horus

ii. Made during the unification of lower and upper Egypt

iii. For King Narmer

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b. Content:

i. Contains The head of goddess Bat

ii. King Narmer with a bull tail and a lower

Egpytian custom (kilt)

iii. Enemies decapitated and castrated

iv. Bull (King Narmer) knocking down walls

c. Form:

i. Carved from a grayish siltstone

ii. 2 feet long

d. Function:

i. Used for grinding up makeup (ex: Eye makeup and lipstick)

ii. Ceremonial; dedicated to a god

iii. Was also an object placed in graves

14. Statues of Votive Figures, from the Square Temple at Eshnunna (modern Tell Asmar,

Iraq) (Sumerians. 2900-2600 B.C.E. Gypsum inlaid with shell and black limestone)

a. Context:

i. Aspects of Mesopotamia religion is the votive figures

ii. Worshippers set up statues so that the statues would worship in place of

the owners when owners leave the shrine

b. Content:

i. Figure of male and female donors

ii. Eyes are larger than hands (hierarchical scale)

iii. Inscription - wish to be granted and/or ask a god to

look upon worshipers favorably

c. Form:

i. Alabaster

ii. Pedestal

iii. 1 feet 3 inches

iv. Individualistic characteristics

v. Eyes made of lapis lazulivi. V-shaped bodies

vii. Brows - dark shells, limestone,bitumen

d. Function:

i. Portable

ii. Stand- in worshipper

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15. Seated Scribe (Saqqara, Egypt. Old Kingdom, Fourth Dynasty 2620-2500 B.C.E. Painted

Limestones)

a. Context:

i. Depicts a seated scribe

ii. Scribes were the one of the few people that could write and read

Egyptian

iii. Scribes were used to write down history and records

b. Content:

i. Scribe holds a papyrus scroll

ii. Tranquil face = wisdom

iii. Scribe at work

iv. Sitting = position of royalty or respect

c. Form:

i. Body is limestone

ii. Nipples are made of wood

iii. Individualistic features

iv. The scribe would have been placed on a description

d. Function:

i. For funerals

ii. Created due to the respect the scribe had in society

16. Standard of Ur from the Royal Tombs at UR (modern Tell el-Muqayyar, Iraq).

(Sumerian. 2600-2400 B.C.E. Wood inlaid with shell, lapis lazuli, and red limestone)

a. Context:

i. Found in south Iraq

ii. Prosperous and fertile grounds

iii. Found in the graves of Ur (one grave contained 74 sacrifices)

b. Content:

i. One side shows men bringing

crops and fish

ii. Another side is the war

iii. Enemies of war- naked and

bleeding given to the king

iv. Divided into 3 registers

v. Hierarchical scale King is larger

than others to show importance

vi. Talons folding an arrow- symbol of war

vii. Olive branch - symbol of peace

c. Form:

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i. Mosaic tiles made from shells (from Persia), red limestone (from India),

blue lapis lazuli (from Afghanistan)

ii. Small; portable

d. Function:

i. Mostly unknown

ii. Possibilities

1. Music box

2. Commemoration art

3. A wallet (something to hold currency)

iii. Standard was a flag brought into battle (maybe held a flag in the past)

17. Great Pyramids of Giza (Menkaura, Khafre, Khufu) and Great Sphinx (Giza, Egypt. Old

Kingdom, Fourth Dynasty. 2550-2490 B.C.E. Cut Limestone)

a. Context:

i. Tallest things for over 4000 years

ii. People were buried with all the things they need in life

iii. Cosway=elevated road led to nile-river

iv. When dead=boat arrive up cosway funeral temple taken to pyramid

v. Pyramid of Khufu:

1. Tallest of the 3 (481ft), 2300000 blocks over 50 tons

2. king/queen chamber

vi. Pyramid of Khafre:

1. 2nds tallest but looks tallest because

it’s on higher grounds

2. Contains a Sphinx: carved into the

bedrock, symbol of royal power.

Lion with the head of Khafre

vii. Pyramid of Menkaure:

1. Smallest (213 ft)

2. Most complex chambers of the 3

3. Held Menkaure’s black stones

4. Held many statues of the king

b. Content:

i. 3 major pyramids for 3 rulers over 3 generations

ii. Representations of the passages of the dead

iii. Pyramids = close to cities

c. Form:

i. Bedrocks, corestones, Tura limestone, casing red granite, mortar, edges =

aligned with cardinal points

d. Function:

i. Burial sites for kings

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ii. Royal mortuary complex

iii. Social structure

iv. Reflect solar cycle

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

Greywacke)

a. Context:

i. During the old kingdom during fourth dynasty

ii. Menkaure was the son of Khafre

b. Content:

i. Depicts Egyptian king Menkaure and his wife(unsure who it is)

ii. Wears traditional fake beard and headdress

iii. Both are stepping forward with left foot shows stepping into the afterlife

iv. Individualized & young facial and body characteristics

v. Menkaura is slightly taller than his wife

vi. Both have nude upper bodies and wearing a skirt

c. Form:

i. No inscription

ii. Made out old greywacke (hard to carve)

iii. Rigid postures

d. Function:

i. Communicates the divinity of the pharaoh

ii. Memorial structure

iii. Used to make sure the pharaoh would reach the afterlife

19. The Code of Stele of Hammurabi (Babylon [modern Iran]. Susian. 1792-1750 B.C.E.

Basalt)

a. Context:

i. Babyloain kingdom

ii. King Hammurabi came into power

b. Content:

i. King Hammurabi receiving the code from

the god of justice (Shamash)

ii. Laws written in cuneiform

iii. small register (showing right to be king)

iv. Over 300 laws that governed Babyloian

society

v. Law and punishments were severe

c. Form:

i. High relief

ii. 7.4 ft tall

iii. Basalt rock

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d. Function:

i. To show the laws and punishments that will be enforced by Hammurbi

20. Temple of Amun-Re and Hypostyle Hall (Karnak, near Luxor, Egypt. New Kingdom,

18th and 19th Dynasties. Temple: 1550 B.C.E.; Hall: 1250 B.C.E. Cut sandstone and

mudbrick)

a. Context:

i. Heavily used New Kingdom

ii. Temple: 1550 B.C.E.

iii. Hall: 1250 B.C.E.

iv. Certain areas = restrictive and only able to be accessed by elite

v. Currently in poor state due to lack of preservation

b. Content:

i. Pharaohs continued to add to it overtime

ii. Clerestory lighting = natural and coming from opening above

iii. Creates a sort of heavenly godly

feeling

iv. Existed in Karnak, near Luxor.

Egypt

v. Obelisk and sphinx make it

Egyptian

c. Form:

i. Made of cut sandstone and

mudbrick

ii. Axis designed and created on the 4 cardinal direction points, had a both a

north/south and an east/west axes

iii. Hypostyle = columns hence the name one of the largest temple

construction

iv. Axial temple: longitudinal split symmetry

v. Pylon-long gate way/courtyard

d. Function:

i. Center of god Amun-Re

ii. Also honors several Egyptain gods and goddess

iii. Also known as the most select of places

21. Mortuary Temple of Hatshepsut (Near Luxor, Egypt. New Kingdom, 18th Dynasty.

1473-1458 B.C.E. Sandstone, partially carved into a rock cliff, and red granite)

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a. Context:

i. Hatshepsut = woman pharaoh

ii. New kingdom

iii. Hatshepsut wanted to prove that she was chosen to

be Pharaoh

b. Content:

i. Kneeling statue of Hatshepsut - shows the

masculine features of past Pharaohs (fake beard,

deemphasized breast, and headdress) - 9 ft tall

ii. Temple had a relief carvings and statues of the Pharaoh with the gods

c. Form:

i. Temple cut from a cliff side

ii. Kneeling statue - made from granite

iii. Temple had a colonnade terrace (aligned with the winter solstice )

d. Function:

i. Funerary temple to Pharaoh Hatshepsut

22. Akhenaton, Nefertiti, and Three Daughters (New Kingdom [Amarna], 18th Dynasty

1353-1335 B.C.E. Limestone).

a. Context:

i. Akhenaton changed the kingdom to only worshipping one god (Aten, the

sun god )

ii. Akhenaton and Nefertiti made themselves the representative of Aten

iii.

b. Content:

i. Depicts Akhenaton, Nefertiti and his three daughters

sitting on a throne

ii. Aten is represented by a sun in the center

iii. Ankhs (symbol of life) radiate from the sun toward the

family

iv. Shows family is connect to Aten

c. Form:

i. Bas - relief carving

ii. Limestone

iii. Disproportionate bodies

iv. Softer body positions (sloping and relaxed forms)

v. Around 32 cm. high

vi. stylistic

d. Function:

i. Meant to be apart of house altar

ii. Iconography - depicts a god

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23. Tutankhamun’s Tomb, innermost coffin (New Kingdom, 18th Dynasty. 1323 B.C.E.

Gold with inlay of enamel and semi precious stones)

a. Context:

i. Tut is the son of Akhenaten and Nefertiti

b. Content:

i. Pharaoh Tut sarcophagus had three coffins for

the kings body

ii. Inner coffin was made out of solid gold

iii. Outer coffins had gems like lapis lazuli and

turquoise

iv. Had a death mask

v. The pharaoh held a crook and flail (symbols of

the Pharaoh’s right to rule)

vi. Had depictions of Nekhbet (a vulture) and

Wadjet (cobra)

vii. Back of death mask is covered in a spell to help

the Pharaoh get to the afterlife

viii. Wore a fake beard

c. Form:

i. Innermost coffin was made out of gold

ii. Gold with many different gems

d. Function:

i. Meant to protect the body of the pharaoh

ii. Help the pharaoh reach the afterlife

24. Last judgement of Hu-Nefer, from his tomb. Book of the Dead (New Kingdom, 19th

Dynasty. 1275 B.C.E. Painted papyrus scroll)

a. Context:

i. Book of Dead = text with spells, prayers and inscriptions that helped the

dead in the afterlife

ii. “Coffin Text’ instructions written on coffin

iii. Founded buried with HuNefer

iv. Horus 4 children are responsible for carving for Hunefer’s internal organs,

represent 4 cardinal points

v. Art contains Egyptian conventions

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b. Content:

i. Upper left = Hunefer

speaking to deities explaining

how he has lived a good ife

and deserve to be in afterlife

ii. Depicted in white robe

iii. Led by Anubis=jackalheaded god who is carrying

an Ankh-symbol of eternal life

iv. Anubis = seemed with a scale, weighing Hunefer’s heart with a feather,

from Ma’at (associated with living an ethical, ordered life). If feather

weighs more = ethical life. If heart weighs more=beast Ammit (crocodile

lion, hippo beast) will devour, Hunefer’s heart = unethical life

v. Horus (a falcon head son of Osiris) hold an ankh introduces film to Osiris

wife and Neftis (Osiris sister) stand behind ostris and join him in making

judgment on Hunefer

c. Form:

i. Drawing/ painting on papyrus scroll

d. Function:

i. To prove Hunefer had lived an ethical life and deserved to enter the

afterlife

25. Lamassu from the Citadel of Sargon II, Dur Sharrukin (modern Khorsabad. Iraq) (NeoAssyrian. 720-705 B.C.E. Alabaster.)

a. Context:

i. Mesopotamia was often in war and being conquered by different people

ii. Palace of Sargon

iii. Founded the capital in modern day Khorsabad

iv. Made during the height of Assyrian

power

b. Content:

i. Human headed winged bull

(protective genies called Lamassu)

guarded entrances

ii. Carved from a single block

iii. The Lamassu has five legs

iv. Curly long tail

v. Expressive eyes

vi. Has a crown, detailed wings, double horns,decorations, beard, earrings

vii. Looked as if it is moving forward if seen from the side

c. Form:

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i. High relief

ii. 13.9 ft tall

d. Function:

i. A spiritual guardian figure of city and important places

ii. Symbol of the kings power

iii. Held up the citadel

26. Athenian Agora (Archaic through Hellenistic Greek. 600 B.C.E.-150 C.E. Plan)

a. Context:

i. Was invaded by the Perisans but was rebuilt

later on

ii. Citizens (male Athenians) were able to

participate in government

iii. Meritocracy and equality before the law

b. Content:

i. The stoa - government, business

ii. Athena -patron goddess

c. Form:

i. Buildings were made out of marble

d. Function:

i. Originally a burial ground during the Bronze and Iron ages

ii. Started as a market place then transformed into a government building

iii. Progressed into a sacred temple dedicated to Athena

27. Anavysos Kouros (Archaic Greek. 530 B.C.E. Marble with remnants of paint)

a. Context:

i. During the Archaic period

ii. First obtained iron tools

iii. Unknown artist

iv. Found in a cemetery Anavysos

v. Grave marker for Krisos

b. Content:

i. Young naked male

ii. A little bit larger than life size

iii. Kouros - youth

iv. Set up by an aristocratic family

c. Form:

i. Idealized male body- strong and lean

ii. Stiff body posture - influenced by egyptain

art

iii. Naked body

iv. Neatly braided hair

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d. Function:

i. It was very popular

ii. Used as grave markers

iii. Offerings to a god

28. Peplos Kore from the Acropolis (Archaic Greek. 530 B.C.E. Marble, painted details)

a. Context:

i. Created in 530 BCE

ii. Unknown artist

b. Content:

i. Young maiden

ii. A peplos robe

iii. Arm extended while holding something

iv. Rigid stance - Eqytian influence

v. Facial expression - transcendent & wise

c. Form:

i. Once brightly pigmented ( red hair colored eyes)

ii. Missing left arm

iii. Tightened wrist

iv. Wearing a dress

v. Neatly braided hair

d. Function:

i. To honor or depict a goddess

ii. Placeholder in front of a temple

iii. Physical representation of a goddess

29. Sarcophagus of the Spouses (Etruscan. 520 B.C.E. Terra cotta)

a. Context:

i. Found in Etrusan tomb

ii. Etrusans lived in northern Italy

iii. Made in 520 BCE

iv. Etrusan women held a higher importance

b. Content:

i. Deceased woman and man together in

intimacy

ii. Archaic smile

iii. Both people are reaching out

iv. The sarcophagus takes form of a bed

c. Form:

i. Painted terra cotta

ii. High-relief

iii. Relaxed figure

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d. Function:

i. Grave marker

30. Audience Hall (apadana) of Darius and Xerxes (Persepolis, Iran. Persian. 520-465 B.C.E.

Limestone)

a. Content:

i. 72 columns, each 24 meters tall, extremely intricate

ii. Columbs capitals = animals: bulls, eagles, lions, all symbol of royalty

iii. 2 monuments of staircases

1. The walls were carved with illustrations of hundreds of figures

bringing offerings to the king from all the states conquered by

Persian Empire

b. Form:

i. Carved primarily of limestone

ii. The carvings on the wall were

bas-relief

iii. Display the importance and

authority of King

iv. Column capital = high relief

v. Hall = hypostyle architecture

c. Function:

i. Represents the expensive

nature of the Persian Empire and emperor’s power

ii. Ceremonial Hall

iii. Served as the center of Persian Empire’s capital

31. Temple of Minerva (Veii, near Rome, Italy) and sculpture of Apollo (master sculptor

Vulca. 510-500 B.C.E. Original temple of wood, mudbrick, or tufa [volcanic rock]; terra

cotta sculpture)

a. Context:

i. Found in Ertuscan

b. Content:

i. Long deep tufa - block foundations

1. Square footprint

ii. Triple cellar (Three-room configuration)

iii. Temple held masks, antefixes, decorative details

iv. Terra cotta statues were once placed on the edge

of the roof

1. Which was set up in a horizontal register

c. Form:

i. Terra cotta

ii. Tufa - a porous rock similar to limestone

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iii. Doric columns

iv. Stone foundations

v. Wood, mudbrick, terra cotta superstructure

vi. Split into two

1. Deep front porch with wide space Tuscan columns

2. Triple cella

3. Back portion has triple cella

vii. High podium

d. Function:

i. Dedicated to Minerva

ii. Shows Etruscan assimilation of Greek gods

iii. Values of the gods and goddess changed slightly for Etrucsan

32. Tomb of the Triclinium (Tarquinia, Italy. Etruscan 480-470 B.C.E. Tufa and Fresco)

a. Context:

i. Iron Age - peak of Etrsucan culture

ii. Wealth based on natural resources

iii. Iron from Greece and north Africa

iv. Etruscans believed that the afterlife will be like life

on Earth

v. Funerary customs

1. Did not bury people

2. Intricate funerals for members of the elite

3. Funerals had games, banquet, music and

dancing

4. Tombs had furniture

5. Carved the deceased into the sarcophagus

6. Had a triclinium - three couched dining room

vi. Tomb found in Tarquinia

b. Content:

i. Tomb has chambers

ii. Painted fresco walls

iii. Left wall - four dancers and a male musician

iv. Right wall has a similar painting

v. One fresco painting is faded most likely had 3 couches with recliner diners

and 2 attendants

vi. Animals under couches

vii. Men dressed in robes

viii. Trees and shrubs

ix. Nude cup bearer

x. Tomb ceiling is checkered

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c. Form:

i. Fresco paintings

ii. Cambers cut out of subterranean rock

iii. Stylistic depictions

iv. Angular and stiff postures

v. Gender depiction

vi. Men - darker skin tone

vii. Women - lighter skin tone

d. Function:

i. For funerary rituals

ii. Contained the deceased and offerings to God

iii. Shared a final meal with the deceased

1. Proportion of meal was left in

2. Reinforce social economic

33. Niobides Krater (Anonymous vase painter of Classical Greece known as the Niobid

Painter. 460-45- B.C.E. Clay, red-figure technique [white highlights])

a. Context:

i. Methods: Throwing clay is centered or rotating wheels. While rotating, the

potter pulls up the clay and forms it to desired shape. Turning and joining:

Trimming superfluous and uneven clay to refine the shape of a

vase/reduce the thickness walls. Burnishing: used to create smooth

surfaces

ii. Each period of time had it’s own techniques

1. Geometric period: geometric patterns

2. Orientalizing period: animals professions and near eastern motifs

3. Archaic and Classical Periods: vase displays human and

mythological activities.

iii. To produce the characteristic red and black

colors: used liquid clay as paint

b. Content:

i. 2 sides

ii. Front: Niobe: 14 kids and bragged about it

1. Leto = mother of Apollo and Artemis.

They got revenge for their mother by

killing Niobe’s kid

2. Perfect profile

a. Artemis = reaching quiver for

another arrow

b. Apollo = drawing his bow back

3. Niobe kids = more frontal

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iii. Back: Hercules holding club and wearing lion skin

1. Athena = left

2. Maybe it's not a painting of Hercules, maybe Greek soldiers are

coming to honor him and ask for protection

c. Form:

i. Figure = stiff, early classical period, severe style. Made of clay

d. Function:

i. Type of Vessel = calyx-krater

ii. Large purch bowl

iii. Used to mix water and wine

34. Doryphoros (Spear Bearer) (Polykleitos. Original 450-440 B.C.E. Roman copy [marble]

of Greek original [bronze])

a. Context:

i. Found in palestra (place for athletes to work in) in Pompeii

ii. One of the most copied sculpture in Greeks

iii. Created at time when Greeks were in awe of the mathematics of perfection

of human body

iv. Manipulated symmetry

v. Graceful arrangement of the body based on tilted

shoulders and hips and bent knees

b. Content:

i. Celebrates the human body, it's beauty, and strength

ii. Earliest examples of contrapposto: s-shaped curve off

his spine, better balance, weight on his right foot, more

naturalistic, tilted life-like appearance

iii. Strong sense of harmony: Left arm/ right leg=relaxed,

right arm/left leg=tensed

iv. Broad shoulders/thick torso, muscular

v. Hold an iron spear

vi. Depicts everyone ideal self

c. Form:

i. White marble

ii. Subtractive sculpture

iii. Life size=84 inches

d. Function:

i. People can learn from it

ii. Understand proportions

iii. Canons - a set of guidelines, outlining the ideal man based on ratios and

measurements

iv. Showcase the beauty

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35. Acropolis (Athena, Greece. Iktinos and Kallikrates. 447-410 B.C.E. Marble.)

a. Context:

i. has been ransacked and burnt, blown up, etc multiple times

b. Content:

i. there are multiple buildings most notably the

Parthenon, Temple of Nike, old Temple of

Athena, Altar of Athena Polias, Rome and

Augustus altar, Athena Promachos,

Erechtheion, and Propylaea. All with unique

detail and purpose.

c. Form:

i. Extremely large, classical period

d. Function:

i. Most important religious center in Greece

36. Grave Stele of Hegeso (Attributed to Kallimachos 410 B.C.E. marble and paint)

a. Context:

i. Diphlon cemetery in Athens

ii. Hegeso: woman, domestic, basically in a house on the stele: 2 walls and a

roof

iii. Not citizens of Athens

iv. Women were defined by their relationship to men

v. noble , her father grave plot was super magnificent

vi. Attributed to the sculptor Kallimachos

b. Content:

i. Relief sculpture of Hegeso and servant girl

ii. Servant holds jewelry box and Hegeso holds and look at a necklace

(dowry)

iii. Drapery: elaborate forms and swirls, very close to her body

iv. She does not touch the ground: her foot is on a pedestal

v. Inscription says Hegeso, daughter of Proxenos

c. Form:

i. Stele 5’2”

ii. Detailing of drapery: naturalistic, follows fold of body

d. Function:

i. Grave stones

37. Winged Victory of Samothrace (Hellenistic Greek 190 B.C.E Marble)

a. Context:

i. Stands on the prow of a huge marble ship to spread the messages

ii. Had huge impact on the traditions of western art that followed

iii. Louvre in Paris, France

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b. Content:

i. Depicts Nike = goddess of victory

ii. Missing her head and both arms but used to hold a

trumpet or cupping her hand around her mouth to

announce a naval victory

iii. The way her body is sculpted=creates a spiraling

effect: her wings reach back her chest forward, her

feet down

iv. Wet drapery technique

c. Form:

i. Over 9ft tall

ii. Made of Thasian and Parian marble

iii. Was found in temple complex on the island of Samothrace called

sanctuary of the Great Gods

d. Function:

i. statue=ex-voto (offering to deity) most commemorate a naval victory

ii. The offering would serve to gain the deities favor protecting sailors and

armies against storms and enemies.

38. Great Altar of Zeus and Athena at Pergamon (Asia Minor [present day Turkey].

Hellenistic Greek. 175 B.C.E. Marble [architecture and sculpture])

a. Context:

i. Geographically desirable

ii. Pergamon Museum: tried to recreate it

b. Content:

i. Battle of Greek myth pantheon of gods V.S.

giant to determine the controller of the

universe

ii. Athena

1. Fights Alkyoneus, main giant, as his

mother looks in horror

2. Appears triumphant as she fights

3. Being crowned by winged Nike

4. Uses battle shakes to aid in defeating

the Giants

5. Gigantoleira= slayer of the giants.

iii. Zeus:

1. Battles 3 giants at once with help of an eagle (above) and his

lightning bolt

2. Cloaked in realistically ruffled robes

3. 2 of 3 giants he had already defeated

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c. Form:

i. 35.64x33.4 metres

ii. High relief sculpture

iii. More prominent gods and figures=higher relief

d. Function:

i. Worship of Greek gods

ii. Representation of Greek power

iii. Sacrifices=made on top of stairs

39. House of the Vettii (Pompeii, Italy. Imperial Roman. Second century B.C.E.; rebuilt 62-

79 C.E. Cut stone and fresco)

a. Context:

i. House owned by Aulus Vettius Conviva and his brother, Aulus Vettius

Restitutus

ii. Conviva= Augutalis- a position at the highest civic office a freeman could

attain

b. Content:

i. Wall painting=decorative schema

ii. 4th style wall painting=expansive

iii. Contains large central Halls

(Atria)

iv. Largest of room opening on

peristyle contains painting in

red/black

1. Mythical winged gods of

Love

v. Impluvium (water basin) lies at center of atrium for collecting rain

vi. Increasingly sexual nature of paintings and artwork marks a decline in

Pompeii moral standards

vii. Phallic figures god priapus, females being sexual, and depictions of nude

males symbolizes fertility

viii. Painting depicts Cupid collecting grapes

c. Form:

i. Covers 1,100 sq meters

ii. Demonstrates Pompeii’s late artistic and architectural style

iii. The house paintings=indicate a theme of forward-thinking

d. Function:

i. 2 lockrooms for storing valuables were displayed proudly in the

vestibulum

ii. The brothers went from freedmen to very wealthy

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

Mosaic)

a. Context:

i. Found in the city of Pompeii which was preserved in ash after the eruption

of Mount Vesuvius

ii. It was found in the House of Faun, named after the bronze statue of a faun

found there

iii. The Battle of Issus (333 BC) which was a turning point in ancient history

because the ruler of Persia (Darius III) is ordering a retreat of his troops

iv. Darius has a look of desperation and history says that Alexander pitied his

family and let them live

v. Alexander is not depicted in his typical

form here. It's; more natural

b. Content:

i. Depicts the Battle of of Alexander the

Great and Darius III

ii. Very dramatic and chaotic scene with a

sense of mentum as the massive chariot is

turning around

iii. Excellent use of foreshortening in the horse

iv. Alexander breastplate has Medusa’s head, which was used as a magical

protection spell from evil, it also symbolizes divine birth

c. Form:

i. Floor mosaic, 2.72 by 5.13 meters

ii. Made from more than one million and a half pieces of stones and glass

iii. Possibly based on a wall painting done in 315 B.C.E. hellenistic period by

a greek artist named Philoxenos because it matches a description of the

painting written by Pliny

d. Function:

i. Found in the House of Faun which was the nicest mansion found in

Pompeii which means it was piece of art aristocrats would have invested

in for perhaps their own enjoyment and for the enjoyment of guests

41. Seated Boxer (Hellenistic Greek. 100 B.C.E. Bronze)

a. Context:

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i. Breaking away from the traditional idealized, heroic male nude

ii. Still holding onto the pre-hellenisitic ideas: his body is idealized with

perfect muscles but in contrast, his posture and face show humanity

b. Content:

i. The humanity found in this work creates a sense of presence

ii. Muscular, powerful, and defeated

iii. Covering his head and face is bits of copper which posed next to the

bronze resembles blood, covering his face and hands with wounds

c. Form:

i. Lost wax casting (hollow cast)

ii. Seated posture

iii. Made in different sections that were welded together

iv. Broken nose and shattered teeth

d. Function:

i. Attributed with healing powers

ii. Represents the cultural shift of the Hellenistic period

iii. Could have been a votive statue dedicated to a boxer

iv. Identifying him as the boxer of Quirinal

v. Could be made to represent the culture of boxing in Ancient Greece.

42. Head of a Roman Patrician (Republican Rome 75-50 B.C.E. Marble)

a. Context:

i. Patricians= worked in senate, wealthy and educated

ii. Male gaze

b. Content:

i. Wrinkled and toothless with w/ sagging jowls

ii. Physical traits meant to convey seriousness of mind and the

virtue of a public career by showing the mark of the

endeavors.

iii. Wrinkles and other sign of ageing on this portrait serve to

point out his admirable qualities of experience, seriousness

and determination

c. Form:

i. Otricoli, head

ii. 1’2” High

iii. Marble

1. Polychromed (painted in several colors)

2. Terracotta was used and then painted with encaustic (otherwise

referred to as a hot wax process)

iv. Veristic style=verism

1. A form of realism (hyper-realistic)

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2. Over exaggerated

3. Influenced by the tradition of ancestral imaginations. Death wax

masks of notable ancestors were kept and display by the family

d. Function:

i. Displays respect

ii. Symbolizes wisdom, determination, experience, valor, and strength of

Roman Republicans

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

a. Context:

i. Augustus claims to be reestablishing the senate but in reality is stabilizing

Rome so he can be Rome first real emperor

ii. Utilize canon of proportions

iii. Cupid rides a dolphin and symbolizes Augustus win in battle of Actium

iv. Cupid=show Augustus ancestors=Aeneas and Caesar

b. Content:

i. Political significance, filled with Roman political ideology

ii. Idealized statue of him, very young and attractive

iii. Cupid is pulling down his garment at his ankle symbolizes his own divine

lineage

iv. The cuirass or breast plate depicts the god of the sky and goddess of the

Earth, divine convergence on his sides=female personification of the

nations conquered by Rome.

v. Sun God and Sky God (Sol and Caclus) are at top of Cuirass and shines

down on all part of the Empire

c. Form:

i. Found in the villa of Livia (his wife) at Prima Porta

ii. Free standing, sculpture in the round

iii. Bas Relief carving on breast plate

iv. Standing contrapposto

d. Function:

i. Propaganda: the statue shows the positive qualities wanted to portray

himself to the people in godlike way

ii. Demonstrating Augustus military power

44. Colosseum (Flavian Amphitheater) (Rome. Italy. Imperial Roman. 70-80 C.E. Stones and

concrete)

a. Context:

i. Original called Flavian Amphitheater

ii. Named after the family who paid for the Colosseum

iii. Later was referred to as the Colosseum

iv. Vespasian built this as a gift to the Greek people

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v. Showed the social statues based on where a person was sitting

vi. POWs , slaves and no-citizens (besides women)

were able to fight for their freedom

b. Content:

i. Had vaults and arches

ii. Oval shaped

iii. Four amin levels

iv. 1-3 levels had arched windows

v. 4 levels had no solid wall no windows( for

slaves foreigners and women)

vi. Flat stage with sand in the center

1. Sand was to absorb blood and bodily fluids

2. The hypogeum

a. The underground part of the colosseum

b. Had animal pens, trap doors, and a network

vii. Level 1 - tuscan

viii. Level 2 - ionic

ix. Level 3 - Corthian

x. Velarium

1. A retractable awning that was used as shade for onlookers

c. Form:

i. Oval Amphitheater (stadium)

1. To Greek theaters put together

ii. Inner ring made from concrete

iii. Outer ring made from Travertine ( limestone)

iv. Held 50,000 -80,000 people

v. Covers 6 acres

vi. 50 meters high

vii. 189 meters long

viii. 156 meters wide

d. Function:

i. Public entrainment

ii. Battles and swordfights

45. 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].)

a. Context:

i. Fora- open city

ii. Were found in any Roman city at the heart

iii. Always included a temple

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iv. Trajan had expanded the Roman Empire to all over the Mediterranean

b. Content:

i. Commemorate the Trajan’s victories

ii. Highlights of when the Trajan defeated

the Dacians

iii. Shows his proud military acts

iv. Full of Greek and Roman literature

c. Form:

i. Apollodorus of Damascus was the

engineer

ii. Had a massive entrance way

iii. Column of Trajan

1.

iv. Past the forum was Basilica Ulpia

1. Was filled with structures, carving

2. Laid the foundation of modern cruciform church

d. Function:

i. Commemorate the victories and accomplishments of the Trajan

ii. Solidified power and greatness

iii. Worked as civic, ceremonial space

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

a. Context:

i. Commissioned by Hadrian

ii. Most influential building in the Renaissance

iii. Inscription above doorway, reads tribute to Marcus Agibba

b. Content:

i. Fitted in bronze, pediment-sculpture that acted out the battle of titans, 8

arches=housed statues of deities & emperors,

ii. Statues of Augustus & Agrippa stood in Apse at the end of colonnaded

side aisles of entrance

iii. Huge amount of geometric representation, floor=concentric circles/squares

iv. Almost all of it's mathematically proportioned

v. Hole in the Dome=oculus

1. One great window, when it rains water comes in

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2. Reflects the movement of the heavens

because of how sharp circle of light

moves across building

c. Form:

i. Corinthian columns= monolithic

ii. porch = rectilinear, upon entry the space opens

up into a curvilinear, radial interior

iii. Structural system looks like it is based on a

series of interesting arches-8 in total all where

deities would have been housed on the interior

iv. Lighter materials used at the top of the dome

v. 141 feet tall

d. Function:

i. Originally used as a temple to the gods, then made into a church

ii. Hadrian would hold court

iii. Pope used as a Catholic Church

iv. Expression of Hadrian wealth

v. Oculus’s light functions as sundial.

47. Ludovisi Battle Sarcophagus (Late Imperial Roman 250 C.E. Marble)

a. Context:

i. Sarcophagus start to appear more commonly in the beginning of 2nd

century

ii. Found near a tomb near porta tiburtina (gate in the Aurelian walls of

Rome)

iii. More focus on interaction between the people

iv. Typical style of Late Imperial rome=emotional subject matters

v. Borrows from Greeks in battle from art. Depth of imagers actions and

interactions departure from Greek Arts

b. Content:

i. Roman=good guys in this piece, idealized, confident, young looking

ii. The goths=Barbarians/Gauls (western Europe)=enemy, portrayed

disdainfully

iii. The hero=center, clear focal point, open-chested, strong, armoured, no

weapon, no helmet=invincible

iv. Movement is key in this piece

v. Narrative piece

c. Form:

i. Very high relief

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ii. Detailed carving, at some point the piece has 4 layers of figures on top of

one another

iii. The figures along bottom are physically smaller, makes viewer feel like

they are looking down upon them

iv. Uses contrast of light and darkness to guide a viewer’s eye

d. Function:

i. Created to mark the grave of a rich, unidentified Roman

Unit 3: Early Europe & Colonial Americas:

48. Catacomb of Priscila (Rome, Italy. Late Antique Europe 200-400 C.E. Excavated tufa

and fresco)

a. Context:

i. Underground, in the north of Rome

ii. The oldest part of the catacombs: closest to

the entrance of Priscilla’s villa

iii. A place where the earliest Christians were

buried

b. Content:

i. 10km or more than 5 miles wide

ii. At least 40,000 tombs

iii. Multiple sarcophagus for family members

iv. Scenes from the bible are depicted on the wall

1. Book of Daniel

c. Form:

i. Cubiculum

ii. Passageways are stacked on top of each other

iii. Roman first style painting: Building up of plaster on wall to look like

marble

d. Function:

i. Burial location for the actual members of Priscilla’s family

ii. Not a place for worship

49. Santa Sabina (Rome, Italy. Late Antique Europe 422-432 C.E. Brick and Stone, wooden

roof)

a. Context:

i. In Rome, atop a hill

ii. Example of an ancient Constantinian basilica

iii. Roman Chrisitians chose it as the basis of their new churches

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b. Content:

i. Windows made of selenite

ii. Colonnade with side aisle on each side

iii. Walls broken up into entablatures

iv. Clerestory windows line the upper entablatures of the nave

c. Form:

i. Spacious longitudinal nave

ii. Lights from windows manipulated to create a spiritual effect

d. Function:

i. Early Christian church

ii. To impress the view and inspire them to follow Chrisitianity

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

(Early Byzantine Europe. Early sixth century C.E. Illuminated manuscript [tempera, gold,

and silver no purple vellum])

a. Context:

i. Early Byzantine

ii. Used the church to back the authority of the

emperor

iii. Iconoclast controversy (726-843)

b. Content:

i. Between realistic and abstract

ii. Patrons value of symbolism and abstraction

iii. Written in Greek

iv. Calls back to Romanesque

v. Typical Byzantine art

c. Form:

i. Continuous narrative

ii. Animal skin pages

iii. Manuscript of the first book of the Bible

d. Function:

i. Probably read by a royal individual

ii. Not only aimed to depict stories of the Bible but also be symbol of the

owners piety

51. San Vitale (Ravenna, Italy. Early Byzantine Europe. 526-547 C.E. [Brick, marble, and

stone veneer, mosaic])

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a. Context:

i. Built after the split of the Roman empire

ii. Made under the rule of Ostrogoths

iii. A place of worship

b. Content:

i. Focus on the center of the central plan

ii. Lots of Christian iconography and symbols of

Christs

c. Form:

i. Centrally planned basilica

ii. Windows for lighting

iii. Ambulatory

iv. Byzantine church

d. Function:

i. Primarily to worship the Christian god

ii. Glorify the Byzantine Emperor Justinian and Empress Theodora

iii. A reminder of the power of the Byzantine empire

52. Hagia Sophia, Istanbul (Constantiople (Istanbul) Anthemius of Tralles and Isidorus of

Miletus 532-537 ce Brick and ceramic elements with stone and mosaic veneer)

a. Context:

i. Commissioned by Emperor Constantine

ii. Current version of the building is its 3rd time being

built because of previous fires caused by riots

iii. Iconoclasm

b. Content:

i. Longitudinal and centrally planned Basilica

ii. Dome is on top of a square

1. This is called a pendentive

iii. Four Minarets

iv. Mihrab

v. Arabic calligraphy

c. Form:

i. Two floors centered on a giant nave with a great domed ceiling, along

with smaller domes

ii. Centrally and longitudinally planned Basilica

d. Function:

i. Cathedral

ii. Mosque (1453)

iii. Museum (1934)

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53. Merovingian Looped Fibulae (Early Medieval Europe. Mid-sixth century C.E. [Silver gilt

worked in filigree, with inlays of garnets and other stones])

a. Context:

i. Fibulae are brooches that were made popular by Roman military

campaigns

ii. Became popular in the early Middle Ages and commonly found n

barbarian grave sites

iii. Cultural exchanges occurred after antiquity and both groups (Barbarians

and Romans) copied and shared similar works

iv. Merovingian: a popular motif in barbarian art of the middle ages: eagles

(found on the work)

b. Content:

i. Cloisonne: technique is inlaid semi-precious

stones (popular in barbarian art)

ii. Ends of Fibulae: the shape of Eagle heads

iii. Garnets: used to decorate the eyes of the eagles

iv. The main body of the brooch: little fish

v. Gems and semi-precious stones: used to decorate

the rest of the fibulae

c. Form:

i. Stylized variation of the crossbow fibula (remember diverse ethnics

groups all had their own spin to their fibulas!)

d. Function:

i. A brooch or a pin for fastening clothing (safety pin)

ii. Expensive objects to the commission: the owners wanted these objects to

resonate with their identity

iii. Buried with the dead: showed their status and who they were as people

54. Virgin (Theotokos) and Children between Saints Theodore and George (Early Byzantine

Europe. Sixth or Early seventh century C.E. Encaustic on Wood)

a. Context:

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i. A transitional piece

1. Classical antiquity------The height of

Byzantine Chrisitianity

2. A mix of Greek/Roman aesthetics with

the emerging Byzantine aesthetics

ii. Created in the era in which Constantinople

restored and created dozens of churches

b. Content:

i. Spatial ambiguity makes the piece feel

otherworldly and divine

ii. Subjects = the Virgin, the Christ child, Saint

Theodore, Saint George, two angels, God

1. The Virgin

a. Center of the icon

b. Seated on a throne---elevated

c. No eye contact with viewer

d. Highlighted by Heaven’s light (connected to God)

2. The Christ Child

a. In the Virgin’s lap

b. No eye contact like his mother

3. The Saints

a. St. Theodore = on the left; St. George = on the right

b. Flank the Virgin on either side

c. Front of the frame (closest to our world of all the subjects)

d. Emotionless and erect (stare directly at the viewer)

e. Feet slightly lifted off the ground (mark of divinity)

4. The Angels

a. Above and between the Virgin and the soldier saints

b. Looking directly upwards to the hand of God

c. Dressed in all white and have slight halos

d. Highest in the frame and furthest back

5. God

a. Represented by hand emerging from the center

b. His power is seen through the light emanating from his

hand

i. The light mostly lands upon the Virgin

c. Form:

i. An encaustic icon painting

1. Encaustic = a painting technique that uses wax as a medium to

carry the color

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ii. Uses gold leaf

d. Function:

i. A private devotional object (to help them express their appreciation for

God and enhance their spirituality)

55. Lindisfarne Gospels (Early medieval [Hiberno Saxon] Europe 700 C.E. illuminated

manuscript)

a. Context:

i. Illuminated by the bishop Eadfrith; made to honor God and St. Cuthbert

ii. Lindisfarne = island off the coast of Northumberland in England

iii. Produced in the British Isles 500- 900 C.E.

iv. Made in Italy

v. Codex- bounded book

vi. Matthew= human (animal symbol)

vii. John=eagle (animal symbol)

viii. Mark= lion (animal symbol)

b. Content:

i. St. Matthew Page

1. Hiberno- Saxon art

2. Straightforward

3. A series of repetitive knots and spirals

4. Ribbons are contained of abstract animals twisted

5. Centrally located cross

a. Stacked wine glasses coming together into a cross

ii. Luke’s page

1. Abstract animals (snakes)

2. Spiraled forms and swirling vortexes

3. Gold letters: NIAM

iii. Luke’s portrait page

1. Curly haired evangelist (Luke) sitting on a red-cushioned stool

2. Luke holds a quill in hand

3. Feet hover over a tray

4. Wearing purple robe with streaks of red

5. Gold halo shows divinity

6. Above his head a flying calf clasping a green

parallelogram=reference to gospel

7. Eyes turned toward the viewer

iv. John’s cross carpet page

1. Interplay of stacked birds

2. One bird has blue and pink stripes (stripes = chaos in medieval)

c. Form:

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i. Ink pigment and gold vellum

d. Function:

i. Some are Introduction pages of next content (John’s cross carpet:

introduction to John’s gospel)

ii. Visual representation of people from the Bible

56. Great Mosque (Cordoba, Spain. Umayyad 785-786 C.E. Stone masonry)

a. Content:

i. Large hypostyle prayer hall

1. Interior space seems magnified by its repeated geometry

2. Sense of awe and monumentality

ii. Mihrab

1. Focal point in the prayer hall

2. Framed by a famously decorated arch called the horseshoe arch

iii. Ribbed dome

1. Above the mihrab

2. Intricate composition of crisscrossing arches

a. Demonstrated the mathematical and architectural

accomplishments if the Islamic civilisation

b. Lavishly covered with gold mosaic in a radial pattern

iv. A courtyard with a fountain in the center

v. A minaret (now encased in a square, tapered bell tower)

1. Minaret = tower used to call the faithful to prayer

vi. Minbar

1. Used to stand by the mihrab as the place for the prayer leader & a

symbol of authority

vii. Repeating elements (columns, arches, voussoirs)

1. The structural repetition suggests the same kind of repetition in

prayer

viii. Mosaics

1. Inscriptions from the Quran

2. Intricate patterns/designs formed by the tesserae (tiles within a

mosaic)

b. Context:

i. Multi-cultural influence seen in the art

1. Ancient Roman columns in a hypostyle prayer hall

2. Horseshoe arches

a. Roman & visigoth architectural structure

b. Islamic architecture characteristic

ii. Began as a Roman temple

iii. Temple converted into a church by the visigoths

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iv. Umayyad conquerors converted the church into a mosque

v. Site was practical and symbolic

1. Place that affirmed Islam prescence

vi. Islamic civilization

1. Caliphates had classical Latin works

translated into Arabic

2. Gained mathematical knowledge from

India

3. Learned the invention of paper from

China

c. Form:

i. Mosque - place of Islamic worship

d. Function:

i. To represent the presence of the Umayyads in Cordoba

ii. Place of worship

1. Followers pray towards the mihrab (which faces Mecca)

iii. Represents a fusion of cultures & religions

57. Pyxis of al-Mughira: (Umayyad 968 C.E. Ivory)

a. Context:

i. A Pyxis is a cylindrical container

ii. Best example of tradition of carved ivory in Islamic Spain

iii. Comes from the royal workshop of Madinat al-Zahra

iv. Currently located in the Louvre

b. Content:

i. The pyxis is decorated with four eight-lobed medallions

ii. Each medallion has princely iconography

iii. Humans and animals play a big part in their iconography

c. Form:

i. Carved ivory from an elephant tusk

1. Ivory was durable, smooth, and easy to carve

(made it desirable to make into pyxides)

ii. Inlaid jade and other precision stones

iii. Highly portable (most often given as gifts)

d. Function:

i. Were given to members of the royal family

1. Specifically given on memorable days such as marriage, birth, or

coming of age

ii. Later they were given to important allies they claimed their allegiance to

the Umayyads

iii. Its technical function was carry perfumes and other cosmetics

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58. Church of Sainte-Foy Conques, (France. Romanesque Europe. Church: c. 1050–1130 ce;

Reliquary of Saint Foy: ninth century ce, with later additions)

a. Context:

i. Pilgrims went to receive a blessing; their visitation = demonstration of

piety

ii. That church was also an abbey: it was part of a monastery where monks

lived, prayed, and worked

iii. A church had stood on the spot since the 600s

b. Content:

i. Barrel-vaulted nave, with arches on the interior

ii. Prominent transept

iii. Elaborately carved Tympanum on the South Portal of Christ and the Last

Judgement

1. Semi-circular relief carving above the doors to the central portal

2. Christ sits enthroned at the center

a. His right hand gestures up, towards heaven, on the side of

the saved

b. His left hand gestures down, towards hell, on the side of the

damned

3. Below the saints on Christ's right: an arcade covered by a

pediment, symbolizing the House of Paradise

a. Houses the blessed/saved; people who will live with Christ

forever

b. Abraham is seated at the center

c. Above Abraham, the Hand of God reaches out to a

kneeling Sainte Foy (Saint Faith)

4. On the pediment's opposite side, right under the enthroned Christ's

feet, angels open and release souls from their graves to be

weighed/judged by God to determine if they're going to Heaven or

to hell.

a. A large doorway leads to paradise

b. A gaping mouth leads to hell

c. Clear divide in faith

5. Pediment of the Lower register of Hell

a. Centrally-seated Devil sits, grinning, surrounded by

tortured, screaming souls

b. Figures in intense pain, panic, chaos, and cruelty surround

him

i. All represent some capital sin (adultery, gluttony,

arrogance, misuse of church offices)

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c. Devil sits enthroned like Christ: he has the power to Judge

and decide punishments for the damned

d. On the Devil's left: a hanged man, representing Judas

i. He hanged himself after he betrayed Christ

c. Form:

i. Romanesque pilgrimage church

ii. Cruciform plan

1. Cross commemorates Christ's sacrifice

2. Helped crowd-control

iii. Pilgrims traveled around the ambulatory and radiating chapels, paying

homage to saints' shrines

d. Function:

i. To host pilgrims on their journey to Santiago de Compostela in Spain

ii. To bless its visitors, demonstrate their piety, and help them be saved on

Judgment day

iii. To inspire (or scare) Christians into behaving in a holy manner that would

ultimately lead them to Heaven

1. Reminder to both pilgrims and monks/clergymen

a. There was a lot of misuse of church offices at the time

(even though it was a sin)

iv. To venerate Christ, and commemorate his sacrifice on the cross as a

second chance for mankind's salvation

59. Bayeux Tapestry (Romanesque Europe (English or Norman). c. 1066–1080 ce.

Embroidery on linen)

a. Context:

i. Shows the Battle of Hastings in 1066

1. But begins with events leading up to it

2. Shows William of England, the Duke of Normandy, and Harold,

the Earl of Wessex that occurred in 1066

ii. Textile is missing it's end which most likely showed

William as King

iii. Tapestry created in Canterbury 1070

iv. Believe that the patron was Odo, Bishop of Bayeux,

William’s half brother

1. Tapestry depicts Normans nicely in the events

2. Inscriptions has Odo

b. Content:

i. 75 scene with Latin inscriptions

ii. First meal

iii. Calvary and foot soldiers

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c. Form:

i. Not a true tapestry because it's not woven into the cloth: high quality of

the needle work suggests Anglo-Saxon embroiderers

ii. Eight colors

iii. Unrealistic: 1d, flat, no depth or space perception, splits into 3 sections

(thin top and bottom and larger middle section) in an attempt to show

depth/foreground and background)

iv. Top and bottom also function as borders

d. Function:

i. To commemorate the win of the Normans

ii. And to give a (semi) accurate depiction of the war

60. Chartres Cathedral (Chartres, France. Gothic Europe. Original construction c. 1145–1155

ce; reconstructed c. 1194–1220 ce. Limestone, stained glass)

a. Context:

i. Long history of use as a Christian space: used for Christian worship

ii. Associated with the worship of the Virgin Mary

iii. The Romanesque church on the original site burned down in 1194--but the

tunic was found three days later, unharmed

1. 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

b. Content:

i. Everything about the church was chosen by architects in the effort to

create "heaven on Earth"

ii. One of the best examples of Gothic cathedrals

1. New focuses on more airy, open spaces; thinner walls, and

geometry

2. People used the perfect proportions of geometry to try to simulate

and bring to mind the balance, harmony, and beauty of the world

that God had created

iii. Jamb figures

1. The relief figures that are carved into either side of the

portals/doorways

2. Kings and queens of the Old Testament

3. Carved in Gothic style

a. Representations of spiritual beings

b. They seem to levitate

c. Their drapery obscures their bodies

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4. Meant to represent gatekeepers: they "watch" the people in a

kindly and calm way as they enter the church

iv. Gothic emphasis on stained glass

1. Large windows

2. "Floating planes of light"

3. Light was seen as a divine symbol because it was beautiful and

immaterial

4. Vivid, rich colors used in the glass

5. Large rose window in the north transept

v. North transept portal has intricate jamb figures

1. Relief archivolt sculptures protrude many feet from the side of the

church, almost forming their own chapel

vi. The chancel screen (aka a screen separating the area around the altar from

the larger nave) once sported an astrological clock that told the day of the

week, the month of the year, the time of sunrise and sunset, the phase of

the moon and the current zodiac sign

c. Form:

i. The formal plan of the Church is a Latin cross with three aisles, a short

transept, and an ambulatory

ii. Three part elevation of nave arcade, triforium, and clerestory

iii. Uses pointed arches and ribbed vaults inside the body of the church, which

is very typically Gothic

1. Everything was meant to move the eye upward

iv. The radiating chapels were integrated into the larger area of the church,

which allowed for light to permeate all parts of the church

v. Based on a cruciform basilica plan, with a transept intersecting the nave

being added after the fire

1. Transept provided an extra entrance/exit, which was good for the

flow of people

vi. Chartres has nine portals

d. Function:

i. Hugely popular pilgrimage site

1. People could walk all the way around the church, see the relic, and

exit

ii. Embarked on pilgrimages in order to gain health, divine goodwill, or to

ensure their place in heaven during the afterlife

1. Many components, such as the guardian jamb-figures and the

stories told in the stained glass, were constructed to aid in the

pilgrims' journey; the jamb figures reminded the pilgrims of the

ever-present merciful eyes of God and the angels

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iii. The first cathedral in which the flying buttresses determined the overall

exterior aesthetic plan of the building

61. Dedication Page with Blanche of Castile and King Louis IX of France, Scenes from the

Apocalypse from Bibles moralisees (Gothic Europe. c. 1225–1245 ce. Illuminated

manuscript)

a. Context:

i. In 1226, the French king died and the queen was left to rule until their son

became the age to rule

ii. Their son Luis IX took the throne in 1234

iii. Moralized bibles were often made for royalty

b. Content:

i. Depicts the Queen Blanche of Castile and her son

Louis IX and a cleric and a scribe around shown

below them

ii. sophisticated, urban setting

iii. Illustrated the New and Old Testament

iv. Included explanatory text about the Bible and

Biblical events

v. Was used to teach Louis IX about moral

obligations and religion

vi. In the upper register the king and queen wear a Fleur-de-lys (a stylized iris

or lily flower)

vii. The Queen wears a white widow’s wimpled and raises her hand towards

Louis IX

viii. The Queen’s gesture - shows link between Heaven and Earth( similar

gesture of Mary to Christ)

ix. The ceric wears a sleeveless robe (a sign of divine services)

1. Tilts his head forward

2. Points his finger toward the artist

x. The artist wears a blue surcoat and a cap while sitting on the couch

xi. Has a knife in one hand and a feather in the other

c. Form:

i. Gold background

ii. Stylized and colorful buildings shown towering above the Queen’s and her

son’s head

iii. Gold, lapis lazuli, green, red, yellow, grey, orange, and sepia

d. Function:

i. Used to teach Louis IX moral obligations and religious events

ii. Was delicate to him

iii. Shows right to rule through divine right

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62. Rottgen Pieta (Late medieval Europe 1300-1325 C.E painted wood)

a. Context:

i. Depictions of Christ on the cross would demonstrate the Christus

triumphans

ii. Greco Crucifixion showed suffering

iii. Reflects mysticism as it is a holy object that would have been prayed to

iv. Was common in German abbeys

v. Late gothic period of the middle ages

b. Content:

i. Spirituality, mysticism, and pure emotion is shown in

Mary’s face as she hold the beaten and tortured Christ

ii. Sharp crown of thorns

iii. 3D blood and wounds (very violent and gruesome)

iv. Mary draped in heavy fabrics suffering

v. Extremely skinny and contorted body of Jesus

c. Form:

i. Painted wood

ii. Damage (worm holes in Mary’s head and less pigment)

d. Function:

i. Used to force the viewer to examine the emotion

ii. Would have been on an altar

63. Arena (Scrovegni) Chapel including lamentation (Padua, Italy Unknown architect Giotto

di Bondone (artist) Chapel 1303 C.E. Fresco 1305 C.E. Brick architecture and fresco)

a. Context:

i. Called the arena chapel because it is close to arena

ii. Patrons were the Scrovegni family

iii. Private devotional art

iv. Painted by Giotto

b. Content:

i. Narrative scenes

ii. 3 registers of narrative

iii. Top: Yoakim and Anna’s (Christ’s grandparents) and the birth and life of

Mary

iv. Middle: scenes of Christ’s life

v. Bottom: passion

vi. Wall fresco : Last Judgement

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1. Encro (who patron this)

is on the side blessed,

giving the chapel to

Mary

2. The lamentation

a. Apart of the

passion scenes

b. Transitory work

from middle ages to renaissance

vii. Illusionism - having architectural elements- for an earthly, not the typical

gold background

viii. Humanism- figures interacting with each other (ex: kissing and crying)

ix. Lamentation

1. Christ being mourned by his followers and Mary

2. Mary holding her dead child in her arms

3. She is extremely sad and upset

4. Angels mourning too (tearing at clothes and hair)

5. All eyes lead to Christ

6. The hill is straight line to christ

x. Symbols

1. Dead tree- will grow again

2. Mary Magdalene at Christ’s feet with her red hair

c. Form:

i. Fresco, Illusion of space, Chapel covered fresco, Flat figure, Fake marbles

panels

ii. Uses lapis lazuli

iii. Secco fresco

iv. Foreshortening is used

v. 3D figures

vi. Pre linear perspective

d. Function:

i. Atone for the sin of usurer

ii. Bankers were considered ursarers

iii. Private devotional art

64. Golden Haggadah (Late Medieval Spain. C.1320 CE. Illuminated manuscript (pigments

and gold leaf on vellum)

a. Context:

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i. Painted in Barcelona

ii. Made in Romanesque/Gothic period

iii. Jewish art and Christain influences

iv. It was forbidden to depict images like this at that

time

b. Content:

i. Haggadah means narration

ii. The history of Passover

1. Salvation from slavery from Egypt

c. Form:

i. Illuminated manuscript

ii. Gold lead of vellum

iii. Golden background

iv. Christian gothic influences

v. Long following bodies

d. Function:

i. Depicted the story of Passover to be read at seder

ii. Used mostly at owner’s house

iii. Showed the wealth of the owner

iv. Significance of of Jewish culture

65. Alhambra (Granada, Spain Nasrid Dynasty 1354- 1391 C.E. Whitewashed adobe stucco,

wood, tile, paint and gliding)

a. Context:

i. Alhambra is abbreviation of Qal’at Alhambra

ii. Built by the Nasrid Dynasty (the last Musliums to rule Spain)

iii. Muhammad ibn Yusuf created the Nasrid Dyansty

iv. The Palace of Lions was created by Muhammad V

b. Content:

i. The hall of two sisters

1. 16 windows at the top of the hall

2. Honeycomb stalactites

3. 5,000 murquras reflecting light

4. Was used for receptions and

music

ii. Has a palace of lions

iii. Contains different palaces, gardens,

wtaerpools, fountains and courtyards

iv. Palace of lions

1. Separate building that was

connected later

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2. Arched over patios that encircles a marble fountain

3. Contained resident halls with star motifs

v. The Partal Palace aka the Portico

1. Portico in the center of the arcade and at the edge of the pool

vi. Comares Palace

1. Arched grill allows light in

2. Walls have inlaid tile with geometric pattern

3. Salon de Comares (hall of ambassadors)

vii. Jannat alafia (means paradise and garden)

viii. Vegetables and ornamental objects in the garden

c. Form:

i. Covered with decorations

ii. A lot of rhombus geometric forms and calligraphy

iii. Fake arches

iv. Rich ceramics and plasterwork

v. Intricate carved wooden frames

vi. Murqunas holding up the ceiling Hall of kings

vii. Mocrabe vault can be seen in the Hall of two Sisters

viii. Ornamental elements

1. Carved stucco decoration

2. Reflecting water

3. Shaded patios

4. Courtyards and gardens

d. Function:

i. Palace for the Nasrid Sultans

ii. Medina (city)

66. Annunciation Triptych (Merode Altarpiece) (Tournai, South Netherlands. c. 1427-32 CE.

Made by the Workshop of Robert Campin. Oil on oak)

a. Context:

i. Campin was a successful painter in Northern Europe

ii. Annunciation was painted first then the side doors were added

b. Content:

i. Center scene is Mary and Gabriel

ii. Gabriel appeared to Mary to tell her about her becoming pregnant with

Christ

iii. The drapery has sharp folds fell onto unseen bodies and floor

iv. Shiny pot = Mary’s virginity

v. Many object representing incarnation

vi. The holy spirit coming to the window holding the cross

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vii. The patrons (husband and wife) are on the left of the painting kneeling in a

wall garden (also a

representation of Mary’s

virginity)

viii. Joseph on the right

making tools in a

workshop

c. Form:

i. 25 ⅜ x 46 ⅜ - overall

ii. Attention to detail

1. Shin nail

2. Rust

3. Shadows

iii. Realism

iv. Not in perspective

v. Not mathematically correct

vi. The table shows double perspective

vii. Oil on oak

d. Function:

i. Can be folded and carried

ii. To aid in private devotion

67. Pazzi Chapel (Basilica di Santa Croce. Florence, Italy. Filippo Brunelleschi (architect)

1429-1461 C.E. Masonry)

a. Context:

i. Commissioned by the Pazzi family

ii. Part of the basilica di Santa Croce

iii. Mostly centrally-planned space

iv. Reminiscent of the Pantheon floor plan

v. Inspired by Roman temples

b.Content:

i. Corinthian columns

ii. Fluted pilasters

iii. Pendentives with roundels

iv. Small barrel vaults

v. A dome that has a halo of windows and a oculus

c. Form:

i. Uses the Pietra Serena Stone

ii. Perfect geometry

iii. Very orderly

d. Function:

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i. A chapter house = a meeting for monks

ii. A burial site for Pazzi family

iii. A representation of the power and devotion of the Pazzi family

68. The Arnolfini Portrait (Made by Jan van Eyck. c. 1434. Oil paint on oak panel)

a. Context:

i. Made during the Northern renaissance and Italian Renaissance

ii. Made by Jan van Eyck

b. Content:

i. Wife and husband joining hands

ii. One candle in the chandelier is a symbol of God’s presences

iii. dog= a sign of fidelity

iv. Man raises hand as in swearing to an oath

v. Shoes were removed

vi. Prayer beads on the wall

vii. Roundels on mirror

viii. Jan Van Eyck signature

1. Acting like a witness

2. Mirror reflection of serval human figures in a doorway

ix. Double portrait of an already married couple

x. Shows off their wealth

1. Oranges

2. Expensive furs

3. Carpet

4. Gathered skirt - women is not pregnant

c. Form:

i. Lacks perspective

ii. Glazing

iii. Greater attention to detail

d. Function

i. Documentation of a wedding

69. David (Donatello 1440-1460 C.E. Bronze)

a. Context:

i. Donatello displays classical knowledge of contrapposto/large-scale bronze

casting of the ancient world

ii. During the Middle Ages: had not seen human-scaled bronze figures until

the David=first free-standing nude figure since classical period

iii. Middle Ages: a period when the focus was on God and the soul and didn't

create nude art

iv. It was place in a niche high up in the buttresses of the Cathedral of

Florence

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v. It depicts the bible story of David and Goliath, from the old Testament

b. Content:

i. 5 feet tall, bronze

ii. Contrapposto: natural stance similar to the Greek/Roman

iii. Free standing: detached from architecture, gives it freedom to move in the

world, show expression, and communicate with

you+contrapposto=humanistic

iv. Shows both thoughtful/Pride emotions

c. Form:

i. Downcast eyes+the lids are half closed=not an expression of victory

ii. Subtle pride: the facial muscles are relaxed, the mouth is slightly

closed+smile small

iii. Right hand holds the sword that he used to cut off Goliath’s head

d. Function:

i. Represent the story of David and Goliath

ii. Tells Christian followers that God’s might will help you through any

challenges you face

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

Masonry)

a. Context:

i. Constructed as part of the “building boom” after the Medici family built

their own

ii. The Palazzo was never actually finished- only ¾ of the original plan was

constructed

iii. Partly based on the Medici Palace (and it’s three facade design)

b. Content:

i. Includes the Rucellai family seal (a diamond ring

with three feathers coming out of it)

ii. Nearly every piece of Palazzo’s design is pulled

from ancient Greek and Roman architecture

iii. Has: cross-hatching, large blocks of stone, post-&-

Lintel portals, rectangular windows, all straight lines

iv. The Loggia: Caddy-cornered to the Palazzo Rucellai

1. A large open space, with rounded archers,

corinthian capitals, colonnades, pilasters

c. Form:

i. Emphasis measure and harmony

ii. All about horizontality: the higher the floor the more intricate and fancy it

becomes

iii. Building has 4 floors

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d. Function:

i. Created to house the Rucellai family

ii. It depicts the physical representation of the family’s wealth, status, power,

and importance

71. Madonna and Child with Two Angels (Fra Filippo 1465 C.E. Tempera on wood)

a. Context:

i. The Medici family commissioned it

ii. Florence was rich during

iii. Growing middle class

b. Content:

i. Very simple halos (thin white/ yellow circle)

ii. Mary

1. Sculptured face, fair, blonde hair, small

mouth

2. Translucent headpiece

3. Green dress with ruffles and button

4. Sits on ornate furniture

5. Jeweled crown

iii. Angles

1. Playful

2. Angel foreground smiling

3. Angels holding up Christ as he kneels

4. Wings = seem wooden

5. Golden hair (similar to Christ)

iv. Christ

1. Small, chubby baby

2. Kneeling on angels

3. Fair and blond

4. Arms stretching towards Mary

5. Wearing a cloth

v. Frame of window becomes frame of painting

c. Form:

i. Playful - no gold, not solemn and not traditional medieval

d. Function:

i. Medici family paid for this art to show poetry, wealth

ii. Also used as a reminder of Christ’s story

72. Birth of Venus (by Sandro Botticelli. c. 1482-6. Tempera on canvas)

a. Context:

i. The painting depicts Venus, the Roman goddess of Love

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ii. Back then, images of nude women were only tolerated in 2

contexts: educational or mythological

b. Content:

i. Venus is standing atop of a white shell, golden hair, pale

skin, entirely nude but covering her lower body to incite

modesty

ii. Venus is accompanied by an attendant with a cloth to cover her (Far right)

iii. Zephyr and Aura, wind sprites, blowing wind from the far left

c. Form:

i. She stands casually

ii. Flexible, skeletal structure (her body)

iii. Lots of folds and lines that intersect with one another: waves, seashells,

clothes

1. This indicates movements

d. Function:

i. Served a 2 purposes:

1. Mythical and educational

ii. Artist revealed in his own creation

73. Last Supper (Lenordo da Vinci 194-1498 C.E. Oil and tempera)

a. Context:

i. Da Vinci was born in Florence, Italy

ii. Painted this during high Renaissance time

iii. Missing halos which was popular at that time

iv. Narrative of a Biblical event

b. Content:

i. Christ tells the 12 apostles sitting with him that one of them will betray

him during a seder at passover

ii. The apostles have extreme reactions

iii. Chaos erupts

iv. One apostle remains calm and collected showing his divinity

v. Jadus looking down ashame as he reaches the same bowl as Christ

vi. Peter rushes to defend Jesus with a knife against the betrayer

vii. John closes his eyes

viii. Thomas questions God

ix. Phillp points to himself in grief

x. James tries to calm down everyone

xi. 3 windows, 4 groups of 3 apostles

c. Form:

i. Oil and tempera and lead white

ii. Double layer of dried plaster

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iii. Uses linear perspective

iv. Strong sense of depth

v. The vanishing point is behind Christ’s head

vi. Chirst’s body is a triangle shape

vii. Individualized facial features and characteristics

viii. Sfumato technique- use of glaze in slightly different tones to depict light

and dark)

d. Function:

i. Monks would eat slightly in front of the painting for contemplation

ii. Shows the flaws of humanity

74. Adam and Eve (Albrecht Durer 1504 C.E, Engraving)

a. Context:

i. Albrecht

1. Born in1471 in Francnian city of Nuremberg

2. Revolutionized print making

3. Christian

b. Content:

i. The two figures (Adam and Eve) nude

ii. Four animals in left corner symbolizing Phlegmatic (ox), Sanguine(rabbit),

Melancholic (elk), and Choleric(cat) ( the four Humors)

iii. Ancient belief that humans possessed all four of the

humors

iv. Showed the connection between humans and animals

v. The figures are setting off into the woods with plants

and animals

vi. Adam holds a mount of ash (the tree of life)

vii. Eve picks an apple from the tree with fig leaves

viii. The serpent gives the forbidden fruit into Eve’s hand

ix. Opposed by a parrot (symbol of wisdom and virgin

birth of Christ)

x. Mouse =male weakness

xi. Mountain goat= lust and damnation

xii. serpent= evil

xiii. parrot=salvation

c. Form:

i. Woodcut engravings

ii. Proportional bodies

iii. Vitruvius: the proportions of the face (the distance from forehead to chin)

iv. Contrapposto

v. Naturalism

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vi. Nearly symmetrical poses

d. Function:

i. Story telling of the story of Adam and eve from the bible

75. Sistine Chapel ceiling and altar wall Frescoes (Vatican City, Italy. Michelangelo. Ceiling

Frescoes : 1508-1512 C.E. altar frescoes : 1536-1541 C.E)

a. Context:

i. Michelangelo started the mosaics and frescoes in 1508

ii. Worked on it for 4 years

iii. The chapel went through controversial cleaning of soot and grime

iv.

b. Content:

i. The ceiling

1. Figure were large in size and presences

2. No images of Christ

3. Influence of Greek and ancient Roman styles

4. Richly colored

5. 9 Biblical scenes in chronological order

placed horizontally

a. Noah is drunk, The great flood, Noah

and his family make a sacrifice after

the flood, Adam and Eve are tempted,

God creates Eve, God creates Adam,

God divides the water from the Earth,

God creates the Sun and the planets,

God divides light from darkness

6. Scenes are covered with prophets and sybils (pagan soothsayers

that foretold the coming of Christ)

7. Scenes of the salvation of Israel

8. The four architectural corner of nine biblical scenes are nude male

figures called iguni

ii. The Delphic Sibyl

1. Her body has a circular composition (shows grace and elegance

and harmony)

2. Looks as if she is coming out of the wall

3. Idealized body

iii. The Deluge

1. The physical space between water and the sky (separated into 4

narratives)

2. Used to make viewers question why God killed the whole

population of Earth except for Noah and his family

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3. Shows group of people finding shelter

4. A small boat

5. Men working to build an ark

c. Form:

i. Every surface (floor, ceiling, and walls) are covered with mosaics

ii. Very realistic figures and idealized beauty

iii. Emphasis of muscular autonomy

d. Function:

i. Where the College of Cardinals determines the next pope

ii. Story telling of the biblical events

76. Schools of Athens (Stanza della Segnatura, the Vatican, Rome, Italy. c. 1509-1511.

fresco)

a. Context:

i. Created during high Renaissance in Rome

ii. A few years before the Protestant Reformation (which

brought uncertainty about salvation)

iii. Was originally named Philosophy because of the

bookshelf that held Julius II’s collection of philosophy

books

iv. Drew inspiration from Ancient Roman architecture

b. Content:

i. The four walls show the four branches of human knowledge (Philosophy,

Theology, Poetry, and Justice)

ii. The ceiling is model after the Sistine chapel ceiling

iii. All of the great thinker are gathered together (ex: Plato, Aristotle, Euclid,

Baramate)

iv. The central vanishing point of the painting is the space between

v. Has sculpture of Apollo and Athena

vi. Heraculities writing on tilted rock

c. Form:

i. Raphael added a left and right vanishing point

ii. Linear perspective

iii. Use orthogonals in the pavement

d. Function:

i. A tribute to famous philosophers and thinkers in Rome

ii. Also a payer that their knowledge will be passed down to the pope

77. Isenheim AltarPiece (Matthias Grunewald 1512-1516 C.E. Oil on wood)

a. Context:

i. Isenheim hospital was run by Brothers of St. Anthony

ii. Predella - the bottom part in the altarpiece

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b. Content:

i. The left picture:

ii. Left side - red robe figure standing next to the crucifixion

iii. Middle -

1. Christ is centered and crucified ( very dramatic)

2. Hanging down from the cross

3. On Christ’s left - three people: two women looking up (in

anguish), one person holding the

women wearing white

4. On the right of Christ - red robed

man and a dog

5. Right side- red and blue robed

bearded, old man carrying a staff

iv. Pradella

1. Jesus’s dead body being held up

by other people next to a grave

v. The right picture

vi. Left picture: a woman looking up at a robed figure

vii. Middle:

1. Left side: woman wearing pink dress playing a guitar

2. Right side: Mary and Christ (as a child) in a landscape (blue sky

and orange sun)

viii. Left picture: panel is closed

ix. The virgin is swooning into the arms of St. John, John the baptist motions

towards Christ, Lamb of God is shown, Mary Madelgane is crying, St.

Sebastian and St. Anthony

x. Right picture: open

xi. Annunciation, Virgin and child, Resurrection (fireball)

xii. Angels playing music for Christ’s birth

c. Form:

i. 9 ½” x 10 9” ( just central panel)

ii. Oil on wood

d. Function:

i. Object of devotion

ii. Fully opened on special occasions

78. Entombment of Christ (Jacopo da Pontormo. 1525-1528 C.E. Oil on wood)

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a. Context:

i. Placed in the church entrance way above the altar

ii. Early mannerist style

iii. Mannerist style- after the Renaissance and before Baroque period

iv. In the Capponi chapel of Santa Felicita, Florence

v. Protestant Reformation

b. Content:

i. Mournful atmosphere

ii. The fresco beside it shows the annunciation; this shows the end

iii. Mostly people

iv. Unnatural body positions

v. Exaggerated emotions and facial features

vi. A lot of movement

c. Form:

i. Oil on wood

ii. Elongated figure

d. Function:

i. Altar piece

79. Allegory of Law and Grace (Lucas Cranach the Elder. c. 1529. Woodcut and letterpress)

a. Context:

i. Located in Germany

ii. Made during Northern Renaissance

iii. Influenced by the Lutherian reformation

b. Content:

i. explain s the Lutherian ideas

ii. Heaven is reached through faith and god’s grace

iii. Luther rejected the idea of Catholicism where good deeds got you to

heaven

iv. Led to conflict (rebellion and

destruction against the Catholic

church)

v. Two nude figures on both sides of a

tree

vi. Law (left) = dying tree

vii. Gospel (right)=living tree

viii. Six columns of of Bible citations

ix. The Law side:

1. Law & judgement - man being forced into hell by Death(skeleton)

and Satan (demon)

2. Moses delivering the ten commandments (holding a white tablet)

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3. White tablet stands out against the orange rope and green tree

4. Held by Luther

5. Christ sitting in judgement

6. Adam and Eve eating the forbidden fruit

7. Motifs - law alone, without gospel cannot get you to heaven

x. Right Gospel side

1. Grace and gospel with Christ’s cross crushing Death and Satan

2. John the Baptist directs a naked man to Christ on the cross in font

of a tomb

3. People covered in the blood of Christ

4. Nude figure wishing not to follow the law of judgement

5. Law paves the way for salvation

6. Judge (condemns human sins)

7. Show mercy and forgiveness

8. Includes events from the Old and New Testament

c. Form:

i. Woodcut and letterpress

ii. Oil on wood

d. Function:

i. To spread Lutheran Reformation

80. Venus of Urbino (Titan 1538 C.E. Oil on Canvas)

a. Context:

i. Perfect Ventian Art: the movement of art in Venice was shown with it's

deep rich colors and use of shadows and use of light. Glazing techniques

were used to create subtle changes in gradient and level

ii. Venice during this time was a stable republican government that allowed

lots of trade and had the ability to invest in artists

b. Content:

i. Nude women (Venus), Woman makes

eye connect with the viewer

ii. Venus was a symbol of beauty, Venus

has very small and unrealistic feet

iii. dog symbolizes fidelity

iv. Child and maid - motherhood

c. Form:

i. Oil on canvas

ii. Layers of oil paint to show shade and lighting

d. Function:

i. Duke Urbino Guidobaldo II Della Rouvre gave this as a gift to his wife

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ii. The painting reflect how the wife should be to the husband (sexually and

respectful

81. Frontispiece of the Codex Mendoza (Viceroyalty of new Spain 1541-1542 C.E ink and

color on paper)

a. Context:

i. The codex contained information about the Aztec Empire and the lords of

Tenochtitlan

ii. Frontispiece- an illustration facing the title of the book

iii. Antonio de Mondoza commissioned the codex

iv. Tenochtitlan was created on lake Texcoco

v. Tenoch, ruler of the Mexicas, died in 1363

b. Content:

i. Frontispiece

1. Schematic diagram of Tenochtitlan (place

of the prickly pear cactus and stone)

2. Showed city divided into four parts -

aligned with the cardinal sign (north, south,

east, west)

3. City made of canals

4. Aztec myth of the hummingbird

(Huitzilopchtli): a deity that told aztec

ancestors to move from Aztlan (the original

home of the Aztecs) and to find a place with an eagle on top of a

cactus growing out of a rock when they see this settle and build a

city

5. Center:

a. The eagle sitting on a cactus growing out of a rock

6. Under cactus and rock is a war symbol

7. Above the eagle is the symbol of a temple (might be templo

Mayor)

8. Next to eagle (the right)= a skull rack (Tzompantli) this was found

near Templo Mayor

9. Maize was important to the Aztec people

10. Tenoch:

a. 10 men, wearing white garments and top knots, depicted in

the four quadrants

b. The men who lead the island

c. Name glyphs attached them to pre-Columbian manuscripts

11. Priest:

a. Seated on the left side of the eagle

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b. Has gray skin and red marks on face

c. Name glyphs identifies him as “tenoch”

d. Has a speech scroll coming out of his mouth( represents to

listen to him because he speaks the word of god) and he is

sitting on a woven mat

e. Bloodletting from ear for the gods

12. All around the page has year glyphs ( total of 50)

13. Year marked for fire ceremony

14. Twenty - six years after Tenochtitlan creation marked

15. Two scenes of military conquest

16. Obsidian bladed swords ( macana)

17. Burning of temples of the Colhuacan and Tenayuca who were

defeated

c. Form:

i. Ink and color on paper

d. Function:

i. Emphasized the power of the Aztecs

ii. Tribute to the aztecs

82. II Gesu, including Triumph of the Name of Jesus ceiling Fresco (Rome, Italy. Giacomo

da Vignola, plan (architect); Giacomo della Porta, facade (architect); Giovanni Battista

Gaulli, ceiling fresco (artist). Church: 16th century ce; facade: 1568–1584 ce; fresco and

stucco figures: 1676–1679 ce. Brick, marble, fresco, and stucco)

a. Context:

i. Gesu is the french name for mother church

ii. Designed by Giacomo da Vignola and Giacomo Della

iii. Ceiling fresco was made by Giovanni Battista

Gaulli

iv. Saint Ignaticus of Loyola, the founder of the

newfound Jesuit religion, needed a church to serve

as the religion’s center

b. Content:

i. Single aisle church

ii. Church is in cruciform plan ( the transept is not

that long)

iii. The church has a dome over intersection of the

large nave and transept

iv. Dark interior

v. Dependent in natural light from

vi. Mix on rational and Baroque style focused on altar

vii. Renaissance columns

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viii. Corinthian columns

ix. spolia

c. Form:

i. Brick, marble, fresco, and stucco

d. Function:

i. Served as the original church for Jesuits

ii. Illustrated the beliefs of the Jesuits

83. Hunters in the Snow (Vienna, Austria. c. 1565. Realist Period.

Pieter Bruegal. Oil paint on wood panel)

a. Context:

i. A secular painting

ii. One of six works in a series called Months of the Year

iii. Northern Renaissance

b. Content:

i. Figures and houses painted in earthy tones

ii. Homogenized figures

iii. Hunters return from an unsuccessful hunt (sulky faces)

iv. Despair mood in the foreground

v. Aerial perspective

c. Form:

i. Contrapposto

ii. Contrasting colors

iii. Sharp forms

iv. Little bit of atmospheric perspective

d. Function:

i. Represents both the hardships and the enjoyments of winter

ii. Showcases everyday activities

84. Mosque of Selim II (Edirne, Turkey. Sinan (architect). 1568–1575 ce. Brick and stone)

a. Context:

i. Patron: Sultan Selim II

ii. During the classical Ottaman period

iii. Sinan was the chief court architect

b. Content:

i. Two symmetrical square madrasas

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ii. Square prayer hall at the end of porticoed

courtyard

iii. The ethereal dome- floating in the prayer

hall

iv. Grand dome rest on eight murquanas

v. Qibla- the wall that faces Mecca, that

projects forwards

vi. Buttress supporting the east and west piers(

holds the weight of the dome)

vii. Muzzin platform:placed under the center

dome ( where the leaders lead the worshippers in a chant) not the

traditional place

viii. Painted interior, iznik tiles, chinese cloud art, polychrome

ix. Squinches- construction filling in the upper angles of a square room, base

for a octagon or spherical dome

x. Has shops( arasta) and a recitation school

xi. Minarets

xii. Abundance of windows

c. Form:

i. 190x 130 meters

ii. Made out of stone, brick, and marble

d. Function:

i. Made to show the greatness and wealth of the Ottoman Empire

85. Calling of Saint Matthew(Caravaggio. c. 1597–1601 ce. Oil on canvas.)

a. Context:

i. The Counter-Reformation

1. The Catholic Church reacted against the Protestant Reformation

ii. The Baroque Style

1. Theatrical action

2. Diagonal lines

3. Gritty realism

b. Content:

i. Biblical story of the calling of Saint Matthew

ii. Takes place in a tavern or pub like environment

iii. Characters dressed in contemporary clothing of that time period

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iv. Light has an important role

1. Creates an ethereal glow

2. The light follows from Christ’s

fingers

v. Second Adam?

1. Jesus’s hand mimics the

Michelangelo’s hand of God in “The

Creation of Adam”

2. Jessu is sometimes referred to as “the

second Adam”

c. Form:

i. Oil on canvas

ii. Located in the Contarelli chapel, Rome

d. Function:

i. Didactic element

1. Portrays the story of The Calling of Saint Matthew

2. Taught from the catholic perspective

ii. Makes the viewer experience the painting (“Catholic Way”)

86. Henri IV Receives the Portrait of Marie de’ Medici from the Marie de’ Medici Cycle

(Peter Paul Rubens. 1621–1625 ce. Oil on canvas.)

a. Context:

i. Inspiration : Titan from the Renaissance period

ii. Known for painting the body in dramatic and contorted positions

iii. The 6th painting in a series of 24 paintings

iv. King Henry IV was assassinated in 1610

v. Led to the rule of Louis XIII

vi. Marie was exiled in 1617

vii. Divisions in the french court

viii. Marie had these paintings do for propaganda

ix. Marrie and Henry’s actual marriage was filled with cheatings/infidelities

x. Henry IV was under attack by the Catholic church

xi. Henry IV was in debt to the Medicis

b. Content:

i. Winged Gods of marriage ( hymen which is on the left) and Love (cupid

on the right)

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ii. Hymen hold a flaming torch in his left hand( symbol

of passion or love)

iii. Cupid motions toward Marie and praise her

beauty/worth

iv. Henry IV looks at her adoringly

v. Jupiter and Juno look down in approval holding

hands and surrounded by their animal symbols (

eagle with a thunderbolt - Jupiter & peacock- Juno)

vi. Personification of France behind Henry encouraging

him to marry Marie( for politics)

1. France looks on with approval

2. Lady France wears a plumed helmet and blue

robe with fleur- de-lys

3. Lady France whispers into Henry’s ear

a. Telling him to ignore his battles and to marry Marie for

political reasons

b. Henry obliges

c. The remains of Henry’s battle is a burning town which lies

in the background

c. Form:

i. Oil on canvas

ii. Strong vertical axis running through the painting from Juno( Hera) to

Marie de’Medici

iii. Classical style

d. Function:

i. Propaganda idealizes Marie’s actual life

ii. Political reasons

iii. Religion reasons

87. Self-Portrait with Saskia (Rembrandt van Rijn. c. 1636 C.E. Etching)

a. Context:

i. Rembrandt was a famous etchere during his time

ii. He was a very experimental artist

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iii. His style changed throughout art career

iv. He did not often create self portraits

b. Content:

i. Is a portrait of Rembrandt and his wife

Saskia, two years after they got married

ii. It seems to be an intimate moment

iii. Has two circles in the background

c. Form:

i. Used a copper plate eroded by acid

ii. Etching plate

iii. Illusion of depth with body placement

d. Function:

i. Private artwork

88. San Carlo alle Quattro Fontane(Rome, Italy. Francesco Borromini (architect). 1638–1646

ce. Stone and stucco)

a. Context:

i. Baroque style: undulating movements and sculptural effects, eliminated

the corner in architecture

ii. Borromini built it for free

iii. Commissioned in 1634

iv. Built from 1638-1646

v. Borromini was an Italian architect who suffered from melancholia (a type

of depression with ill-founded fears)

b. Content:

i. Facade: undulating waves, upper part=concave bays,

sectioned entablature

ii. Center is oval shaped, held up by asymmetrical placed

angels

iii. Upper facade completed after Borromini’s death

iv. Lower stories consist of 2 outer concave and convex

center

v. Connected with an entablature

vi. Has a central niche above one portal

1. Has a statue of St. Charles Borromeo which

was created by Antonio Raggi

2. Beside the statue are the founders of Trinitarian order (St. John of

Matha and Saint Felix of Valios)

vii. Dome

1. Windows at the base

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2. coffering= circles with octagonal molding, unequal hexagons, and

Greek crosses

3. Contains tall columns and small niches

4. Convex and concave structures

5. Paradox of imagination ( emotion vs. intellect)

viii. Symmetrical decorations

ix. Numerous carvings

x. Cherubs

c. Form:

i. Facade with 3 Bays

ii. Plan

1. A diamond inscribed into a oval

2. Intersecting circles

3. Numerous curves ( no right angles)

iii. Stacking three distinct units

1. Middle zone is an original Greek cross plan

2. Combination of precedent and novelty

3. Oval dome

4. Illusionistic effects

d. Function:

i. Dedicated to St. Charles Borromeo and the Holy Trinity

89. Ecstasy of Saint Teresa(Cornaro Chapel, Church of Santa Maria della Vittoria. Rome,

Italy. Gian Lorenzo Bernini. c. 1647–1652 ce. Marble (sculpture); stucco and gilt bronze

(chapel))

a. Context:

i. Artist: Gian Lorenzo Bernini

ii. Location: Church of Santa Maria della Vittoria

iii. Baroque period

iv. Religious

v. About Saint Teresa of Avila (who lived in the 16th century)

vi. Cornaro chapel - grouping of patrons that are

depicted watching Saint Teresa’s revelation

b. Content:

i. Golden arrow pointed at the heart of Saint

Teresa

ii. Rays of sun (holy light of God)

iii. Saint Teresa with an angel

iv. St. Teresa body’s contorted, twisting feet and

hands

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v. Rocks surrounding the base to support and add a buffer

vi. Expressive folds of fabric

c. Form:

i. White marble that was carved with a chisel

ii. Realistic

iii. Wet drapery look

iv. Expressive and emotional

d. Function:

i. Virtual representation of Saint teresa when she was brought to god

90. Angel with Arquebus, asiel Timor Dei (Master of Calamarca (La Paz School). c. 17th

century ce. Oil on canvas. )

a. Context:

i. Made in the late 17th century in the viceroyalty

of Peru (a Spanish colonial administration)

ii. Created after the first missionizing period(

forcing indigenous people to convert to

Christainity)

iii. Most likely apart of a series

b. Content:

i. Depictions of androgynous angel waering

stunning clothes holding a harquenas (a type of

gun)

ii. Harquenas is a gun with a large barrel

c. Form:

i. Oil on canvas

d. Function:

i. Made to represent celestial, aristocratic and military beings all at the same

time

ii. Used to represent the power, connection to god, and political power of the

Spanish government

91. Las Meninas (Diego Velázquez. c. 1656 ce. Oil on canvas.)

a. Context:

i. Used to be housed in the royal palace called Royal Alcazar of Madrid

ii. He was inducted into the Catholic organization called the Order of

Santiago

iii. To compensate for the family’s incest he put them in elaborate clothes

iv. Velazquez was the court artist

b. Content:

i. The characters stare into the eyes of the viewer

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ii. Painting of Ovid’s the metamorphosis hangs in the background ( story of

gods wrestling with mortals)

iii. Illusion of space, depth and perspective

iv. In the center is the princess, maids of honor, palace of official, chaperone,

dog, dwarf (hired to be friends with the

children), and other attendants

v. The painting is set in his studio

vi. Paints a palette with raw paint

c. Form:

i. 318x 276 cm

ii. Oil on canvas

iii. Currently located in Museo Nacional del

Prado, Madrid

iv. Uses loose brushstrokes

v. Uses scientific and aerial perspective

vi. Many light sources are shown in painting

d. Function:

i. Made for the King and queen to view

ii. To show ethereal perfection, wealth, but showed some informal aspects

92. Woman Holding a Balance (Johannes Vermeer. c. 1664 ce. Oil on canvas.)

a. Context:

i. Baroque period

ii. The origins of the painting is linked to Pieter de Hooch’s Gold weighter

iii. Vermeer trained with a master painter that was apart of the Guild of Saint

Luke

iv. The painting takes place in 17th century

v. 1664 was the year before the second Anglo-Dutch war

b. Content:

i. The woman is dressed in fine cloth and a cap made of linen (commonly

worn by women who are at home)

ii. She is apart of the upper merchant class

iii. Wearing a fur trimmed jacket

iv. Opposite side of her is a window with golden curtains and a mirror

v. Right hand has a balance

vi. There is nothing on the balance

vii. There are boxes on the table in front of her

1. One is open (most likely had been containing the balance)

2. A box with a string of pearls

3. One with coins (indication of wealth)

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viii. Behind her is a painting of Christ during the Last Judgement ( serves as

judge over souls)

ix. Her head divides the blessed ( the light side of her head)and the people

that are doomed to go to hell ( the dark side of her head)

x. Light give sense of motion

xi. Dark gives sense of stillness

xii. She is not pregnant just bulky clothing

c. Form:

i. Her pinky is the vanishing point

ii. Center of the painting =center of the balance

iii. Has a lot compositional control ( in color means)

iv. Soft swirl painting style

v. Muted colors

d. Function:

i. Showed wealth and piety (worldly possessions and Christ in the back)

ii. Sign of self knowledge and truth

93. The Palace of Versailles(Versailles, France. Louis Le Vau and Jules Hardouin-Mansart

(architects). Begun 1669 ce. Masonry, stone, wood, iron, and gold leaf (architecture);

marble and bronze (sculpture); gardens.)

a. Context:

i. Construction began in 1661 completed around 1682

ii. The staff:

1. Louis le Vau - chief architect

a. Built the Grand facade and the Queen and King apartments

b. Built the park’s Orangerie and Menagerie

c. Adopted the italian “invisible roof” hidden by trophyadorned balustrade

d. Balustrade- a railing supported by ornamental parapets

2. Andre le Notre - landscape designer of the gardens

3. Charles le Brun- interior decorator and painter

4. Jules Hardouin Mansart -favorited architect did later construction

5. Jean- Baptiste Colbert- principal advisor of the KIng

6. Hyacinthe Rigaud: Painter to the French King

7. Pierre Puget: Sculptor; his works are in the King's Gardens

8. Louis XIV patron

b. Content:

i. Satellite city to the East of the palace

1. Housed a court and government officials, military and guard

detachments, courtiers, and servants

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2. Extremely detailed and ornate

3. Hall of mirrors ( a.k.a Galerie des

Glaces)

a. Had gold and silver

furniture

b. Walls inlaid with mirrors

c. Used for festivals and

parties

4. Gardens

a. Visible from the Hall of mirrors( central axis lined with

trees, terraces, pools, and lakes)

b. Formal gardens served as a transition from the ordered,

man- made palace to natural gardens

c. Change depending on the seasons and location

d. Very neat and organized

5. City’s 3 main avenues axis converged at the King’s bedroom

a. So he can keep an eye on high ranking officials

b. The king’s bedroom was an informal audience room

c. Form:

i. Stone, marble, glass, gold, silver, wood, gardens

ii. Palace consist of 700 rooms

iii. 2153 windows

iv. 2000 acres of garden

d. Function:

i. Emphasized the importance and power of King Louis XIV

ii. Used to host parties and military agreements

iii. To compared the king’s wisdom to the God, Apollo

iv. Symbolized power of the absolute monarch

94. Screen with the Siege of Belgrade and Hunting Scene (Circle of the González Family. c.

1697–1701 ce. Tempera and resin on wood, shell inlay)

a. Context:

i. Spanish piece

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ii. Commissioned by Jose Sarmiento de Valladares

iii. Only known artwork that combines biombos and

encapuchados

b. Content:

i. Depicts the Battle of Belgrade (1688)

ii. A hunting scene in nature

iii. Influenced by Japanese folding screens (New

Spain was in trade with Japan)

c. Form:

i. Style: Spanish Colonial, Flemish, Dutch

d. Function:

i. To be placed in the viceroy's palace as a decorative piece

ii. Intended to be viewed by two different audiences

95. The Virgin of Guadalupe (Virgen de Guadalupe) (16th century, oil and possible tempera

on maguey cactus cloth and cotton. Basilica of Guadalupe, Mexico City)

a. Context:

i. Found everywhere in Mexico

ii. Made during Spanish colonization and missionary period

b. Content:

i. May represent Mary because of grey skin color

ii. Acts as a devotion to Guadalupe

iii. The virgin of Guadalupe was thought to have

stopped the flooding of Mexico city

iv. Has a mass in her honor on december 12

v. Paid her reverence

vi. It is a replica

vii. Enconchado- mother in pearl inlaid ( for this

artwork wood)

viii. Has an iridescent surface ( suggest heavenly and

the divine)

ix. Sunlight beams behind her

x. There are stars in her cloak ( that image comes from the book of

revelation)

xi. Below her, she is being supported by an angel

xii. The virgin appear before a man Jaun Deigo ( an indigenous man) and tells

him to go to bishop and put a shrine to her on the hill where they met (

Hill of tepeyac)

c. Form:

i. Oil and maybe tempra on cactus cloth and cotton

d. Function:

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i. For religious purposes and dedication

96. Fruit and Insects (Rachel Ruysch. 1711 ce. Oil on wood.)

a. Context:

i. During renaissance

ii. Rachel Ruysch was born to the wealthy family in

Amsterdam

iii. First successful female artist during the Baroque

period

iv. She specialized in still life

b. Content:

i. A still life of fruits, vegetable and insects

ii. In the Autumn

iii. Grapes =blood of christ

iv. animals= naturalism

v. Illusion and realism throughout painting

c. Form:

i. Oil on wood

ii. Still life painting

iii. Realistic

iv. Vibrant colors

v. Uncommon subjects

d. Function:

i. For Rachel Ruysch Cosimo II = a sign of friendship and commonwealth

ii. Was sold

iii. Painting was for widening merchant class

97. Spaniard and Indian Produce a Mestizo(Attributed to Juan Rodríguez Juárez. c. 1715 ce.

Oil on canvas.)

a. Context:

i. Metizo- a person of European and Indigenous descendant ( most types

with father and idigenous mother)

ii. First of a series showing mix of races and cultures

iii. Casta painting- focus on bad living conditions for

families that are mixed racially

iv. Also appear darker as they become more racially

mixed,

b. Content:

i. Spanish father and Indigenous mother with a boy

holding their child ( the boy that is holding the child is not a son of the two

adults)

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ii. Indigenous mother wearing a huipil( a traditional dress worn by

indigenous women) lace sleeves and jewelry

iii. Spanish husband wearing french style clothes

1. Hand on baby’s head or wife’s arm

2. The boy(servant ) holding the baby looks upward at Spaniard

iv. Family looks calm

c. Form:

i. Oil painting

d. Function:

i. Discourage racial mixing because dark skinned people were considered

dirty, unattractive and less civilized

ii. Tries to show European blood is superior

98. The Tete a Tete, from Marriage a la Mode(William Hogarth. c. 1743 ce. Oil on canvas.)

a. Context:

i. The second of six painting that make coherent,meaningful story

ii. The story revolves around a marriage of the daughter of a merchant to the

son of a popular family ( works are know altogether

as Marriage a la mode)

iii. Set in the mid 18th -century ( the industrial

revolution)

iv. Aristocracy lost some power to merchants

b. Content:

i. Translates to face to face

ii. Shows the young couple after the forced marriage

iii. The husband(Viscount Squanderfield) slouching in a chair

1. Possibly drunk

2. Has a mark of syphilis on his neck

3. Likely has returned form having sex with a woman

a. A dog sniffing at a bonnet in his pocket ( sign of fidelity in

Renaissance)

iv. Viscountess Squaderfield

1. Flirtatious

2. Top of bodice is unbutton( sign that she was inmate with another

man)

3. She holds a mirror in right hand above her head

4. She has a stain on her dress

5. Sitting with legs apart

v. The guy(pious Methodist) in the middle looks fed up with couple,existing

vi. Instrument on floor that has fallen out of the case( music was played for

sex and sensuality )

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vii. Classical structure with broken nose

viii. Painting of cupid in ruins

ix. Painting covered up by curtain

c. Form:

i. Oil on canvas

ii. 69.9x90.8 cm

iii. Composition

1. Few objects in foreground- the area of the picture/painting nearest

to the viewer immediately behind the picture plane

2. Central figure in the middle ground

3. The background consist of a seperate room, architectural features,

paintings

4. Area of emphasis - cluttered mantlepiece

5. Vertical( edges of painting and columns) and curvy lines(mostly in

arches) throughout painting

d. Function:

i. Satirical commentary

ii. Appeal to middle class

Unit 4: Late Europe and Americas

99. Portrait of Sor Juana Ines de la Cruz (Miguel Cabrera 1750 C.E Oil on Canvas)

a. Context:

i. Neoclassical art

ii. Sor Juana is labeled as the first Feminist in the Americas because she

pursued her owned interest to become a nun

iii. Often engaged in debate with philosophers and scientist

iv. Drew concern from the church for outspokenness about the rights of the

women

v. She was forced to sign an agreement that she

would no longer pursue intellectual interest

vi. Died of a disease

b. Content:

i. Portrait of a catholic nun and sister of jeronimite

order in New Spain

ii. Red curtains were common in paintings of the

elite

iii. Wore religious garments - showed devotion to

religion and god

iv. Books beside her to show her intellectual interest

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c. Form:

i. Oil on canvas

d. Function:

i. Was just a portrait of Sor Juana

100. A philosopher giving a Lecture on the Orrery (Joseph Wright of Debrey 1763-

1765 Oil on Canvas)

a. Context:

i. Made during the enlightenment movement

ii. Joseph wright became the unofficial artist of that time period

iii. He is known for use of chiaroscuro

iv. Made in england

b. Content:

i. Shows a scientist, a note-taker, and children around a central Orrery

ii. Orrery- a mechanical model of the solar

system

iii. Meant to be real people but we do not

know their names

iv. The scientist in red is giving a lecture

about, what is believed to be,a model to

had inspiration by Issac Newton’s Lunar

society of Burnigham

v. Strong internal light source(the sun

model)- also symbolizes the enlightenment rational thinking

vi. Painting also has women and children in the background

c. Form:

i. Naturalistic

ii. Red coat - suggest great influence

iii. Heavy contrast between light and dark

d. Function:

i. Show cased the scientific improvements

during the enlightenment movement

ii. Show the curiosity and knowledge gained

101. The Swing (Jean-Honore Fragonard. 1767 C.E. Oil

on Canvas)

a. Context:

i. Wealthy and lavish living

ii. Women were major patrons of the arts

1. Art became exclusive to the rich

b. Content:

i. Depicts a lady on a swing above her lover and a s bishop

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ii. Nature scene = dense garden with flowers and cupid status

c. Form:

i. Epitome of Rococo

1. Realism and Naturalism

2. Use of soft colors

3. Ornate details

4. Lighting = woman bathed in sunlight

d. Function:

i. For ownership of the rich

102. Monticello (Virginia, US. Thomas Jefferson [architect] 1768-1809 C.E.)

a. Context:

i. Thomas Jefferson hated British architecture and loved french architecture

ii. He studied at William and Mary but had no formal training to become an

architect

iii. Made in virginia

b. Content:

i. Basilica plan

ii. Used inspiration from classical and neoclassical french art

iii. Remodeled the two- story pavilion based on Hotel de Salm

iv. To a symmetrical one story brick

home under an austere Doric

entablature

v. West garden

1. A deep two column portico

with doric columns that

support a triangular

pediment which is

decorated with a semicircle

window

vi. Has colonnades

vii. Has pediment

viii. Has dome

ix. Perisan windows

x. transept

xi. Steps

xii. gardens= french inspiration

c. Form:

i. Greek marble looking portico

ii. Marble fencing

iii. Long, rectangular windows

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iv. Symmetrical around central axis

v. Made out of brick, glass, stone and wood

d. Function:

i. Meant to be a home

103. The Oath of the Horatii (Jacques-Louis David. 1784 C.E. Oil on Canvas)

a. Context:

i. The patron: the French royals

ii. Made in France

iii. French Neoclassical

iv. Legend Horatti ( conflict between Rome and the city of Alba)

1. Instead of battles they sent the 3 horatii to Alba to settle dispute

v. France was on the edge of the revolution

during this time

b. Content:

i. Deception of a Roman myth

ii. Three sons swearing their swords to their

father

iii. Women sitting in to right grieving

iv. People were placed in a column

c. Form:

i. Simplistic and symbolic

ii. Organized and structured

iii. Men- geometrical shapes

iv. Women - organic shapes

d. Function

104. George Washington. (Jean-Antoine Houdon. 1788–1792 C.E. Marble)

a. Context:

i. Made after the American Revolution

ii. It was a popular time to commission

iii. Statue ordered = Virginia Governor

iv. Sculpted = French Artist

b. Content:

i. Marble sculpture of George Washington

c. Form:

i. Neoclassicism

ii. White marble

iii. Contrapposto

iv. Symbolic details

v. Form

1. Symbolized power and authority as holds his sword

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d. Function:

i. Sculpture

105. Self-Portrait. (Elisabeth Louise Vigée Le Brun. 1790 C.E. Oil on canvas)

a. Context:

i. During Rococo movement

ii. Not a lot of female painters during the time

iii. Le Brun worked for the crown of France specifically Marie

Antionette

iv. Le Brun became very rich due to her job

v. Close to the French Revolution

vi. She had to leave France because she worked for the crown

b. Content

i. Self portrait of Elisabeth Louise Vigee le brun

ii. She is wearing a traditional black dress with a red sash

iii. She is painting something in the painting

iv. Painting in the painting might be Marie Antionette

c. Form:

i. Naturalism

ii. Oil on canvas

iii. Elisabeth in a natural position

d. Function:

i. Shows freedom, intelligence and greatness of the artist

106. 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)

a. Context:

i. Goya was a painter for the French and Spain royalty

ii. His work was often labeled as controversial

iii. Went deaf and went recluse

iv. The french were pushed out after the Peninsular war

v. Apart of the 82 paintings that was used to protest against The French

occupation by Napoleon Barnaparte

1. Napoleon tricked the king of Spain into letting his troops cross the

border which led him to upsurge the king and his brother from the

throne

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b. Content:

i. Man wearing light-colored/white tied to a pole

by his hands behind his back(Alter Christus)

ii. He is blindfolded

iii. Landscape shows depth and the scene is dark

iv. A firing squad is behind the central figure

facing similarly bounded

v. On the central figure’s right side,

contorted,bloody, grotesque dead on the floor

vi. Rifle barrels pointed at the central figure , the

people holding it are occluded

vii. Alter Christus - other Christ

viii. First plate - effect of conflict

ix. Second plate- effect of famine

x. Last plate- disappointment and demoralization of Spaniard

c. Form:

i. Etched plates- cover the metal plate with wax, carve out the shapes, dip in

acid, melt off the wax and the incisions remain

ii. Black and white

iii. Drypoint - scratch lines on the surface with a stylus

iv. Artist then pours ink on plate and wipes it off only remains where the acid

burned or the etched

v. Put a moist paper on the plate when running through the press

d. Function

i. Protest against French occupation

107. La Grande Odalisque. (Jean-Auguste- Dominique Ingres. 1814 C.E. Oil on

canvas.)

a. Context:

i. French

ii. Eroticisim and nudist paiting

b. Content:

i. Peacock fan

ii. Turban

iii. Enormous pearls

iv. A hookah

v. Wearing Kente Cloth

1. Interwoven silk and cotton fabric

2. Ghanan

3. Various dates and artists

c. Form:

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i. Oil on canvas

d. Function:

i. Used in an oriental style to stay within the eye of the public

108. Liberty Leading the People. (Eugène Delacroix. 1830 C.E. Oil on canvas.)

a. Context:

i. Romanticism

ii. Based on July Revolution of 1830

b. Content:

i. Personification of Liberty (central figure)

1. Marching over dead bodies

2. Leading the way to freedom

3. Carrying flag of revolution and a musket

in her hands

ii. Boy holding two pistols

1. Represents sacrifice

iii. Upper-class gentleman in a top hat, holding a

rifle

1. Represents the rich inability to stay out of the war

c. Form:

i. Realistic but with dramatic lighting

ii. Soft, rounded lines

iii. Depth and foreground but little to no background

d. Function:

i. Glorification of everyday people

ii. Acknowledgment of sacrifices

109. The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a

Thunderstorm). (Thomas Cole. 1836 C.E. Oil on canvas.)

a. Context:

i. Untouched land

ii. Artist: Thomas Cole

b. Content:

i. View from Mount Holyoke, Northampton,

Massachusetts

ii. Untouched nature

iii. Hudson river

iv. Tree bent over ( nature being at mercy of its own self)

v. River and clouds(stormy) in the foreground

vi. References the bend in the Connecticut river

vii. White and clear sky in background which is enhanced by the stormy

clouds

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c. Form:

i. Realistic but cartoon ( exaggerated)

ii. Warm hues for nature

iii. Cool hues for weather

iv. 130.8 x 193 cm

v. Oil on canvas

vi. The diagonal line the artist used from lower right to upper left to divide

the composition

d. Function:

i. humanity’ s insignificance in the grand scheme of things compared to

nature

ii. Westward expansion

110. Still Life in Studio. (Louis- Jacques-Mandé Daguerre. 1837 C.E. Daguerreotype)

a. Context:

i. Daguerreotype accompanied the invention of photography

ii. Less than 25 of his picture survived a fire in 1839

b. Content:

i. Autonomy of Daguerreotype

ii. A handful of still- lifes , parisian views, and portraits

iii. Also has sculptures, paintings and

photography

c. Form:

i. Silver plated sheets of copper

ii. The sheets were sensitized with iodine

vapors, exposed in a large camera box

iii. Very detailed

iv. The sheets were then developed in mercury

fumes

v. And stabilized with salt water

d. Function:

i. Duality and artistic expression

111. Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming

On). (Joseph Mallord William Turner. 1840 C.E. Oil on canvas)

a. Context:

i. Made by Joseph Mallord William Turner

ii. Trans -atlantic slave trade

iii. Twenty + years before the impressionist movement

b. Content:

i. A slave ship going into a storm abandoning the

slaves that were thrown overboard

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ii. Fiery sunset, writhing foam and waves

iii. Fish chopping at the slave chained limbs

iv. A wall of water and grey clouds( as punishment and vengeance for

throwing the slaves overboard to die)

c. Form:

i. Abstract

ii. Fabricated quality

d. Function:

i. Wanted to protest slavery

ii. Wanted to prevent slavery from becoming a new normal

iii. Purpose was to shock the audience and make them question why they

support such an immoral act

112. Palace of Westminster (Houses of Parliament). London, England. Charles Barry

and Augustus W. N. Pugin (architects). 1840–1870 C.E. Limestone masonry and glass.

a. Context:

i. Gothic style

ii. Created by Charles Barry and Agustus Pugin

iii. Built during early victorian era

b. Content:

i. Across the river Thames

ii. Among the houses of parliament

in London

iii. Interior designs

iv. stained glass

c. Form:

i. In the style of Late Medieval

d. Function:

i. Serves as a House of Parliament

1. To reinforce traditional values

ii. Today as the seat of government

113. The Stone Breakers. (Gustave Courbet. 1849 C.E. (destroyed in 1945). Oil on

canvas)

a. Context:

i. Painted one year after the published Communist Manifesto

ii. Went against normal french techniques which was refined during this time

b. Content:

i. Two figure(one very old and one very young) breaking stone with

different tools

ii. Breaking stone for rubble to be used as pavement

iii. Both wear tattered clothing( symbol of poverty )

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c. Form:

i. Rough brushwork

ii. The artist did not worry too much about the accuracy of the human figures

iii. Lacks aerial perspective

d. Function

i. Symbol of the deprivation of the agriculture french people

114. Nadar Raising Photography to the Height of Art. (Honoré Daumier. 1862 C.E.

Lithograph)

a. Context:

i. Nadar was famous for taking aerial photos of Paris

ii. By Honore Daumier

b. Content:

i. Ironic artwork ( held to the same status of high art)

ii. Nadar taking an aerial picture of paris

c. Form:

i. Lithograph- the process of printing from a flat surface treated so that it

repeals ink except where it is wanted

ii. realism

d. Function:

i. Used to mock Nadar

ii. Tried to show how ridiculous and dangerous Nadar art was

115. Olympia. (Édouard Manet. 1863 C.E. Oil on canvas)

a. Context:

i. A salon painting or a academic painting

ii. During the time of the industrialization

iii. Received backlash from it because a naked white woman and a black maid

were seen as animalistic sexaulity and inferior( was seen as disrespectful)

iv. He recreated the Venus of Urbino

with this painting

v. Model (white naked lady) :Victorian

Meurent

vi. Olynpia was a common name for

prostitutes

vii. Manet was considered the father of

impressionism

b. Content:

i. a nude white woman (prostitute) sitting on a chaise lounge with a black

cat at her feet

1. Stares at viewer coldly and indifferently

ii. Black woman servant behind her giving her a gift sent from a client

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iii. Stark contrast against the black woman’s dark skin and the white woman’s

white skin

iv. Depicts the world of Parisan prostitution

c. Form:

i. Flat tones

ii. Not a lot of depth

d. Function:

i. Commentary on racial divisions

ii. Depicted harsh realities of Parisian life

116. The Saint-Lazare Station. (Claude Monet. 1877 C.E. Oil on canvas)

a. Context:

i. Impressionism

ii. Monet wanted to be remembered as painter

of the modern world

iii. He lived in rural Paris

iv.

b. Content:

i. Train station

ii. A locomotive train pulling up into the

station

iii. Trees frame the center of the painting

iv. Diagonal lines from the roof recede backwards into the painting

c. Form:

i. Oil on canvas

d. Function:

i. Wanted to show industrialization and modernization of Paris

ii. To show the beauty in the busy , urban life in Paris

117. The Horse in Motion. (Eadweard Muybridge. 1878 C.E. Albumen print)

a. Context:

i. Taken at a horse racing track

b. Content:

i. Running horse and a jockey

ii. 4 by 4 column and rows of photos

iii. 16 photos in the series

iv. They are in profile

v. A lot of movement

c. Form:

i. Realism

ii. Used a zoopraxiscope

iii. Photograph

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iv. Series of photographs

d. Function:

i. Motion study of a running horse and a jockey

ii. Wanted to establish expressiveness

118. The Valley of Mexico from the Hillside of Santa Isabel (El Valle de México

desde el Cerro de Santa Isabel). (Jose María Velasco. 1882 C.E. Oil on canvas)

a. Context:

i. Velasco was a astamed landscape

painter

b. Content:

i. Mountains,lakes, trees, clouds,

waterfalls, blue skies and tiny human

figures

ii. All seen from a point on the mountain

top that overlooks the valley of Mexico and the village

c. Form:

i. Oil on canvas

ii. Realism

iii. Atmospheric perspective

iv. Viewer stands above the mountains

d. Function:

i. Wanted to show the beauty of Mexico

119. The Burghers of Calais. Auguste Rodin. 1884–1895 C.E. Bronze

a. Context:

i. The town council of Calais rejected the statue

because they wanted a statue of one symbolic man

b. Content:

i. 6 burghers(middle class people) that are from the

burgh/village

ii. Burghers promised their life to the English king( so

that the king will save their village from occupation

during the Hundred years’ war)

iii. The english king made them wera sacks and carry a key to Calais

iv. All of them are weak

v. Central character- Eustache de Saint- Pierre

1. Swollen hands with a noose around his neck

2. Ready for execution

c. Form:

i. Bronze

ii. All figures are individualized

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iii. Details were reduced by Roden to emphasized the depravity of the 6

burghers

d. Function:

i. Symbolizes the severity of the Hundred Years’ war and French occupation

120. The Starry Night. Vincent van Gogh. 1889 C.E. Oil on canvas.

a. Context:

i. Created by Vincent Van Gogh

ii. Had a various amount of mental illnesses

iii. Painted a lot during his time at the mental hospital (st. Remy)

iv. Painting followed a mental breakdown which had damaged his ear

b. Content:

i. Landscape view from artist point of view(

the hospital room in St.Remy)

ii. Mountains in the distance

iii. Sleepless exaggerated in the moon

iv. Wave like-movements flow left to right

v. Cypress trees are a symbol of death of

eternal life and it is reaching up into the sky

vi. It is of the night sky

c. Form:

i. Oil on canvas

ii. Composite landscape

iii. Short, thick brushstrokes

iv. Parts of the canvas can be seen through the paint

d. Function:

i. Landscape study or night sky study

ii. Expression of the artist mental illness

121. The Coiffure. Mary Cassatt. 1890–1891 C.E. Drypoint and aquatint.

a. Context:

i. De- eroticizes nakedness

ii. Global influences

iii. Created by Mary Cassatt

iv. Europe was fascinated by Japan

b. Content:

i. Naked woman sitting in a chair facing a mirror

ii. Fixing her hair

iii. Asian influence in background( decorative

prints)

iv. Shows what is considered a femine moment

c. Form:

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i. In the style of japanese prints

ii. Light brushstrokes

iii. 2-Dimensional

iv. Sketch

v. Reproducible print

d. Function:

122. The Scream. Edvard Munch. 1893 C.E. Tempera and pastels on cardboard.

a. Context:

i. Shows synthesia

1. Synthesia is the synthesis of the senses

a. Ex. relating a associating a color with a smell

2. The Scream’s swirls reflects understanding of synthesis

b. Content:

i. Adrogynous and elongated figure screams with

hands on both sides of their face

ii. Two figures seem to be walking on the bridge

iii. Sea blends into the sky

c. Form:

i. Vibrant color contrast

ii. Skewed proportions (everything swirls into itself)

iii. Movements of uncertainty

d. Function:

i. Semi-autobiographical

1. Refers to an experience or event that Munch had with friends

ii. Usage of different mediums

1. Part a study in a series called “The Frieze of Life”

2. To test out different techniques and mediums to create the art piece

123. Where Do We Come From? What Are We? Where Are We Going? (Paul

Gauguin. 1897–1898 C.E. Oil on canvas)

a. Context:

i. Symbolism

1. Colors play an

important role

2. 2-dimensional

3. Expressive, nonnaturalistic

ii. r

b. Content:

i. Tahitian natives depicting scenes of the stages of life (birth,adulthood,etc)

ii. Figures are partially clothed

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c. Form:

i. Continuous narrative (friezes)

ii. Multi-perspective view in the background

d. Function:

i. Multiple interpretations (enigmatic)

ii. A private work for Gaugin

124. Carson, Pirie, Scott and Company Building. (Chicago, Illinois, U.S. Louis

Sullivan (architect). 1899–1903 C.E. Iron, steel, glass, and terra cotta)

a. Context:

i. Diverging from a traditional vertical effect when depicting a skyscraper

ii. Art Nouveau

1. Industrial materials reflect organic forms

b. Content:

i. Tripartite

1. Open and accessible ground level

2. Infinite number of levels

3. Distinct attic line

4. Highlights the ground floor

5. Ground floor has large windows to emphasize space

c. Form:

i. Steel-frame skyscraper

ii. Art Nouveau decorative program

1. Cast-iron ornamentation covers the entryway and ground level

2. floral , intricate designs

d. Function:

i. Department store

ii. Highlights the ground level entryway to entice shoppers into the building

125. Mont Sainte-Victoire. (Paul Cézanne. 1902–1904 C.E. Oil on canvas)

a. Context:

i. A part of a series

ii. Adopted impressionism

iii. Paul Cezanne bought a few arces on the

hill of Les Lauves

b. Content

i. Has a limestone mountain (1011 meter

high)

ii. The hometown of Paul Cezanne down below

iii. Heightened lyricism

iv. View point from the hill of Les Lauves which is located north of the Aix

v. Divides painting into three horizontal parts

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vi.

c. Form:

i. Rough patches yellow, emerald, and viridian green

ii. In contrast blues, violets, grey

iii. Did subtle adjustments

iv. Has flatness and depth

d. Function:

i. Wanted to capture the beauty of the mountain from close to where he lived

126. Les Demoiselles d’Avignon. (Pablo Picasso. 1907 C.E. Oil on canvas)

a. Context:

i. Often called a creative vacuum - cleaner because he used inspiration from

many arts styles

ii. Made during the twentieth century

iii. Mask inspired by african mask worn by women

iv. Had a fear of disease(especially syphilis )

b. Content:

i. Naked women with stiff postures

ii. Geometric shapes

iii. Sees women in an analytical sense and sees them as an

object of desire

iv. Women looking outwards

v. Two masked figures ( refers to Picasso’s fear of

disease)

vi. The middle figure relates to Matisse’s canvas

vii. The still fruit is a symbol of sexaulity

viii. Supposed to be from the male gaze

c. Form:

i. Oil on canvas

d. Function

i. Expression of his desire and fear

127. The Steerage. (Alfred Stieglitz. 1907 C.E. Photogravure)

a. Context:

i. Photograph was just becoming its own art form

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ii. Emphasized clarity and realism

iii. Focused on the composition rather than the subjects in the piece

iv. Influences by cubist artists

b. Content:

i. Diagonals and framing effects of ladders,pipes, frames etc.

ii. Depicts the poorer travelers on the ship from the US to Europe

iii. Steerage = reserved for passengers with the cheapest tickets

c. Form:

i. Photograph

d. Function:

i. To show the social divisions between the upper class,middle class, and

lower class

ii. Showcase photography as an art form

128. The Kiss. (Gustav Klimt. 1907–1908 C.E. Oil and gold leaf on canvas)

a. Context:

i. Art Nouveau

1. To eliminate separation of mediums and combine them all into one

2. Floral patterns and complex

designs

ii. During Modernization of the city of

Vienna

b. Content:

i. A kissing couple

1. Her face is calm and passive

2. His bowed neck shows a sense

of desire and passion

ii. Big intricate patterns on the clothing

iii. Male is rectangular while the women is

more circular

iv. Reminds the viewer of religious symbolism and byzantine art because of

the excess gold

c. Form:

i. Oil on canvas with gold leaf

d. Function:

i. To show all consuming love and passion

129. The Kiss. (Constantin Brancusi. Original 1907–1908 C.E. Stone)

a. Context:

i. Cubism- breaking down the human form into angles and shapes

ii. Brancusi was a romanian born french sculptures

iii. Romania had a long tradition of stone/wood carving

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b. Content:

i. Intertwined figures

ii. Woman on the right

1. Slightly thinner

2. Eyes slightly smaller

3. Bulge suggest breast

iii. Two eyes become one

iv. Raw surface and archaic

v. Intimate moment

c. Form:

i. Primitive form

ii. Rejected the academy

iii. Limestone

d. Function:

i. To Express a subject in its pure form

130. The Portuguese. (Georges Braque. 1911 C.E. Oil on canvas)

a. Context:

i. Analytical cubism

ii. First phrase of cubism

iii. Highly experimental

iv. Worked with Picasso

b. Content

i. Fractured form

ii. Nearly monochrome

iii. Exploration of shapes

iv. Not portrait of portuguese musician

c. Form:

i. Jagged edges

ii. Sharp and multifaceted lines

d. Function:

i. Experimental art

ii. Non-naturalistic

131. Goldfish. (Henri Matisse. 1912 C.E. Oil on canvas)

a. Context:

i. Fauvism

ii. Famous for expressive forms and bold color

iii. One of the biggest artist during his time

b. Content:

i. Still life painting of goldfish in a tank

ii. Goldfish - symbol for paradise list

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iii. Decorative style

c. Form:

i. Used vibrant colors

ii. Violent contrast colors

iii. Thinly applied color

iv. Energetic brushstrokes

d. Function:

i. Contemplative exaltation for the viewer

132. Improvisation 28 (second version). (Vassily Kandinsky. 1912 C.E. Oil on canvas)

a. Context:

i. Expressionism inspired by Fauve movement

ii. Big part of Der Blaue Reiter

iii. He is Russian

iv. One of the first non- objective

paintings

b. Content:

i. Abstract painting of music

composition

ii. Inspired by Der Blaue reiter

c. Form:

i. Strong balck lines

ii. Colors shade around lines

iii. abstract

d. Function

i. Non- objective

ii. Wanted the viewer to respond to the painting the way they would respond

to a composition of music

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

a. Context:

i. Found German expressionist group called Die Brucke ( the Bridge)

ii. Used influences of african and central asian and and primitive

iii. The group disbanded in 1913

iv. Kirchner volunteered as a driver in the military

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v. Soon declared unfit for service

b. Content:

i. Masterpiece of psychological drama

ii. Severed hand is a metaphor ( injury to his

identity as an artist)

iii. Kirchner dressed in a uniform standing in a

studio with an amputated arm and a nude

model next to him

iv. Complicated coming of age story

v. Suggest sexual relationship with model

c. Form:

i. Oil on canvas

d. Function:

i. Representation of injury as an artist

134. Memorial Sheet for Karl Liebknecht. (Käthe Kollwitz. 1919–1920 C.E. Woodcut)

a. Context:

i. The artist does ot depict people often

ii. Made after the end of World war

iii. During communist uprising in Germany

iv. Liked Liebknecht charisma but thought the SPD ( societal democrat ic

party of Germany)would have been better

leaders

b. Content:

i. Three horizontal sections

ii. Space of the print is compressed

iii. Multiple people coming to pay their

respects to the deceased person

iv. A man has his hand on Liebknecht’s chest

( the deceased person)

v. The body of martyr revolutionary (

Liebknecht)

vi. Women and child leaning over ( Kollwitz often focused on women and

children)

c. Form:

i. printmaking

d. Function:

i. Memorial piece for Liebknecht, a german communist

135. Villa Savoye. (Poissy-sur-Seine, France. Le Corbusier (architect). 1929 C.E. Steel

and reinforced concrete)

a. Context:

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i. Developed theories on modern architecture

ii. Sought to isolate type forms( universal elements of design that can work

together)

b. Content:

i. Represents the cumulation of modern architecture

ii. Located outside of Paris

iii. Apart of a series of housesf

iv. Free facade

v. Ribbon windows

vi. Ribbon terraces

vii. Ground floor painted green

viii. Ramp winds from entrance up to a

salon

ix. Integration of indoor and outdoor

spaces

c. Form:

i. Usedsteel and reinforced

d. Function:

i. Offered an escape from the city for wealthy patrons

ii. Both a functional house and a architectural sculpture

136. Composition with Red, Blue and Yellow. (Piet Mondrian. 1930 C.E. Oil on

canvas)

a. Context:

i. Neo-plasticism

ii. Plastic used to describe paintings on canvas, sculptures, 3 dimensional

forms

iii. Used abstraction in his art often

iv. Studied art academics in Hague and Amsterdam

v. Lived in the Netherlands

vi. Was inspired by cubism and Picasso

vii. Loved to experiment with abstract forms

viii. Multiple perspectives

b. Content

i. Consist of red, yellow, blu, white and black

ii. Rectilinear forms

iii. Horizontal and vertical lines

c. Form:

i. Consist of red, blue yellow, white and black

ii. Oil on canvas

d. Function

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i. Wanted to depict the underlying structure of reality

ii. Wanted to experiment with abstract forms

137. Illustration from The Results of the First Five-Year Plan. (Varvara Stepanova.

1932 C.E. Photomontage.)

a. Context

i. Communism was rising during this time

ii. Russia became communist Soviet Union and

created five year plans for the economy

iii. Stepanova considered herself as a

constructivist and focused on portraying the

ideals of the Soviet Union

iv. Well know for her contributions to the USSR

in Construction magazine

b. Content

i. On the left, it has public speaker on a platform with the number 5 ( this

symbolizes the five year plan)

ii. Has place cards showing the CCCP and the USSR

iii. Has a portrait of Lenin, the founder of the Soviet Union, speaking

iv. Has wires that go to an electrical transmission tower

v. Red for the soviet union flag

vi. Large crowd that shows the popularity of Sralins beliefs

c. Form

i. Photomontage - a montage from constructed photographic images

ii. Used sepia photographs alternating between white and black

d. Function

i. To commemorate the ideals of Soviet Union

138. Object (Le Déjeuner en fourrure). (Meret Oppenheim. 1936 C.E. Fur-covered

cup, saucer, and spoon):

a. Context:

i. She was at lunch with picasso and Dora Maar

ii. Picasso and Dora Maar marveled at Oppenheim’s fur

bracelet and said almost anything can be covered in fur

iii. Then as a joke Oppenheim asked the waiter for more fur

( menat keep my tea warm)

b. Content

i. A cup , saucer and spoon wrapped in gazelle fur

c. Form

i. Surrealism

ii. Made out drinking items and fur

d. Function

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i. She pesses that you can actually feel the fur on your lips as if you were

drinking from the cup

ii. Preferred a non- objective title for this work

iii. Many people tried to push a sexual meaning on the piece of work but

Oppenheim most likely did not mean it to be sexual

139. Fallingwater. Pennsylvania, U.S. (Frank Lloyd Wright (architect). 1936–1939

C.E. Reinforced concrete, sandstone, steel, and glass.)

a. Context

i. In the forest of Southwest pennsylvania

ii. Two architects opened a Modern Architecture:

international exhibit

iii. To help the turmoils of architects during the Great

Depression and afterwards

iv. Alot of catalougues condemned Wright for his

creations saying it wasn’t innovative

v. Wright made an apprenticeship called the

fellowship

vi. Criticism changed after this house

b. Content

i. House perched on a rocky hillside above a mountain cataract

ii. With water flowing down from the bottom of the house

c. Form

i. Reinforced concrete, sandstone, steel and glass

d. Function

i. Was a personal milestone for the architect

ii. Was a weekend home for Kaufmann

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

a. Context

i. Surrealism

ii. Abstract traditions of biomorphic forms

iii. Vertistic tradition of using reality based subjects put together in unusual

forms

iv. Kahlo rejected the surrealism label

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v. Rivera often cheated on Kahlo and Kahlo cheated on him but Kahhlo

wanted to be together and stop cheating

vi. Was getting a divorce from Rivera

b. Content

i. Juxtaposition of two self portraits

ii. A spanish lady in white lace - on the left

iii. A mexican woman that is a peasant on the

right

iv. Two hearts are intertwined by viens that is

cut by scissors by the end

v. The viens led to a portrait of her husband

and artist Rivera

vi. Infetile land in the background

vii. Vein= umbilical cord

viii. Blood in lap suggest the many miscarriages and abortions in her life

c. Form

i. Oil on canvas

d. Function

i. Used to express her pain during that time

141. The Migration of the Negro, Panel no. 49. (Jacob Lawrence. 1940–1941 C.E.

Casein tempera on hardboard)

a. Context

i. The harlem renaissance

ii. The great migration

iii. Apart of a series depicting the great migration

b. Content

i. A public restaurant in the north that was heavily

segregated shown by the yellow pole splitting the

black people from the white people

c. Form

i. Flat colors

ii. Flat simple shapes

iii. Geometric forms

iv. Forms hover in large spaces

v. Tempera on hardboard

d. Function

i. Aimed to depict the great migration form the rural south to the north

142. The Jungle. (Wifredo Lam. 1943 C.E. Gouache on paper mounted on canvas)

a. Context

i. Lam is a famous refined artist from Cuba

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ii. Around the time where a revolutio happened in Cuba that overthrew

Cuba’s leader

iii. In 1920s- 1930s Lam lived in Europe then left because of the war and

went back to his home country

iv. Influenced by Afro- Carribean culture and

surrealism

v. Sugarcane was Cuba’s equivalent to Cotton

in America

b. Content

i. Clusters of enigmatic faces, limbs, and

sugarcane

ii. Kind of a game of perception

iii. Willowy arms and legs

iv. Seems not the have enough feet and legs for each figure

c. Form

i. Diapproniate bodys and figures

ii. Dense at the top and open at the bottom

iii. Gouache on paper mounted on canvas

d. Function

i. Intended to communicate a psychic state

143. Dream of a Sunday Afternoon in the Alameda Park. (Diego Rivera. 1947–1948

C.E. Fresco.)

a. Context

i. Deigo Rivera famous painter from Mexico who was married to Kahlo

ii. Surrealism

iii. Never official joined the surrealist

iv. Afterwards the overthrown dictator of Mexico

b. Content

i. Depicts over 400 characters from Mexican history walking together

through a garden

ii. Lighthearted elements- colorful balloon and bright flowers and plants

iii. Darker elements- conflict between police and indigenous family and

smiling skeleton

iv. Middle highlights the life of the Mexican elite

v. In contrast to the improvertish life of mexicans

vi. Shows the genocide and oppression

vii. The dream of democracy

viii. Religious idealism and religious intolerance

ix. Frida Kahlo holding yin and yang ( represents their relationship)

x. Shows his love for Kahlo and her declining health

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xi. Woman in european clothes

xii. Feather boa on Catrina’s neck = Quetzalcoatl ( mesoamerican serpent

god)

c. Form

i. Figures overlap

ii. In the form of a mural or

fresco

iii. Mecxican muralism

d. Function

i. Commemorate Mexiacn

history

ii. Critique of the upper class in Mexico

144. Fountain (second version). (Marcel Duchamp. 1950 C.E. (original 1917).

Readymade glazed sanitary china with black paint)

a. Context

i. Apart of the dada movement ( criticism of what is

considered and what can be art)

ii. Dada translates to hobby horse or nonsense

iii. Dadaist abandoned conventional art and art

techniques

b. Content

i. Upside down urinal with a signature

c. Form

i. Ready made sculpture

d. Function

i. irony

145. Woman, I. (Willem de Kooning. 1950–1952 C.E. Oil on canvas)

a. Context

i. Abstract expressionism

ii. First American avant-garde art movement

iii. Action painting

iv. Inspired by neolithic goddess and pin up girls

v. A part of a series

vi. Created by Willem de Kooning

b. Content

i. Angry woman baring her teeth

ii. Large eyes

iii. Exaggerated breast

iv. Blank stare and frozen grin

c. Form

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i. Slashing paints

ii. Jagged lines

iii. Vague background

iv. Thick black lines

d. Function

i. It represents the quote from the artist “Beauty becomes petulant to me. I

like the grotesque”

146. Seagram Building. (New York City, U.S. Ludwig Mies van der Rohe and Philip

Johnson (architects). 1954–1958 C.E. Steel frame with glass curtain wall and bronze)

a. Context

i. International style of architecture

ii. Thought a house should be a “machine for the

living”

iii. modern

b. Content

i. Minimalistic

ii. Vertical and horizontal lines

c. Form

i. Steel frame with glass walls and bronze

ii. Set back from a plaza

iii. Bronze veneer - giving monolithic

iv. Modelo f a skyscraper

d. Function

i. wanted structural items to be evident

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

canvas)

a. Context

i. Pop art

ii. Marilyn Monroe was very famous

iii. She died of overdose in her house

b. Content

i. Marilyn Monroe’ s face repeated many

times

ii. Right- black and white(marilyn’s death

)

iii. Left- in color( marilyn’s life

c. Form

i. Rectangular screen- printed photographic images

ii. Film from Nigara was used

iii. Repetition

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d. Function

i. Mocks the cult of celebrity ( people’s obsession with celebrities

ii. Fights the idea that art has to be solely unique

148. Narcissus Garden. (Yayoi Kusama. Original installation and performance 1966.

Mirror balls)

a. Context

i. She volunteered to live in a mental health

facility

ii. Has a long history of mental illness

iii. Uses the story of Narcissus ( Narcissist)

inspo

iv. Recreation of Narcissus garden in

mythology

b. Content

i. Many ( 1,500)plastic, mirror balls

ii. Balls were tightly arranged

iii. Reflection repeated and distorted

c. Form

i. Mirror balls

d. Function

i. Makes people confort vanity and ego

ii. Protest against commercialized art

149. The Bay. (Helen Frankenthaler. 1963 C.E. Acrylic on

canvas)

a. Context

i. Abstract expressionist

b. Content

i. A bay in Michigan

c. Form

i. Painted unprimed canvas(canvas soaked up a lot of

the paint)

ii. Runny paint

iii. Very 2 dimensional

iv. Atmospheric painting

v. Violet to indigo

d. Function

i. Just for art

150. Lipstick (Ascending) on Caterpillar Tracks. (Claes Oldenburg. 1969–1974 C.E.

Cor-Ten steel, steel, aluminum, and cast resin; painted with polyurethane enamel)

a. Context

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i. Pop art

ii. Made during the time students were protesting the Vietnam War

iii. Made in collaboration with yale students

iv. Experimented with lipstick forms

v.

b. Content

i. A tube of lipstick sprouting from military vehicle

ii. Lipstick was seen as bullet and phallic shaped

iii. Combined feminie(lipstick) and masculine (war)

c. Form

i. 24 feet high

d. Function

i. Anti-war

ii. U.S consumption and beauty was a distraction from the Vietnam war and

what is actually happening in the world

151. Spiral Jetty. (Great Salt Lake, Utah, U.S. Robert Smithson. 1970 C.E. Earthwork:

mud, precipitated salt crystals, rocks, and water coil.)

a. Context

i. Artist was interested in the blood like

waters of the lake

ii. Example of site art sometimes called

Earth art

b. Content

i. A spiral jetty in the middle in the great

salt lake

c. Form

i. Mud, rocks, crystals, water coil

ii. Earthwork

iii. Used a tractor with native stones

iv. An extremely remote area

d. Function

i. Jetties are supposed to be piers

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152. 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)

a. Context

i. Post modern architecture( developed in late

70s - early 80s)

b. Content

i. Surrounded by hills and forest

ii. Wife is a musician = has a well stocked music

room

iii. Husband is a bird watcher=large windows

iv. Post modern looks with historic looks

v. Front facade = floating arch

vi. Rear facade= prominent arch

vii. Doric colonnades

viii. Grand whimsical interior

ix. Chandeliers

c. Form

i. A geometric shapes

d. Function

i. Designed for a family of three

Unit 5: Indigenous Americas

153. Chavín de Huántar. (Northern highlands, Peru. Chavín. 900–200 B.C.E. Stone

(architectural complex); granite (Lanzón and sculpture); hammered gold alloy (jewelry))

a. Context

i. Archaeological and religious site of the andes of Peru

ii. Has a transportation of ceramics and textile to the temple

iii. Made by the Chavin cult

iv. Capital and religious center of Chavin cult and Pre-Inca civilization

v. Set at the connection between two of the largest rivers in Peru

vi. Agriculture of maize and potatoes

b. Content

i. Jewelry made of gold alloy( the serpent nose

ornament )

ii. Temple had a lot of tunnels( built around 900

BCE

iii. The old temple is shaped in a U

iv. New temple was built around 500 BCE

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v. Quarried stone building, terraces around palazas, internal gallery

vi. Had artifacts and stylistic

c. Form

i. Made of stone

ii. Rough shapes of stone

iii. Lanzon and sculpture made of granite

iv. 10,330 feet above sea level

d. Function

i. Religious center for the their primary god

ii. Held many spiritual ceremonies

iii. Designed to unify people

iv. An important pilgrimage

154. Mesa Verde cliff dwellings. (Montezuma County, Colorado. Ancestral Puebloan

(Anasazi). 450–1300 C.E. Sandstone)

a. Context:

i. Mesa Verde means “green table”

ii. Ancestral Puebloans

iii. They were mainly sedentary farmers

iv. Abandoned around 1300 CE due to lack of resources, drought , or violence

b. Content:

i. Kivas = underground circular rooms used for

ritual purposes

1. Wooden roof held up by sandstone

columns

2. Firepit in the center

3. Had a small hole in the ground called

sipapu for ceremonial purposes

ii. Plastered and painted murals, many are now

fragmented

iii. Other paintings also decorated the walls

1. Geometric depictions of plants and animals

2. Were used to depict the geography of the land

c. Form:

i. Built into the cave

ii. Dwellings built on the top and bottom of the Mesas

iii. Over 600 structures

iv. Made of stone, mortar and plaster

v. Used a building technique called Adobe

1. Adobe = type of brick made from clay, sand, straw and/or sticks

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vi. The paintings and murals were made from clay, minerals, and other

organic materials

d. Function:

i. Used for ceremonies and residential

ii. Were covered but now have no roofs

iii. The space around the buildings were used as a plaza

iv. Circular and rectangular for living space

v. One room facing the plaza for family gatherings

vi. Smaller rooms were used for storage

155. Yaxchilán. (Chiapas, Mexico. Maya. 725 C.E. Limestone (architectural complex))

a. Context:

i. Yaxchilan dynasty 4th century

1. Lord shield Jaguar II who ruled for 60 years beginnings in 681

2. He commissioned famous sculpture work at site

3. Bird Jaguar IV followed his father ( built famous buildings and

sculpture)

ii. Bloodletting was common

iii. Lintels

iv. Lady took burned the paper to allow the blood to ascend to the gods

b. Content

i. Carved lintel

ii. Stairs with carved hieroglyphs writing and steeles

iii. Depicted ritual moment in the life of Lady Xooks

iv. Lintel 24:Lady Xook pulls a throned cord through her tongue so that she

can bleed on a paper that fills a basket on the ground( bloodletting)

v. Her husband holds a lit torch above her

vi. Beautiful diamond decorated

vii. Lintel 25:from central doorway also a bloodletting ritual by Lady Xook in

front of a serpent

viii. She holds the bowl in her hand while

looking up at the serpent

ix. Bowl had papers that she bleed on

x. Figure images from serpent’s mouth with a

shield, spear, and war helmet

xi. Backward inscription

xii. Structure 33

1. Three enterways

2. Decorated with stucco

ornamentation

3. Limestone blocks

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4. Displays ruler like Bird Jaguar II in intricate clothing and with his

son

5. Elaborate roof comb= a masonry wall

xiii. Structure 40

1. Unusual concept of beauty

2. Often had chacmool ( half sitting half lying down)

c. Form

i. Relief structures

ii. Structure 33 built by Bird Jaguar IV

d. Function

i. To legitimize ruler

ii. To show power

156. Great Serpent Mound. (Adams County, southern Ohio. Mississippian (Eastern

Woodlands). c. 1070 C.E. Earthwork/effigy mound)

a. Context:

i. Created by Native American tribes

ii. Effigy mounds depicting animals were quite common among Native

American tribes

iii. Believed snakes to have supernatural powers

iv. Possibly influenced by Mississipian rattlesnake worshipping practices

b. Content:

i. A snake (probably a rattlesnake) that is slightly crescent shaped

ii. Snake’s head is pointed to the east while the tail is pointed to the west

iii. The ovoid shape at the eastern end the snake is thought be either the head,

an eye, an egg, or maybe even the sun to represent a solar eclipse

iv. In some Native American cultures, snakes are believed to be a powerful

deity from the underworld

c. Form:

i. Dirt

ii. Largest snake effigy mound in the world

iii. The mound confroms into the natural topography in

the area

iv. National historical landmark

d. Function:

i. Snakes were often included into spiritual rituals

ii. The astrological alignment of the snake suggest that it was used to mark

seasons

iii. The North Pole star aligns with the first curve of the serpent so it could

represent the constellation Draco

iv. May have marked the day the Haley’s Comet appeared

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157. Templo Mayor (Main Temple). (Tenochtitlan (modern Mexico City, Mexico).

Mexica (Aztec). 1375–1520 C.E. Stone (temple); volcanic stone (The Coyolxauhqui

Stone); jadeite (Olmec-style mask); basalt (Calendar Stone))

a. Context:

i. Aztec Empire

ii. Means “The Greater Temple”

iii. Taken apart and destroyed by the

Spanish in 1521

iv. Thousands of ritual objects have

been recovered

v. The Aztec invasion in which its

purpose was spread their Aztec

ideas and religions to neighboring territories

vi. Could hold 200,000 people by the 16th century

vii. Trade center (gold, pottery, food exports)

b. Content:

i. Main temple of the Mexica people

ii. Design is inspired by Mixica mythology

iii. Either side of the temple was dedicated to two primary gods

iv. Wooden statues represented each god

1. God of War and Sun

a. Huitzilopochtli

i. Included sacrificial stone and bearer figures and

serpents

ii. This side represente Snake mountain or Coatepec

iii. Painted red = symbolized the dry season during the

winter solstice

iv. The steps leading to Huitzilopochtli were painted

red to symbolize war and blood

2. God of Agriculture and Rain

a. Tlaloc

i. Included an altar and chacmool sculpture to receive

offerings

ii. This side symbolized mountain of sustenance,

which produced rain and allowed crops to grow

iii. Painted with blue stripes = symbolized the wet

season during the summer solstice

iv. Stairs leading to Tlaloc were painted blue and white

to represent water

v. These halves were very opposite and contradicting of each other

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c. Form:

i. Volcanic stone and covered in stucco

ii. The post classic period and Mesoamerican style

iii. A large symmetrical building with twin staircases leading up to two

identical temple towers

iv. Was a focal point in society and taller than all other building in the area

d. Function:

i. A place of worship of their gods

ii. Rituals, ceremonies, and reenactment of their myths

iii. Represented Aztec warfare and conquest as well as their power

158. Ruler's feather headdress (probably of Motecuhzoma II). (Mexica (Aztec). 1428–

1520 C.E. Feathers (quetzal and cotinga) and gold)

a. Context

i. Belonged to Motecuhzoma II, ruler of the Aztec Empire

ii. Capital of Aztec empire Tenochtitlan

iii. Stolen by Hernan Cortes ( a spanish conquistador )

iv. Europe called it a moorish hat

v. Then was taken by Archduke Fredinad

b. Content

i. Originally had a golden bird beak

ii. 450 feathers

iii. Quetzal tail feathers from the male birds located in

Yucatan peninsula

iv. Made by amantecas ( feather workers)highly

skilled artist

c. Form

i. Feather, gold, wood, plant fibers

ii. 3.8 feet tall

iii. 5.75 feet wide

iv. Feathers mounted on wood sticks layered in semi- circle

v. Vibrant colors

d. Function

i. For the ruler

159. City of Cusco, including Qorikancha (Inca 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)

a. Context:

i. Inca Empire

1. Known for monumental architecture and extensive road networks

2. Did not have a money system

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a. Instead exchanged labor and goods

b. Taxes were paid in a form of labor

3. Inti Raymi

a. Ceremony of the sun and sun god

b. It was later limited and banned when the Spanish came

4. Mea and Women were seen as equal in Incan culture

5. The Spanish saw the women as slaves

6. Women could own land - inheritance went through both mother

and father

ii. 16th Century Spanish Conquest

1. City of Cusco was preserved

2. Temples, monasteries, and manor houses were built over the Inca

city

3. Showed juxtaposition between the two cultures

iii. One of the most important centers for religious art creation

iv. Today it is recognized as cultural

heritage and a monumental area

b. Content:

i. City may have been laid out in the form

of a puma (a symbol of strength)

ii. The noble houses were isolated from

the rest of the city

iii. The architecture showcased the city’s

political power

iv. They had an extensive understanding of

masonry

1. Each stone was modified with tools to fit other stones

2. Each stone had a bit of space in between so they wouldn’t collapse

during an earthquake

v. Gods (captured) and mummies were used to further control followers

vi. Qorikancha

1. Cheques served as markers of time and “landscape calendar and

cosmogram”

2. Renovated by an emperor who had a divine revelation

3. Doorways and wall niches are inca trapezoids

a. Doorways are double jammed to indicate importance

c. Form:

i. Red roofs

ii. Buildings are close together

iii. Fertile land

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iv. Technical stone structures

v. Urban layout

d. Function:

i. Capital of Tawantinsuyu (“Land of the Four Quarters”)

1. Divided into four quarters that represent the four divisions in the

empire

2. Axis Mundi = center of existence

3. Inca rulers and nobles lived in cusco

4. Gods and mummies kept in the capital

ii. Qorikancha

1. Most sacred shrine = to the sun god Inti

2. Was later turned into a Christian temple

iii. Sacsayhuaman

1. Built as a fortress but function is still unsure

160. Maize cobs. (Inka. c. 1440–1533 C.E. Sheet metal/repoussé,

metal alloys)

a. Context

i. Maize was very important food in Central america and

the civilization there

ii. Inka art

iii. Displayed in a metal garden in City of Cusco

b. Content

i. Life size sculpture of maize( corn)

c. Form

i. Made of gold and metal( mix of copper and silver)

ii. Corn kennels were individually sculpted

d. Function

i. Honor an important aspect of the life there

161. City of Machu Picchu. (Central highlands, Peru. Inka. c. 1450–1540 C.E. Granite

(architectural complex))

a. Context

i. Originally a palace for Inca rulers

ii. Overlooks the Urubamba river

iii. Near the city of Cusco

iv. Fertile climate

v. Chosen because of its location close to the Adean landscape

vi. Emperors only lived there for part of the year

vii. Pachacuti thought he was the descendant of the sun

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viii. Yanaconas and Mitimas

b. Content

i. Main building= typical Inca elite architecture

ii. Buildings show social divisions

iii. Emperor lived on the southwest

iv. Contains religious structures

v. Had a observatory

vi. Intihuatana- a carved border located in the ritual area

c. Form

i. Porturding stones

d. Function

i. Show that the emperor is connected to the gods

ii. Solidify rule and power

iii. At first was a palace for elites but more of a city

162. All-T’oqapu tunic. (Inka. 1450–1540 C.E. Camelid fiber and cotton)

a. Context

i. Textiles with the finest cloth ( qompi ) were made by acallas ( chosen

women)

ii. Allacs performed important rituals across the Inca

empire

b. Content

i. Designs represented people/ethnicities, places and

social roles

ii. Contains a black and white checkerboard like pattern

for the ones worn in the military

iii. Patterns demonstrate the sapa inca ( unique inca )

was an important person who claimed the tunic

c. Form

i. Tunic: A woven rectangle piece of cloth folded into a square, with a slit

woven into the middle for the neck, with small red woven squares.

ii. T’oqapu: composition of these square geometric motifs that make up the

tunic, worn by upper class tunics.

iii. Made from dyed camelid fiber and cotton ( rare and luxury dyes and

fabric)

iv. Required the work of numerous people

v. Light and strong fabric and threads

d. Function

i. For the elite

ii. Showed Inca power

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163. Bandolier bag. (Lenape (Delaware tribe, Eastern Woodlands). c. 1850 C.E.

Beadwork on leather)

a. Context

i. Inspired by the bags Europeans wore

ii. Created by the tribe in Delaware

iii. Called Aazhooningwa'on in Ojibwe language (“worn across the shoulder”)

iv. Made by most tribes near the great lakes

v. Women created the bags

vi. Animalistic religion

vii. Were removed from their land by the indian Removal act

b. Content

i. Thousands of beads strung together

ii. Bandolier

1. Red trimming and tassels on the bag

2. Floral blue, black green and pink colors

used in the patterns

3. Ends have trapezoidal shaped extensions

4. Long rectangle - bandolier

iii. Bag

1. Follows the same color scheme as the

bandolier

2. Tassels decorate the opening of the bag

iv. Very decorative

c. Form

i. Very large

ii. Silk ribbons- came from trading with europeans

iii. Red wool tassel with metal cones

iv. Abstract and asymmetrical

v. Cotton and wool cloth

d. Function

i. For men to wear expressed social identities and groups

164. Transformation mask. (Kwakwaka’wakw, Northwest coast of Canada. Late 19th

century C.E. Wood, paint, and string)

a. Context

i. Mask worn during ceremonies

ii. Dancers open the mask during the ceremony

iii. Carving techniques changed after Europeans

iv. Transformation mask were very important to the culture

v. Mask were worn with a cloak

vi. Primogeniture political structure

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vii. Barter and trade economy

b. Content

i. Large, exaggerated bird

ii. Opens to show a human face

iii. In the shape of an eagle

iv. Pull the chord and the mask opens

v. The human face is the face

of an ancestor

c. Form

i. Hair made of string

ii. Bright colors

d. Function

i. Portrayed genealogy (like a

family crest)

ii. Worn at a potlatch

iii. Conveyed high status

165. Painted elk hide. (Attributed to Cotsiogo (Cadzi

Cody), Eastern Shoshone, Wind River Reservation,

Wyoming. 1890–1900 C.E. Painted elk hide)

a. Context

i. Artist Cotsiogo american name: Cadzi

Cody

ii. Known for his animal paintings

iii. Was a member of the Eastern Shoshone

tribe

iv. Animal painting tradition

v. Extreme poverty on the Wind river reservation

b. Content

i. Painted on elk hide

ii. Animals running ( horses and buffalo)

iii. People hunting them with a bow and arrow even though most tribes had

guns

iv. Women sitting near fire

c. Form

i. Free- hand pencil sketches and paintings

ii. Use of stencils

d. Function

i. Sold to white visitors/ tourist

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166. Black-on-black ceramic vessel. (Maria Martínez and Julian Martínez, Tewa,

Puebloan, San Ildefonso Pueblo, New Mexico. c. mid-20th century C.E. Blackware

ceramic)

a. Context

i. Made by Maria Martinez and Julian Martinez

ii. Made on the puebloan reservation

iii. The reservation was poor

iv. Maria Martinez became popular because europeans considered her pots as

art deco

b. Content

i. Pictures of clouds, bird feathers, corn, and rivers

c. Form

i. Ceramics

ii. Made by coiling clay into shape of the vase

iii. Made with volcanic ash

iv. Burnished- polished with a stone

v. Ollas- a rounded pot

d. Function

i. Was able to buy things for the reservation

ii. Functional uses

Unit 6: Africa

167. Conical tower and circular wall of Great Zimbabwe. Southeastern Zimbabwe.

(Shona peoples. c. 1000–1400 C.E. Coursed granite blocks)

a. Context:

i. Took over 30 years to complete

ii. Conical tower believed to be made to worship the god Mulan

iii. Built in a time of great wealth success of Great Zimbabwe

b. Content:

i. Zimbabwe=Judicial Center or Ruler’s court

ii. Clay structure, excavations have revealed interior furnishings such as potstands, elevated surfaces for sleeping and sitting as well as hearth

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iii. 3 areas:

1. Hill Ruin (on a rocky hill-top)

a. Incorporates a cave that remains sacred site for Shona ppl

today; cave accommodate the residence of the ruler and his

immediate family;

b. Held a structure surrounded 30 feet high walls

c. Flanked by cylindrical towers: monoliths carved with

elaborate geometric patterns

2. The Great Enclosure:

a. Walled structure punctuated with turrets and monoliths;

massive outer wall id 32 feet high

b. Inside Great Enclosure is a smaller wall parallel to the

exterior wall creating a tight passageway leading to large

towers

c. Accommodate a surplus population and it's religious and

administrative activities

3. Valley Ruins:

a. Hub for commercial exchange and long distance trade;

found porcelain fragments and long distance trade, beads

crafted in SE Asia and copper

b. Monolithic soapstone sculpture of a seated bird resting atop

of a register of zig zags

4. Conical Tower: walls were constructed from granite blocks; had no

military function; didn’t use mortar to bind the stones; ashlar

masonry carefully cut the stone walls

5. Symbolize the power and prestige of the rulers: a shona ruler

shows his largess towards his subjects through his granaly, often

distributing grains: symbolizing his protection

c. Form:

i. Geometric shapes and Patterns

d. Function

i. Wall separated the commoners from the royal families

ii. Circular wall=demonstrate power and protect houses and the commercial

markets

iii. Long distance=trade

168. Great Mosque of Djenné. (Mali. Founded c. 1200 C.E.; rebuilt 1906–1907.

Adobe)

a. Context:

i. Largest mud-brick structure in the world

ii. Rebuild 3 times

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iii. Built in a market place

iv. Ostrich egg represents fertility

v. Tombs of great Islamic Scholars are adjacent to the mosque

b. Content:

i. 3 minarets

ii. Earthen roof

iii. Qibla faces Mecca

iv. Terracotta lids over holes on the roof

v. Imber poles poke out of the mosque

called torons for decorations and

climbing the mosque for replatering

vi. Straits symbolizes transition from everyday life of the marketplace to a

sacred place

c. Form:

i. Made from cylindrical adobe (mudbrick)

ii. Made by hand with contribution from the whole society-- complex

organization of society

iii. Supported by massive pillars

iv. Contains a Mihrab

d. Function:

i. Signs of the chiefs religious devotion to Islam

ii. Mosque=center for prayers and community

iii. Location of crepissage, a festival dedicated to the replastering of the

mosque: communal effort

169. Wall plaque, from Oba’s palace. (Edo peoples, Benin (Nigeria). 16th century C.E.

Cast brass)

a. Context:

i. Beninese mainly traded Portuguese empire

ii. A new system of trade that was recently enabled due to the British

imperial conquests of Benin

iii. Portuguese empire began declining around the 18th century and British

began making inroads into Benin

iv. Portuguese seek mutually beneficial trade whereas British

sought to dominate the local ppl and extract resources

b. Content:

i. Depicts the King attended by several court attendants; king

depicted in the center=emphasize his power

ii. Attendants appear smaller than the king (Benin artists had not

used depth yet)

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iii. King is shown riding horse and wearing expensive necklaces and jewelry

iv. Hierarchical scale is used to show the relative importance of the Oba to

the surrounding figures

v. Distinct use of proportion in which the Oba’s head is larger because Oba

was known as “Great Head” as he is the center of wisdom/power

c. Form:

i. Cast brass relief plaque

ii. Brass=valuable material

iii. Plaque combines traditional depictions of figures and brass work of

European cultures

d. Function:

i. Decorated palace walls. Plaques were made in pairs and attached to pillars

ii. Shows court rituals that occurred in palace and the order of plaques in the

palace show the history of the Kingdom

170. Sika dwa kofi (Golden Stool). (Ashanti peoples (south central Ghana). c. 1700

C.E. Gold over wood and cast-gold attachments)

a. Context:

i. The ashanti group is the largest ethnic group in Ghana today

ii. Their king Osei Tutu

iii. Believed the golden stool descended from the heavens to

Osei Tutu and the chiefs

iv. Priest - Okomfo Anokye

v. The stool is sacred

vi. King is viewed as a divine medium

vii. The kingdom was rich in gold

viii. Lost the Ashanti war against the Europeans that exploited

the people and the land for gold

ix. The ashanti people people hid the stool away from the Europeans to keep

it safe

b. Content

i. A seat with two bells tied to the end

ii. Intricate designs in the middle part

iii. Small figures attached to the seat

iv. Believed to contained the soul of the people

c. Form

i. Gold over wood

ii. 18 inches high

iii. 24 inches long

iv. 12 inches wide

v. carved using ashanti methods

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vi. Crescent shaped seat

d. Function

i. It is a sacred piece for the Ashanti people

171. Ndop (portrait figure) of King Mishe miShyaang maMbul. (Kuba peoples

(Democratic Republic of the Congo). c. 1760–1780 C.E. Wood)

a. Context

i. Made by the Kuba people

ii. Commissioned by Kuba King Mishe miShyaang maMbul at height of his

reign

iii. Stolen by a colonial minister and then sold to the Brooklyn museum

iv. Kuba kingdom flourished during the 17th to

18th century

b. Content

i. Calm, expressionless faces

ii. Sits cross legged on a platform

iii. Holds a royal drum and a belt to identify the

king

iv. Captures the ideal king

v. Other symbols of the king;s wealth and

family are included

vi. Head center of intelligence

c. Form

i. Exaggerated features

ii. Not individualistic characters

d. Function

i. Ndop is a record of the king’s rule

ii. Celebrates his rule and generosity

172. Power figure (Nkisi n’kondi). (Kongo peoples (Democratic Republic of the

Congo). c. late 19th century C.E. Wood and metal)

a. Context:

i. Spiritual importance and protection=important to kingo ppl

ii. Power figures were confiscated and destroyed by missionaries of the late

19th century when found because they were evidence of sorcery

iii. Carved by a spiritual specialist who activates the figure by driving nails,

blades, and other metal objects into it's wooden surface to make it angry

and rouse it into action

iv. Would be activated by a Shaman by the storage of medicinal combinations

(bilongo) in the head to create a link between the spiritual and physical

world

b. Content:

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i. Wooden human figure meant to highlight it's function in human

ii. Elongated belly button with cowrie shell fertility link to ancestors and

wealth

iii. Often contain medicinal combinations inside

them covered by a piece of glass (Glass

represent the other world)

iv. Nkisi container of sacred substances activated

by supernatural forces that summon spirits

into the natural world

c. Form:

i. Imposing figure leaning forward wide stance

signifies strength and importance

ii. Contains different types of insertions

d. Function:

i. Used as reminders of social obligations and

enforcers of proper behavior

ii. Brought healing and protection to the community

iii. Symbolize an honoring of contracts and agreements

iv. Served as a mediator between ancestral spirit world and the living world

173. Female (Pwo) mask. (Chokwe peoples (Democratic Republic of the Congo). Late

19th to early 20th century C.E. Wood, fiber, pigment, and metal)

a. Context:

i. Chokwe is a matrilineal society

b. Content:

i. Cingelyengelye on forehead and cheeks

ii. Hairstyle = common chokwe women hairstyle called coat which includes a

braided headband and heavy fringe coated with red earth (plaiting)

iii. Pwo- founding mother and deity who represents fertility

iv. This mask represent Pwo Meana: a younger and more idealized form

v. Tattoos:

1. Left cheek=cingelyengelye: occurred as a necklace in form of a

cross cut from the plate and worn by chokwe as an amulet

2. Right cheek=cuijingo: in combination with a cross denotes a spiral

brass bracelet

3. Forehead=mitelumuna (knitted eyebrows) an allusion to

discontentedness or arrogance

4. Under the eyes is the masoji, signifying tears

vi. Whiteness around the eyes: spiritual realm /her eyes are important part of

face

vii. Huge eyes suggest that she is on a different level of spirituality

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c. Form:

i. Neat lines and circles use of symmetric shape

ii. Glowing reddish brown surface represents healthy skin

iii. Slender nose, elliptical mouth and hemispherical ears

d. Function:

i. Honor a chokwe women who had successfully given birth

ii. 2 performers: 1 wearing pwo mask and the other wear male counterpart:

they would dance and perform rituals meaning to fibe the tribe fertility and

prosperity

iii. Used during male initiation rites to show them the type

of ideal type of women that they should because

looking for a wife

174. Portrait mask (Mblo). (Baule peoples (Côte d’Ivoire). Early

20th century C.E. Wood and pigment)

a. Context:

i. Baule peoples: 400,000 lived in villages in Cote

D'ivoire

ii. Known for wood sculptures and ceremonial masks

iii. Baule society=matriarchal

b. Content:

i. Mask is an idealized portrait of Moya Yanso: a women

known in Kami for her beauty and incredible dancing ability; mask

displays her at her prime

ii. High forehead and small mouth > convey intelligence and posture

iii. Left eye is slightly higher than right eye; gives feeling of complexity

iv. Tubular pieces above.are just decorative

v. The folds near the mouth conveys age

vi. Brass would shine in the sunlight to represent good health

c. Form:

i. Oblong face shape is black in color with triangular brown marking

ii. Traces of orange and red paint remain near lips, eyes, nose

iii. Nose is long and mouth is closed

iv. Ears are rounded nubs

d. Function:

i. Part of masquerade called a gbagba in the village of Kami in the early

1900s

ii. The mask concealed until a climactic moment when they are revealed

iii. Watched by an audience

iv. Masks kept out of sight when not in use

v. Meant to honor a respected member of Baule society

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175. Bundu mask. (Sande Society, Mende peoples (West African forests of Sierra

Leone and Liberia). 19th to 20th century C.E. Wood, cloth, and fiber)

a. Context:

i. During ceremonies women bodies were painted with white clay; made

them unattractive because they have not become women yet

ii. Mende people = large ethnic group

iii. Patrilineal and patriarchal

iv. Religion: Ngewo-single creator of universe

b. Content:

i. Full costume; made of a gown of raffia fibers and the 2-4

ib mask represents sowo

ii. Masks deep black sheen and smoothness: shows ideal

image in contrast to the white clay

iii. Sheen created by a coat of palm oil which helps to

represent healthy and beautiful skil

iv. Mask is idealized

v. Stylized neck rings symbolizes fertility, good health, and high status

vi. Small mouth means a women should not gossip

vii. Small ears mean women shouldn’t listen to gossip

viii. Eyes are largely closed and downward cast

ix. 4 lines under eyes=ideal aesthetic

c. Form:

i. Dark; painted wood materials forms a head that resembles a thimble

ii. A small face with small features is central and towards the bottom of the

head

iii. A sharp point extends up from the face, possibly forming the forehead

iv. Geometric designs surround the pointed forehead on either side

v. Folds extended from the face to the back of the head

vi. Fibers resembles hair extended from head

d. Function:

i. Part of a public masquerade that celebrates girls maturation

1. A female dancer appears in acostume represent sowo (water spirit

of the sande society)

2. Creates an image that young girls should strive for

3. Thought to be a spirit

4. Spiritual knowledge and how to be a wife

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176. Ikenga (shrine figure). (Igbo peoples (Nigeria). c. 19th to

20th century C.E. Wood)

a. Context:

i. Made by Igbo people in Nigeria

ii. Began in 19th century

iii. Lives in remote inland area where they are isolated

and independent from other tribes

b. Content:

i. An “ikenga” is carved wooden figure that has a

human face and animal attributes

ii. Horns symbolizes aggressiveness and ambition

because they believe that ram fifth with the head and head initiates good

actions

iii. Most Ikenga holds swords=to show power

iv. The figure is carved to resemble whoever commissioned it

c. Form:

i. Carved wooden figures

ii. Masculine sculpture genre are so much taller and wider

iii. All have ram horns but vary in size

d. Function:

i. Celebrates the Igbos belief in the importance of individual achievement

ii. A source of strength and power for the owner

iii. Emphasize the power of the right hand usually because they hold a sword

on right hand

iv. They are also meant to symbolize the significance of that person in society

or past accomplishments of the person

v. Usually get burned with the owner

177. Lukasa (memory board). (Mbudye Society, Luba peoples (Democratic Republic

of the Congo). c. 19th to 20th century C.E. Wood, beads, and metal)

a. Context:

i. Start of 1500s, Luba people began to emerge as a powerful nation in

central africa

b. Content:

i. Wooden plank that has metal beads and other beads

specifically placed to make patterns in touch in

visualization to discuss the history of the Luba people

ii. Designed specifically to tell a story and remember the

past easily for those who are trained to able to do so

c. Form:

i. Varied in size but small enough to hold

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d. Function:

i. Used as a way to record and remember important times and events in Luba

people’s society

ii. Men of memory could only read it

iii. Readers must hold it in their left hand and trace patterns with their right

index fingers

178. Aka elephant mask. (Bamileke (Cameroon, western grassfields region). c. 19th to

20th century C.E. Wood, woven raffia, cloth, and beads)

a. Context:

i. Kuosi-elite masking society that owned and wore these includes: royal

family, wealth title holders and warriors

b. Content:

i. Intended to worship the elephant-this animal was always seen as a symbol

of sovereignty and royal authority

ii. Beads imported from venice and middle east represent great wealth and

status

iii. Black beads- relationship between living and the dead

iv. White beads-ancestors and medicines

v. Red Beads-life and women

vi. Triangular pattern of beads-similar to the configuration of a leopard’s

spots: this animal was also seen as a great symbol of power and authority:

required a lot of respect

c. Form:

i. Composed of colored cloth and beads

ii. Round eyes with read beads and white cloth-strong navy blue tones in the

cloth

iii. cowrie shells decorated on the face and rest of mask

iv. 2 long panels and represent the elephant trunk-woven raffia fiber adorns

the edges of the trunch

v. Geometric designs

vi. 2 circles=elephant ears

d. Function:

i. This piece of art was meant to be used in performance-the wearer also

wore a tunic and a decorative headdress very dramatic- many ppl wore

these masks and emerge from a large palace compound

ii. Purpose was to emphasize the complete power and dominance of the

Bamileke King

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179. Reliquary figure (byeri). (Fang peoples (southern Cameroon). c. 19th to 20th

century C.E. Wood)

a. Context:

i. Fangs lived in rainforest: Equatorial Africa

ii. Fang ppl believe ancestors had power even in afterlife so they

worshipped and preserved men who found lineages and women

who were successfully given birth to many children

iii. These figures sits on top of reliquary boxes: nomadic culture of

b. Content

i. Head is symbolic of infant with the body of an adult

ii. Highlights the continuous cycle of the human development

iii. Enlarged head- intelligence

iv. Bulging belly button and high forehead- a recently born baby

v. Bulging muscles

vi. Infants form a link between living and the dea

vii. Expressionless face

viii. Symmetrical body

ix. Elongated torso

x. Downcasted eye

xi. Closed mouth

xii. Popular hairstyle of men at that time

c. Form

i. Reduced Geometric forms

ii. Wooden carved figure

iii. Abstract

d. Function

i. Guarded family reliquary boxes( container for holy relics)

ii. Express spiritual ideas

180. Veranda post of enthroned king and senior wife (Opo Ogoga). (Olowe of Ise

(Yoruba peoples). c. 1910–1914 C.E. Wood and pigment)

a. Context

i. Shows influential style that has been in Yoruba for centuries

ii. Most important of the four veranda post commissioned, focal

point

b. Content:

i. Depicts the King seated

ii. Senior wife behind him, crowning him, is in large scale to show

her importance

iii. A junior wife is at his feet along with a trickster god, Esu,

playing the flute and a fan bearer (now missing)

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iv. Exaggerated proportions

v. Interrelationship with the other figures and open space between them

vi. Conveys a close relationship between the King and the Queen

1. Patterns of beads in queen’s bracelet repeated in the King’s crown

c. Form:

i. One of the four carved wooden posts., painted with an unknown pigment

d. Function:

i. Veranda post

ii. Structural support for palace at Ikere

Unit 7: West and Central Asia

181. Petra, Jordan: Treasury and Great Temple. (Nabataean Ptolemaic and Roman. c.

400 B.C.E.–100 C.E. Cut rock)

a. Context:

i. believe that the tombs were probably constructed when the Nabateans

were wealthiest between the second century B.C.E. and the early second

century C.E.

b. Content:

i. Their architecture reflects the diverse and different cultures with which the

Nabateans traded, interacted

ii. Many of the tombs contain niches or small chambers for burials, cut into

the stone walls

1. No human remains have ever been found in any of the tombs, and

the exact funerary practices of the Nabataeans remain unknown

iii. The treasury was exceptional for its figurative detail and ornate Hellenistic

architectural orders

c. Form:

i. The entire city has been carved into the rock face

1. The ability of ancient people to carve such a large building still

confounds modern engineers

ii. The Treasury’s façade is 24.9 x 38.77 high

iii. The style most clearly embodies the Hellenistic style and reflects the

influence of Alexandria, the greatest city in the Eastern Mediterranean at

this time.

iv. Its architecture features a broken pediment and central circular building on

the upper level

1. This architectural element originated in Alexandria.

v. Ornate Corinthian columns are used throughout

vi. Above the broken pediments, the bases of two obelisks appear and stretch

upwards into the rock

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d. Function:

i. Functioning city that had all the necessary facilities to be one

182. Buddha. (Bamiyan, Afghanistan. Gandharan. c. 400–800 C.E. (destroyed in

2001). Cut rock with plaster and polychrome paint)

a. Context:

i. Bamiyan Valley in Afghanistan was a stop on the Silk Route: along with

fertile land, ideal location for merchants and missionaries to stop

ii. plurality and lax nature of buddhist worship created pretext for buddhist

cave architecture : 1000 buddhist caves along 1300 meters of cliff face in

Bamiyan

iii. destroyed in 2001: taliban's iconoclastic campaign, backlash to western

interest and funding for maintenance, falsely claimed as an islamic act;

Bamiyan was muslim by 10th century yet maintained statues

iv. only niches and faint outlines remain

b. Content:

i. 2 monumental figures carved into the cliff face facing the valley

1. western buddha (Buddha Vairochana) stood 175 ft tall

2. eastern buddha (Buddha Shakyamuni) stood 120 ft tall

ii. described by writings of Chinese monk as covered in metal and other

semi-precious decorative materials

iii. statues wore wooden masks covered in brass featuring facial features

iv. pigments were applied to the stucco

c. Form:

i. High Relief Sculpture

ii. Carved into cliff face but feet and head in the round

iii. Circumambulation

d. Function:

i. For worshippers to circulate

183. 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)

a. Context:

i. It is believed that the Kaaba is created by Abraham and his son Ismail

ii. Symbolic of the journey and triumph of Muhammed

1. He was driven our of Mecca but upon his return he wiped the

Kaaba of idols and returning it to a shrine dedicated to Ibrahim and

the Muslim faith

iii. The stone is thought to have been given to Ibrahim by the Angel Gabriel

b. Content:

i. interior of the Kaaba is fitted with a marble and limestone floor.

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ii. This black brocade cloth that is hung around the Kabba is known as the

Kiswah.

1. The Kiswah is elegant and coated in elegantly done Calligraphy.

iii. The Calligraphy is of important verses “ayats” from the Quran.

iv. Intense modifications have been done to the Kaaba

1. The area around it is has been expanded multiple times to

compensate for the growing amounts of people participating in the

pilgrimage

2. This was done by the second caliph ‘Umar (ruled from 634-44)

v. In 683 CE the Kaaba was set on fire during a civil war

vi. It broke apart and was reconstructed by Ibn Zubayr

1. He used wood and stone and followed the original dimensions

vii. Umayyad caliph al-Walid ruled from 705-15 CE ornately decorated the

Grand Mosque, that surrounds the Kaaba, with mosaics that surrounds the

Kaaba.

c. Form:

i. The medium is black granite masonry

ii. It is about 13 meters high and the sides are 11 meters long

d. Function:

i. Every Muslim faces the direction of the Kaaba and Mecca when they are

praying and they pray five times a day.

ii. establishes the universal direction of prayer for all Muslims.

iii. It is also the location where the Muslim population takes a very important

religious pilgrimage. Hundreds of Thousands of Muslims travel to Mecca

and circumvent the Kaaba five times.

iv. Most Muslims hope they can take this pilgrimage once in their lives and it

is one of the five pillars of Islam.

184. 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)

a. Context:

i. Buddha Shakyamuni aka Siddhartha Guatama

ii. The sculpture has undergo restoration/reconstruction

b. Content:

i. Rinpoche=”Precious One” in Tibetan

ii. Housed in the Jokhang temple in Lhasa tibet

iii. Seated against a resplendent gold and jeweled throne and

with his legs in the lotus position or padmasana

iv. Left hand is in mudra of meditation

v. His right hand is the gesture of calling the earth to witness

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vi. Signifies Buddha’s enlightenment

c. Form:

i. Statue is made of gilt metal

ii. The effect is an image of gold hue with blue hair

d. Function:

i. Cultural significance

ii. To act as the Buddha’s proxy after his parinirvana or departure from the

world

iii. Believed that Yarlung brought it to tibet as part of her marriage

185. 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)

a. Context:

i. A part of the ismalic religion

ii. Significant to the three of the albrahamic faiths

1. The talmud

2. The bible

3. The Quran

iii. Dispute over the 3 religions about this structure

iv. Modified several times the

Ottoman sultan

b. Content

i. Dome on a rock

ii. Has 2 ambulatories

iii. An octagonal exterior wall

iv. Arabic scripture

c. Form

i. Stone masonry

ii. Wooden roof

iii. Glazed ceramic tile

iv. Mosaic

v. Gilt aluminum

vi. Bronze dome

d. Function

i. Religious associations

186. Great Mosque (Masjid-e Jameh). (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)

a. Context:

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i. The mosque visually embodies the visual tastes and political dynasties of

the Persian empire

ii. Nizam al-Mulk commissioned the dome in 1086

iii. It has urbanized over time in order to accommodate the growing populous

b. Content:

i. Calligraphy covers the arches and walls

ii. Has towering minarets for the call for prayer

iii. Hypostyle hall and vaults (some ribbed to bring in light and ventilation)

iv. The undersides are carved with intricate geometric designs

v. Bricks and stucco motifs and tilework along with

calligraphy

vi. Isfhans’s covered bazaar connects to the mosque

c. Form:

i. Made up of a large central courtyard surrounded by

two story arcade

ii. Brick piers and columns which support the roof

system

iii. The mosque is a four iwan design

iv. Inscriptions on the walls

v. Centrally planned

vi. Makes use of gold and blue

d. Function:

i. To bring people to prayer away from busy streets

ii. Unite the community

iii. The location makes it the center gathering and transportation

iv. Commercial activity

187. Folio from a Qur’an. (Arab, North Africa, or Near East. Abbasid. c. eighth to

ninth century C.E. Ink, color, and gold on parchment)

a. Context:

i. Huge part of daily Muslim’s lives

ii. Very high value and prosperity in Islam

iii. It was a luxury have such a fine inscripted object

iv. The scribes illustrated them were highly valued in the community

b. Content:

i. Human and animal form depictions wee considered inappropriate on

sacred objects and motifs

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ii. The Qur’an consists of the divine

revelation to the Prophet Muhammad in

Arabic

iii. The words on the Qur’an translate as

rays of light for the people who read

and recite the recitations Piece from

“The Spider” a text in the Qur’an

c. Form:

i. It is part of the Qur’an which is the

sacred text of Islam

ii. The Qur’an is written on parchment in blank ink with a broad-nibbed reed

pen

iii. Kufic is the type of calligraphy used in the manuscript

iv. The Qur’an is read from left to right

d. Function:

i. Used for sacred rituals and recitations

ii. Heavily decorated for ceremonial purposes

iii. The Qu’ran is the central part of Islam and the Islamic faith revolves

around this book

188. Basin (Baptistère de St. Louis). (Muhammad ibn al-Zain. c. 1320–1340 C.E.

Brass inlaid with gold and silver)

a. Context

i. Muhammad ibn al-zain was either egypatian or syrian

ii. Bowls used at religious ceremonies

b. Content

i. Shows people hunting

ii. Battle scenes

iii. Maluk hunters verus Mongol enemies

iv. Shows the conflict of the two groups

v. Decorated with fish,eels, crab, frogs and

crocodiles

c. Form

i. Brass inlaid with gold and silver ( difficult

task)

ii. Very expensive materials at the time

d. Functions

i. Was to wash or purify themselves for the ceremony

ii. Later was used for royal baptisms

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189. Bahram Gur Fights the Karg, folio from the Great Il-Khanid Shahnama. (Islamic;

Persian, IlKhanid. c. 1330–1340 C.E. Ink and opaque watercolor, gold, and silver on

paper)

a. Context

i. Part of the translated book of kings Shahnama,

b. Content

i. Represents the ideal king

ii. Shows mix of chinese and european influences

iii. Bahram wears a crown and halo( is the ancient

Iranian king of the Sassanian Dynasty)

iv. European fabric for the clothes

c. Form

i. Had calligraphy

ii. Overlapping planes

iii. Illuminated manuscript

iv. Flat colorscript is continuous

d. Function

i. Recounts the tale of Bahram Gur

190. The Court of Gayumars, folio from Shah Tahmasp’s Shahnama. (Sultan

Muhammad. c. 1522–1525 C.E. Ink, opaque watercolor, and gold on paper)

a. Context

i. An angel tells Gayumars that his son will be killed

by the Black Div ( the demon, Ahirman)

ii. A part of the translated book of kings Shahnama,

b. Content

i. Depicts the king Gayumars enthroned in front of his

new kingdom

ii. The left is his son Siyamaki

iii. To the right is his grandson Hishang

iv. In a semicircle his court appears before him

v. They are all wearing court attire( leopard skin

c. Form

i. Ink, watercolor and gold on paper

d. Function

i. To depict the enthroned king Gayumars

ii. Depicts the harmony between man and nature

191. The Ardabil Carpet. (Maqsud of Kashan. 1539–1540 C.E. Silk and wool)

a. Context

i. Named after town of Ardabil in North iran

ii. Home to the shrine of Sufi Saint, Safi-al Din Ardabili

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iii. Followers grew after his death

iv. Highly prized in Iran

v.

b. Content

i. Prayer carpet

ii. Medallion in the center

iii. Mosque lamps hanging from both sides

iv. corner squishies have pendants

v. Borde- rectangle spaces for calligraphy

vi. Wool carpet

vii. Four line inscriptions

viii. A short poem

ix. Masquad - court official in charge with making the prayer mats

c. Form

i. Wool and silk

ii. Natural dyes( pomegranate and indigo)

d. Function

i. For prayer

Unit 8: South, East, and Southeast Asia:

192. Great Stupa at Sanchi. (Madhya Pradesh, India. Buddhist; Maurya, late Sunga

Dynasty. c. 300 B.C.E.–100 C.E. Stone masonry, sandstone on dome)

a. Context:

i. Located on a hill in the countryside; largest of several

stupas in the area; surrounded by remains of other

monastic buildings

ii. Emperor Ashoka (famous for converting Buddhism)

recompense for slaughtering of thousands in battle

iii. Ashoka divided up those remains into many different

locations throughout India including Sanchi

iv. 4 gateways added around 75-100 B.C.E

b. Content:

i. Exterior parts: Chatra-triple umbrella structure symbolizing the 3 jewels of

Buddhism: the Buddha, Dharma (doctrine) and Sangha (community)

ii. Central pillar symbolizes the cosmic axis; supports the chatra

iii. Dome symbolizes dome of heaven enclosing the earth

iv. Upper level walkway: aka medhi; elevated terrace; 16 ft above ground

c. Form:

i. Stone and sandstone (stupas)=domed structured; evolved from earthen

mounds containing relics

ii. The Stupa evolved into a pagoda form

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d. Function:

i. Site for worship and meditation

ii. Devotees walk around in clockwise fashion

iii. Venerated as a symbol of the Budda’s final movements

193. Terracotta warriors from the mausoleum of the first Qin emperor of China. (Qin

Dynasty. c. 221–209 B.C.E. Painted terra cotta)

a. Context:

i. During Emperor Qin reign, he introduced standardization of currency,

writing measurements and more

ii. He connected cities and states with advanced systems

of road and canals

iii. He was also credited with continuing the construction

of the Great Wall

b. Content:

i. Army includes warriors, infantry men, horses, chariots, and all their

attendant armour and weaponry

ii. There are unusually high amount of mercury around this place

iii. Historians may have believe that the emperor may have set up a system of

mercury rivers: some evidence points to the fact that he believed in the

life-giving power of mercury

c. Form:

i. Emperor Win lined his burial complex with a treasury of riches and piles

of precious gemstones said to represent the star, moon and sun

ii. All had unique faces

d. Function:

i. The First Emperor ascended to the throne of Qin state at the age of 13; he

began to plan his burial and underground palace and army to

carry/conquer with him into the afterlife

ii. Made to guard the tomb

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

Painted silk)

a. Context:

i. She was an elite member of the Han Dynasty

1. It was expansive and powerful stretched to as far as the Roman

Empire; Elite lived in an enclosed village around the emperor

b. Content:

i. It is comprised of 4 horizontal registers

1. Heavenly Realm:

a. Wider and longer than the other registers; two men stand

guarding the gate to the heavenly realm; deity with dragon

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body and human head; pink sun and crescent moon which

were used to portray the supernatural aspect of the

heavenly world

2. Lady and her attendants:

a. 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; she is standing on a bi or a disk with a whole,

thought to represent the sky

3. Body of Lady Dai with Mourners:

a. Sacrificial funerary rituals; there are large containers and

vase-shaped vessels; two rows of mourners are present

4. Underworld:

a. Two huge black fish; red snake; two blue goat; being in the

underworld symbolize water and death

c. Form:

i. Painted silk

ii. Made from wood and has lacquered exterior and interiors

iii. The dimension of coffin is 256x118x114 cm

d. Function:

i. Display wealth

ii. A burial shrouds that assisted the soul on it's journey to the afterworld

195. Longmen caves. (Luoyang, China. Tang Dynasty. 493–1127 C.E. Limestone)

a. Context:

i. 800,000 people worked on site

ii. Inscription states that Empress Wu Zetian was the

patroness; used her private funds to finance the project

iii. Buddhism transmitted to China by chance and intermittently

b. Content:

i. Includes 110,000 Buddhist stone, statues, and more than 60

stupas and 2800 inscriptions on steles

ii. Central Binyang cave-508 C.E.; previously painted

iii. Fengxian Temple: Vaircana Buddha has monk attendants (bodhisattvas)

and guardians

c. Form:

i. Bodhisattvas- enlightened ppl who delayed entrance to paradise to help

others reach enlightenment

ii. Smiling Buddha/rectangular face=common

iii. high relief: sculpture are carved into existing limestone

d. Function:

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i. Record the lineage of the patriarchs who passed on Buddhism

ii. Asserted sovereignty and power

iii. Used for assimilation

196. Gold and jade crown. (Three Kingdoms Period, Silla Kingdom, Korea. Fifth to

sixth century C.E. Metalwork)

a. Context:

i. Korea was split into 3 kingdoms and this crown was found in the Silla

Kingdom which took up most of the southeast territory

ii. This piece shows the connection that korea had with the Eutrasian steppe;

they used the same burial techniques as the Chinese

iii. Connection to the outside world and influence of other cultures

b. Content:

i. Have 3 branches coming from headband which represents sacred tree that

once stood in the ritual precinct of Gyeongju: connected heaven and earth

ii. The two antlers coming off the piece represent the reindeer that were

native to the eurasian steppe

iii. Gold disk and jade pieces were called gogok: these are supposed to be ripe

fruits that represents the land fertility and abundance

c. Form:

i. Made from gold and jade; granulated meal suggest idea of trade

d. Function:

i. Placed in burial mounds when royal family members died; worn by high

ranking people

197. Todai-ji. (Nara, Japan. Various artists, including sculptors Unkei and Kaikei, as

well as the Kei School. 743 C.E.; rebuilt c. 1700. Bronze and wood (sculpture); wood

with ceramic- tile roofing (architecture))

a. Context:

i. Has been destroyed during military unrest

ii. Reflects combination of Buddhist and politics

iii. Great Buddha took 6 years to complete: annual

ritual cleaning ceremony of statue

b. Content:

i. Massive hall (hondo) is located at its center or the

daibutsuden=great buddha hall

ii. Supported by 84 cypress pillars

iii. 2 nine story pagodas (multi-tiered towers; an evolution of stupa) a lecture

hall and quarters were added later by the monks

iv. The guardian kings: no guardian figures: one on either side of the gate; 2

massive wooden sculptures; intricate swirling drapery, fierce forbidding

looks and gestures; powerful/dynamic bodies; dramatic contrappostos

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v. The Great Budda: massive bronze statue; sits atop of a lotus petals which

contains historical content; reflective of the elegant naturalistic style of the

Nara era

vi. South Gate: 2 stones are the same size; roof supported by huge pillars;

nandai men

c. Form:

i. Great Eastern temple: referred to its location: on eastern edge of city of

Nara (Japan’s capital)

d. Function:

i. Commissioned by emperor Shomu; promote spiritual unity among

Japanese provinces to unite them under his rule

198. Borobudur Temple. (Central Java, Indonesia. Sailendra Dynasty. c. 750–842 C.E.

Volcanic-stone masonry)

a. Context:

i. at one point in the year, the sun comes up and perfectly

aligns with top dome- not on equinox

b. Content:

i. stupas on top have buddhas inside, buddhas face outward,

base = kamadhatu- 160 reliefs of sin, middle = radhitutransition from life to heavens, top = arupadhatu- abode of gods

c. Form:

i. three levels, square base, round top, sculptures, reliefs, bottom is most

ornate, top is least ornate,

d. Function:

i. made to represent the path of life, enlightenment, and ascension after

death

199. Angkor, the temple of Angkor Wat, and the city of Angkor Thom, Cambodia.

(Hindu, Angkor Dynasty. c. 800–1400 C.E. Stone masonry, sandstone.)

a. Context:

i. Became Cambodian Flag

ii. Built by King Suryavarman II aka protector of the sun

b. Content:

i. Ancient Sanskirt and khmer texts say that temples

should be in harmony with nature

ii. they planned it accordingly to sun and moon; the

central axis should be aligned with planets; plan of

the universe or mandala

iii. Structure: expansive enclosure wall separates the

temple grounds from the moat; temple is comprised of 3 passageways

running around temple

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iv. galleries and central sanctuary marked by 5 stone towers

v. Decoration: 1200 square meters of carved bas-relief

vi. Churning of the Ocean of Milk:

1. Shows the beginning of the time and creation of universe

2. Devas (Gods fighting asura (demons)) to save the earth amirta

(elixir of life)

3. Playing tug a war with Naga (shake) to churn oceans

4. Once elixir is released Indra (king of Gods) is seen descending to

collect it

c. Form:

i. Largest religious monuments (400 kilometer large)

ii. Contains various capitals of Khemer empire

d. Function:

i. Dedicated to Vishnu= protector or preserver

200. Lakshmana Temple. (Khajuraho, India. Hindu, Chandella Dynasty. c. 930–950

C.E. Sandstone)

a. Context:

i. Built by the Chandella kings in their newly-created capital of Khajuraho

b. Content:

i. Central deity is Vishnu in his 3 headed form known as

Vaikuntha who sits inside the temple inner womb chamber

ii. Sculpture has a harmonious integration with the

architecture

iii. Figures=sensuous with revealing clothing

iv. Depicts idealized female beauty; sculptures of loving

couples=mithuna (state of being a couple); erotic poses

symbol his regeneration

c. Form:

i. Made of five store and ashlar masonry

ii. Nagara style Hindu Temple

iii. Consist of a shrine known as vimana and a flat roofed entry porch known

as mandapa

iv. Shrine of Nagara temples includes a base platform and large

superstructure known as sikhara which viewers can see from a distance

d. Function:

i. Residence of a God

ii. Devotees approach the temple from the east and walk around

(Circumambulation)

201. Travelers among Mountains and Streams. (Fan Kuan. c. 1000 C.E. Ink and colors

on silk)

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a. Context:

i. Only surviving work by Fan Kuan; painted during Song Dynasty

ii. Neo-Confucianism: thinkers rebuilt Confucian ethics using Buddhist and

Daoist metaphysics

b. Content:

i. Boulders in foreground; rocky outcroppings covered in trees; 2 men

driving donkeys with firewood

ii. Temple partially hidden in forest; Gritty rick takes up ⅔ of picture; in the

background central peak flanked by smaller peaks

iii. Contains immense details

iv. Long waterfall on right balanced by mountain on left

v. Man seen as small and insignificant in vast natural world

c. Form:

i. 7 feet long hanging scroll

ii. Take advantage of seale to increase grandeur and monumentality of mtns

by decreasing the size of ppl.

d. Function:

i. Expresses cosmic vision on man’s harmonious existence in vast/orderly

existence

ii. Shows the Neo-Confucian search for absolute truth in nature

202. Shiva as Lord of Dance (Nataraja). (Hindu; India (Tamil Nadu), Chola Dynasty.

c. 11th century C.E. Cast bronze)

a. Context:

i. Nataraja is a depiction of the god Shiva as the cosmic dancer

who performs his divine dance to destroy a weary universe and

make preparations for the god Brahma to start the process of

creation

b. Content:

i. IT combines shiva;s roles as creator, preserver, and destroyer

of the universe and conveys the Indian conception of the neverending cycle of time. His upper right hand holds the damaru.

His upper left hand holds the agni.

ii. The symbol implies that, through belief in Shiva, his devotees can achieve

salvation

c. Form:

i. It's decorative and representational

d. Function:

i. It’s used to praise Shiva

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203. Night Attack on the Sanjô Palace. (Kamakura Period, Japan. c. 1250–1300 C.E.

Handscroll (ink and color on paper))

a. Context:

i. Commemorates a 12th century incident

ii. Made surin the Kamakura period

iii. Sanjo palace incident just part of the Heiji

insurrection 1159-60

iv. The scroll was part of another set

b. Content:

i. Vibrant color and outline

ii. Characters appear multiple times

iii. Narrative scene

iv. Tangled mass of bodes; lone archer leads escape from burning palace with

commander on horseback

c. Form:

i. Emaki-Japanese handscroll

ii. Example of Otoko-e “men painting”

iii. The action moves from right to left: strong diagonal lines emphasizes

movement

iv. Written introduction

v. 25 feet long: get progressively chaotic

d. Function:

i. Designed to be unrolled and viewed up close

ii. Informative about the Heiji Rebellion

iii. Important reference painting to study bc it's very detailed

204. The David Vases.(Yuan Dynasty, China. 1351 C.E. White porcelain with cobaltblue underglaze)

a. Context:

i. Blue porcelain was imported from Iran

ii. Vases were purchased by David

b. Content:

i. Tall white vessels decorated with blue stylized dragons,

birds, clouds, and floral designs

ii. Elephant = head shaped handles

iii. Neck and food of vase= leaves and flowers

iv. Inscription: commissioned for a general at a Daoist Temple

c. Form:

i. Glazed: cobalt blue paint

ii. Porcelain= white ceramic

iii. Very fine white clay 1300 degrees shimmery finish

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iv. Firing technique oxidizes it

d. Function:

i. Were made as an altarpiece along with a incense burner to honor a general

who had recently been made into a god due to his supernatural wisdom,

power, and ability to tell the future

205. Portrait of Sin Sukju (1417–1475). (Imperial Bureau of Painting. c. 15th century

C.E. Hanging scroll (ink and color on silk))

a. Context:

i. Sin Sukju is a scholar and politician that rose to status of Prime Minister in

1445

ii. Rank badges are typically made of embroidered silk and it indicated rank

of anyone from local official to the emperor

b. Content:

i. Depicts Sin as an official honored for his service to the court and loyalty

to the king during a chaotic period

ii. Dressed in official robes with rank badge on chest

iii. Rank badge has a pair of peacocks surrounded by plants and clouds

iv. He is seated in a full-length view, head turned slightly, only one ear

showing common during that time period

v. Wrinkles and solemn expression exudes wisdom and signity

vi. Detail on face contrasts with simplicity of attire

c. Form:

i. The portrait is facing slightly to the right

ii. This is a hanging scroll made from ink and color on silk

d. Function:

i. Meant to honor the accomplishments of the distinguished court member

and eventual prime minister

206. Forbidden City. (Beijing, China. Ming Dynasty. 15th

century C.E. and later. Stone masonry, marble, brick, wood, and

ceramic tile)

a. Context:

i. Palace operated for over 500 years; was

originally built to solidify power

ii. The 4th son of the Ming Emperor usurped power

from his older brother and seized control

iii. In order to solidify his power he moved the capital from Nanjing to

Beijing

iv. The Qing dynasty which ruled after Ming Dynasty continued after Ming

Dynasty continued this as HQ of the royal court

b. Content:

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i. Palace is divided into an inner and outer court

ii. Outer: used for state affairs and only men were allied inside

iii. Inner: contained living spaces and was focused on domestic life for

imperial family

iv. Main building in the outer court is the hall of supreme harmony where the

important decisions of state are made

v. Main buildings from the inner court are the emperor’s residence known as

the Palace of heavenly purity and the empress;s residence is known as the

palace of Earthly Tranquility

c. Form:

i. Red walls and yellow glazed rood tiles located in the heart of beijing

ii. City=960 meters ling and 750 meters wide

iii. 98 buildings and a moat that is 50 meters wide

iv. The design of the Forbidden city follows the ideal cosmic order in

confucian ideology

v. Living quarters were determined by social status

d. Function:

i. Palace served as hime to the Chinese emperor and his court

207. Ryoan-ji. Kyoto, Japan. (Muromachi Period, Japan. c. 1480 C.E.; current design

most likely dates to the 18th century. Rock garden)

a. Context:

i. Inspired by the aspects of Japanese and Chinese cultures

ii. Shinto: worship of deities in nature

iii. Zen Buddhism: emphasize meditation as a part toward

enlightenment

b. Content:

i. Zen Dry Garden:

1. Japanese rock gardens characterized by minimalistic perspectives

and abstracted forms

2. Enclosed courtyard small stones white sand with series of moss

islands from which rocks protrude

3. Asymmetrical arrangement

4. The white sand racked in wavy patterns: acts as water/reflective of

the waves

ii. Wet Garden:

1. Contains a tea house

2. Water symbolizes purification: used in rituals

3. Hojo=main building of the monastery, the abbot’s residence

c. Form:

i. Zen Buddhism Temple with 23 sub temples

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d. Function:

i. Built under the patronage of the Kosokana family

ii. Zen dry garden served as centers for meditation; encourages

contemplation

208. Jahangir Preferring a Sufi Shaikh to Kings. (Bichitr. c. 1620 C.E. Watercolor,

gold, and ink on paper)

a. Context:

i. Jahangir wanted to bring together distant lands

ii. Used many different aspects of European art

iii. Artists wants to sign his name so he put himself in the painting

iv. Very strong belief in religion so that they made the two holy men bigger

and more important than everyone else

b. Content:

i. Shows the 4th emperor of the Mughal Dynasty Jahangir: gold flames

come out of his head which lead into a gold circle

ii. Moon and sun= represents the ruler's power and his divine knowledge

iii. Seated on a stone inlaid platform and is connected to a hourglass

iv. Embroidered blue carpet with intricate designs

v. Has the Shaikh or the holy man, who has been put on almost the same

level as Jahangir himself

c. Form:

i. Mixture of gold, ink, watercolor on traditional asian paper

d. Function:

i. Was in an album that had alternating patterns and calligraphy scriptures

209. 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)

a. Context:

i. Built by Shah Jahan (5th Mughal ruler)

ii. Tomb for his favorite wife=mumta 2 who died in

childbirth

b. Content:

i. Enter via forecourt; pass through the gateways inlaid

red sandstone

ii. Long water channel (with fountain jets leads to Taj; surrounded by

gardens

iii. Taj set on raised panel at north end of gardens

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iv. Exterior: topped by bulbous dome and 4 minarets of equal height:

minarets are usually for mosques, here they are ornamental instead of

functional

v. Interior: hasht bihisht (8 levels) floorplan references eight levels of

muslim paradise; eight halls and side rooms connect to a central space in a

cross axial form

c. Form:

i. Decoration: walls are inscribed with quranic verses; white marble is

carved and inlaid with semi-precious stones: pietra dura technique using

italian methods

ii. Mughal architecture tended to use red stone for exterior and white marble

for decorations or interiors of tombs or holy places

d. Function:

i. Mausoleum and gardens for mumta Jahan

210. White and Red Plum Blossoms. (Ogata Korin. c. 1710–1716 C.E. Ink,

watercolor, and gold leaf on paper)

a. Context:

i. Epitomizes Japanese Art

ii. Part of what is known as the Rimpa movement or

school of korin

iii. Movement is known for the combination of

naturalistic monumental presence, dynamism and

sensuality

iv. Initially inspired by chinese literature but shifted to nature nad naturalistic

chinese motifs

v. Invented by Honami and Koetsu: painted on screen and fans

b. Content:

i. Painting is abstract and naturalistic

ii. The gold leafs background denies viewers of any sense of the time or

geographic location

iii. The stream has an un-naturalistic metallic color but has swirls that show

that water is moving

iv. Sharp tapered contour lines gives the work and non-naturalistic upward tilt

c. Form:

i. Pair of 2 folds screens

ii. Colors and gold leaf on paper 156x172.2 cm

iii. Techniques=ink and watercolor

iv. Tarashikomi-diluting/blending color

d. Function:

i. Establish Korin’s reputation

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ii. To preserve and perpetrate the values and characteristics of the Rimpa

movement

iii. Traditional Japanese folding door

211. Under the Wave off Kanagawa (Kanagawa oki nami ura), also 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)

a. Context:

i. Part of series of prints done by Hokusai: called 36 views of Mount Fuji

ii. Kasuchika Hokusai: went by many names;

discovered western prints from Dutch trade;

created Japanese variant of linear perspective

iii. Dutch influence in low horizon and prussian blue

iv. Mount Fuji: highest mountain in Japan; considered

sacred

b. Content:

i. Composition arranged to frame Mount Fuji

ii. White top of great wave creates diagonal line

leading viewers eye directly to peak of mountain top

iii. Juxtaposition of large wave in foreground dwarfing small mountain in

distance; inclusion of men and boats amist powerful waves

iv. Personification of nature, seems intent on drowning the figures on the

boats

c. Form:

i. Polychrome woodblock print made of ink and color on paper

ii. Ukiyo-e print style

d. Function:

i. Hokusai responding to boom in domestic travel and corresponding markey

for images of Mount Fuji

212. Chairman Mao en Route to Anyuan. (Artist unknown; based on an oil painting by

Liu Chunhua. c. 1969 C.E. Color lithograph)

a. Context:

i. This painting was used as a way for the communist party

in China to thank Chairman Mao for his support

throughout the years

ii. At this time there was a large amount of conflict over

power so Mao had these paintings done to help regain

control

iii. SHows Mao on his way to lead the miners strike of 1922

1. This created the bond of Mao with the

communist party

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b. Content:

i. Shows young Mao Zedony (at the time of the painting he was in his

seventies): youth makes him more revolutionary

ii. Has a determined face; makes him a strong leader; standing on top of a

mountain which shows he is ready to conquer anything in his way

c. Form:

i. This is based on an oil painting that was done on canvas

ii. Color lithograph: method of printing using a smooth stone or metal

d. Function:

i. The communists party in China wanted to portray Mao as a new

revolutionary leader; wanted to gain more followers

Unit 9: The Pacific

213. Nan Madol. (Pohnpei, Micronesia. Saudeleur Dynasty. c. 700–1600 C.E. Basalt

boulders and prismatic columns)

a. Context:

i. Saudeleur Dynasty: an early example of centralized

political system in western pacific, placed high

importance on agriculture and God (fertile land)

ii. Sacred sea deity (Killed Turtles for them)

iii. Inhabitants= Reef of Heaven

iv. Dynasty fell in 1628

b. Content:

i. A system of crisscrossing canals, Luxurious palaces

for the rulers and smaller houses surrounding for servants

ii. Contained a variety of specialized islets: some for constructing canoes,

holding sacred eels, and preparing coconut oil for sacred ceremonies

c. Form:

i. Carved basalt from volcanic plugs, transport stones 5-50 tons from

mountain to reefs

ii. Nan Model translates to space between

iii. Did not use concrete, used a criss crossing pattern of horizontal logs called

stethoscope and perpendicular to post and lintel.

d. Function:

i. Served as a home to over 1000 inhabitants

ii. Remote Location meant not many resources were used towards military

214. Moai on platform (ahu). (Rapa Nui (Easter Island). c. 1100–1600 C.E. Volcanic

tuff figures on basalt base)

a. Context:

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i. Easter Island is called Rapa Nui by the people who

lived there

ii. Maoi means statue; Ahu means platform

iii. Original Location: shown on a stone platform,

orongo-stone village on Rapa Nui, by the ocean

iv. All statues are turned with back to the sea

b. Content:

i. Carvings on the back of some statues that are

believed to have been made at a later time

ii. Low relief; a red top red hat-higher status, coral shell eyes

c. Form:

i. Made from chiseled stone, 14 are made from basalt while the rest are

made from volcanic tuff, about 887 moai on Easter Island

ii. Originally painted with red and white designs, height of the statute range

from 8-70 feet tall; old statue are larger and more detailed/complex

iii. Majority of statues share features such as: elongated ears, heavy eyebrow

ridge, oval nostrils, emphasized clavicle, protruding nipples, thin arms that

lie against the body, barely any arms. Stern expression.

d. Function:

i. Represent human spirits ancestors, made by a high status

215. ‘Ahu ‘ula (feather cape). (Hawaiian. Late 18th century C.E. Feathers and fiber)

a. Context:

i. This cape was retained by Captain Cook’s widow and inherited by the

descendants of her cousins, Rear Admiral Issac

Smith

ii. Cook arrived in Kealakekua Bay on 01.26.1779

which was at the same time as Makahiki seasonal

festivals

iii. Kalaniopuu (chief) greeted cook in a ceremonial way

and gave him his cloak

iv. Last bird spotted in 1930

b. Content:

i. A feather cloak-yellow and red: Red associated with Gods and chiefs

across Polynesia, Yellow= valuable because of their scarcity in the

Hawaiian Island

ii. Feather cloaks and capes were symbols of power and social standing

Hawaiian culture

c. Form:

i. Made with feathers and olona fiber

ii. Feathers were attached to the nesting in overlapping rows

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iii. Exterior=red feathers from the’ iui bird; black and yellow feathers are

from the oo bird

iv. Dimensions: 64x15.5 inches

v. 500,000 feathers=some birds had only 7 usable feathers

vi. Coconut fiber were used as the based

d. Function:

i. Male nobility wore feathers cloaks/capes for ceremonies and battle

216. Staff god. (Rarotonga, Cook Islands, central Polynesia. Late 18th to early 19th

century C.E. Wood, tapa, fiber, and feathers.)

a. Context:

i. Wooden and humanistic head on top and end has

naturalistic phallus

ii. Missionary cut of the phallus bc it’s indecent; they also

convinced Rartongan people to embrace christianity

and abandon their own faith

iii. Producing barkcloth was a demanding complicated

process

b. Content:

i. 12 feet long; elongated body topped by carved head; head makes up about

⅓ of wood carving: smooth, stylized large eye, pointed chin, closed mouth

ii. A line of smaller figures were carved just below the head

iii. Small figures alongside larger ones=characteristic of Polynesian Art

iv. Most of the figures are encased in Barkcloth: clothing and protection

c. Form:

i. Reference to Tangaroa as a god of fertility

ii. Barkcloth wrapping: polynesian believed cloth was needed to protect

deity’s spiritual force;

iii. Red feathers and pearls on the wooden head act as a symbol of mana

iv. If wrapping was off then deity would leave and staff god would be useless

d. Function:

i. Symbol of manara or soul of the God; protects ancestral power of “mana”

or deity of the society

217. Female deity. (Nukuoro, Micronesia. c. 18th to 19th century C.E. Wood.

a. Context:

i. Nukuoro is a micronesian atoll (ring shaped coral reef) in western pacific

ii. It was settled in the 8th century C.E. by polynesians traveling in Canoes

from Samoa

iii. Nukuoro culture retained Polynesian influences such as social structures

and the practice of carving humans

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b. Content:

i. Deities were believed to inhabit animals, piece of woods, and

wood figures called tino aitu

ii. Sacrifices to the figurine occurred each year during harvest

iii. Lack of facial details and the flexed legs provide a “blank

canvas” ready to take on a deity’s vital force

iv. Stylized human figures

c. Form:

i. Sculpture, wooden, 40 cms

ii. Made from the BreadFruit Tree, Pumice was used to make it

shiny

d. Function:

i. Religion purposes

ii. Used for a special annual harvest rituals

iii. Placed in temples, decorated with jewels

218. Buk (mask) (Torres Strait. Mid- to late 19th century C.E. Turtle shell, wood,

fiber, feathers, and shell)

a. Context:

i. Torres strait is between Australia and Papua New Guinea and has many

small uninhabited islands

ii. Diego de Prado found turtle shell in 1606

iii. Very dependent on ocean life so fishing was vital to survival

iv. Language of the island is Kala Lagaw Ya

v. Island became Christianized: Missioned burned their masks since practice

were seen as obsolete

b. Content:

i. Significant performances

ii. Honoring/depicting hero or ancestor

iii. Bird could be a mythological totem connected to a family

c. Form:

i. Heated individual hawk bill, sea turtles shell plates so they become

flexible and could be bent to create desire shape

ii. Each plate then had to be pierced around the edges so that maker could use

fiber to thread plates together

iii. Connected plates=formed 3D appearance

d. Function:

i. Ceremonial significance; ritualistic uses

219. Hiapo (tapa). (Niue. c. 1850–1900 C.E. Tapa or bark cloth, freehand painting.)

a. Context:

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i. Cloth is from Niue, a small polynesian island country located 1500 miles

northeast of New Zealand, located next to Tongo, Samoa and Cook

Islands; allowed for lots of trade with Christian missionaries in the region

ii. Tapa cloth traditionally seen as women’s art as it is a type of weaving and

works with soft materials

b. Content:

i. Certain designs were designed for people with high social status/rank

ii. Different culture and islands would present similar pieces of cloth to

places they travel to by boat

c. Form

i. Fine lines, detailed geometric design such as spirals, concentric circles,

squares, triangles, and diminishing motifs

ii. Along the edge=representation of plants

d. Function:

i. Tapa used for clothing bedding and wall hangings, displayed on special

occasions

220. Tamati Waka Nene (Gottfried Lindauer. 1890 C.E. Oil on canvas)

a. Context:

i. Lindauer and his patron: Henry Patridge

ii. He tend to paint well known Maori in Maori clothing for

Europeans purchases but painted unknown Maori in European

clothing when commissioned by their families

iii. Painted in 1890-3years after he died

b. Content:

i. Maori man-indifenous people of New Zealand

ii. A Rangatira or Chief of the Ngati Hao ppl in Hokianga-from the

Ngapuhi tribe

iii. Important war and peacetime leader

iv. Estimated to be born in 1780s and died in 1871

v. He converted to the Wesleyan faith and baptised in 1839 choosing to

become Tamati Waka after Thomas Walker

c. Form:

i. Cloak: a Kahu Kiwi: from Kiwi birds

ii. Earring of Greenstone or pounamu

iii. Both are considered prestigious treasures

iv. weapons=tewhatewha which are adorned with feathers and has a finely

carved hand grip with an abalone or paua eye

v. mana=connection to power and prestige

vi. moko=facial tattoos

vii. Background=foliage mountains and sky

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d. Function:

i. Preserving the person in history

ii. Bring the presence of ancestors into the living world-so the painting does

not only show the image/appearance of Tamati Waka Nene but also

physically embody him

221. Navigation chart (Marshall Islands, Micronesia. 19th to early 20th century C.E.

Wood and fiber)

a. Context:

i. Micronesians in Northwest Pacific are renowned for

navigational skills

ii. Religiously guarded their charts

iii. Showed that they traded between different tribes and

islands

b. Content:

i. Chat is form of a Rebbelib

ii. Composed of wooden sticks: horizontal and vertical

acts as supports and the diagonal and curved ones represents wave swells

iii. Shells represents where the islands are

c. Form:

i. Wooden sticks bound leaves and connected by shells representing

Marshall islands

d. Function:

i. Used for navigation

ii. Different charts represents differing degrees of geographical

measurements

222. Malagan display and mask. (New Ireland Province, Papua New Guinea. c. 20th

century C.E. Wood, pigment, fiber, and shell)

a. Context

i. Malagan are concerned with honoring/dismissing dead but as

affirmation of the identity of clan

ii. Often used representation of fish/birds since it alludes to

specific myth

iii. Figures were collected by Hughe Hastings family, Deputy

commissioner for western Pacific while he was on tour of

New Ireland in 1882-83

b. Content:

i. Mask can represents many things: Dead ancestors, spiritual double of an

individual or the various bush spirits associated with the area

c. Form:

i. Different mask made of same materials and pigment

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d. Function:

i. Commonly used at funeral sites; send a farewell off the to the dead;

celebrate the achievements/life of dead

ii. Also used as a sort of copyright; when someone buys a piece, the seller

gives up his right to use that particular style again

223. Presentation of Fijian mats and tapa cloths to Queen Elizabeth II. (Fiji, Polynesia.

1953 C.E. Multimedia performance (costume; cosmetics, including scent; chant;

movement; and pandanus fiber/hibiscus fiber mats), photographic documentation)

a. Context:

i. On Dec. 1753, queen visited kingdom of Tonga, which

was the only pacific nation to retain a Monarchy and

was protected by british government

ii. Cloth is presented as a gift in special ceremonies

iii. Queen Elizabeth witnessed many Fijian traditions and

participated in Kava Ceremony

b. Content:

i. Procession of women: skirts made of barkcloth and mats

ii. Tapa mats were made from bark of mulberry tree

1. Mend tend to the trees but only women can make the actual fabric

2. Bark is cut into strips and beat with a hammer

3. Women beat them together to form long plain sheets

4. Designs were painted onto cloth by hand

c. Form:

i. Black and white photo of women wearing skirts

ii. Women skirts=painted with geometric patterns; men are wearing white

clothing

d. Function:

i. Presented as gifts to important people