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Note
Studied by 43 peopleNoteStudied by 14 peopleNoteStudied by 14 peopleNoteStudied by 17 peopleNoteStudied by 4 peopleNoteStudied by 230 people
Americas, Africa, Oceania
Screen with the Siege of Belgrade and Hunting Scene
Artist: Circle of the González Family
Date: c. 1697–1701 C.E.
Medium: Tempera and resin on wood, shell inlay
Description: This folding screen features a complex depiction of the historical Siege of Belgrade alongside dynamic hunting scenes, highlighting the dual themes of military prowess and leisure, reflecting the social status of the González family during the Baroque period.
The Virgin of Guadalupe (Virgen de Guadalupe)
Artist: Miguel González
Date: c. 1698 C.E.
Medium: Oil on canvas on wood, inlaid with mother-of-pearl
Description: This artwork is based on the 16th-century original Virgin of Guadalupe, one of the most revered religious icons in Mexico. The piece symbolizes Mexican identity and spirituality and was created for the Basilica of Guadalupe, which continues to be a pilgrimage site.
Spaniard and Indian Produce a Mestizo
Artist: Attributed to Juan Rodríguez Juárez
Date: c. 1715 C.E.
Medium: Oil on canvas
Description: This painting addresses themes of racial mixing in colonial Mexico, depicting a Spaniard and an Indigenous woman with their mestizo child. It serves as a visual commentary on social hierarchies and cultural integrations during colonial rule.
Portrait of Sor Juana Inés de la Cruz
Artist: Miguel Cabrera
Date: c. 1750 C.E.
Medium: Oil on canvas
Description: This portrait of the prominent Mexican writer and philosopher reflects her status as a learned woman in a male-dominated colonial society. The artwork emphasizes her intellect and independence, as well as her commitment to education for women.
The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm)
Artist: Thomas Cole
Date: 1836 C.E.
Medium: Oil on canvas
Description: This iconic painting represents the American landscape and the Romantic movement, illustrating a dramatic contrast between cultivated land and wild nature. Cole's work evoked a sense of national identity and the American sublime, reflecting contemporary thoughts on manifest destiny.
Spiral Jetty
Artist: Robert Smithson
Location: Great Salt Lake, Utah, U.S.
Date: 1970 C.E.
Medium: Earthwork: mud, precipitated salt crystals, rocks, and water coil
Description: This large-scale earthwork is an iconic piece of Land Art. It explores themes of entropy, natural processes, and humanity's relationship with the environment, becoming a landmark of contemporary art.
Great Serpent Mound
Location: Adams County, Southern Ohio
Culture: Mississippian (Eastern Woodlands)
Date: c. 1070 C.E.
Medium: Earthwork/effigy mound
Description: This effigy mound, shaped like a serpent, is significant in its connection to Native American cosmology and ritual practices. It represents the cultural legacy of the Mississippian peoples and their relationship with the land.
Coyolxauhqui Stone AND Calendar/Sun Stone
Location: Templo Mayor, Tenochtitlan (modern Mexico City, Mexico)
Culture: Mexica (Aztec)
Date: c. 1375–1520 C.E.
Description: These monumental stones served as significant religious symbols for the Mexica, with the Coyolxauhqui Stone depicting the goddess Coyolxauhqui and representing cosmic themes. The Calendar Stone is critical in understanding Aztec timekeeping and cosmology.
Ruler’s Feather Headdress (probably of Motecuhzoma II)
Culture: Mexica (Aztec)
Date: c. 1428–1520 C.E.
Medium: Feathers (quetzal and cotinga) and gold
Description: This headdress is an exquisite display of craftsmanship and cultural significance, commonly associated with Aztec rulers. It demonstrates the high value placed on feathers and their symbolic meanings in Aztec society.
All-T’oqapu Tunic
Culture: Inka
Date: 1450–1540 C.E.
Medium: Camelid fiber and cotton
Description: This intricately woven tunic reflects the social hierarchy of the Inka society, with specific designs denoting status and identity, showcasing advanced textile techniques prevalent in the Andean region.
include culture for al of them
Screen with the Siege of Belgrade and Hunting Scene
Artist: Circle of the González Family
Date: c. 1697–1701 C.E.
Culture: Spanish
Medium: Tempera and resin on wood, shell inlay
Description: This folding screen features a complex depiction of the historical Siege of Belgrade alongside dynamic hunting scenes, highlighting the dual themes of military prowess and leisure, reflecting the social status of the González family during the Baroque period.
The Virgin of Guadalupe (Virgen de Guadalupe)
Artist: Miguel González
Date: c. 1698 C.E.
Culture: Mexican
Medium: Oil on canvas on wood, inlaid with mother-of-pearl
Description: This artwork is based on the 16th-century original Virgin of Guadalupe, one of the most revered religious icons in Mexico. The piece symbolizes Mexican identity and spirituality and was created for the Basilica of Guadalupe, which continues to be a pilgrimage site.
Spaniard and Indian Produce a Mestizo
Artist: Attributed to Juan Rodríguez Juárez
Date: c. 1715 C.E.
Culture: Mexican
Medium: Oil on canvas
Description: This painting addresses themes of racial mixing in colonial Mexico, depicting a Spaniard and an Indigenous woman with their mestizo child. It serves as a visual commentary on social hierarchies and cultural integrations during colonial rule.
Portrait of Sor Juana Inés de la Cruz
Artist: Miguel Cabrera
Date: c. 1750 C.E.
Culture: Mexican
Medium: Oil on canvas
Description: This portrait of the prominent Mexican writer and philosopher reflects her status as a learned woman in a male-dominated colonial society. The artwork emphasizes her intellect and independence, as well as her commitment to education for women.
The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm)
Artist: Thomas Cole
Date: 1836 C.E.
Culture: American
Medium: Oil on canvas
Description: This iconic painting represents the American landscape and the Romantic movement, illustrating a dramatic contrast between cultivated land and wild nature. Cole's work evoked a sense of national identity and the American sublime, reflecting contemporary thoughts on manifest destiny.
Spiral Jetty
Artist: Robert Smithson
Location: Great Salt Lake, Utah, U.S.
Date: 1970 C.E.
Culture: American
Medium: Earthwork: mud, precipitated salt crystals, rocks, and water coil
Description: This large-scale earthwork is an iconic piece of Land Art. It explores themes of entropy, natural processes, and humanity's relationship with the environment, becoming a landmark of contemporary art.
Great Serpent Mound
Location: Adams County, Southern Ohio
Culture: Mississippian (Eastern Woodlands)
Date: c. 1070 C.E.
Medium: Earthwork/effigy mound
Description: This effigy mound, shaped like a serpent, is significant in its connection to Native American cosmology and ritual practices. It represents the cultural legacy of the Mississippian peoples and their relationship with the land.
Coyolxauhqui Stone AND Calendar/Sun Stone
Location: Templo Mayor, Tenochtitlan (modern Mexico City, Mexico)
Culture: Mexica (Aztec)
Date: c. 1375–1520 C.E.
Description: These monumental stones served as significant religious symbols for the Mexica, with the Coyolxauhqui Stone depicting the goddess Coyolxauhqui and representing cosmic themes. The Calendar Stone is critical in understanding Aztec timekeeping and cosmology.
Ruler’s Feather Headdress (probably of Motecuhzoma II)
Culture: Mexica (Aztec)
Date: c. 1428–1520 C.E.
Medium: Feathers (quetzal and cotinga) and gold
Description: This headdress is an exquisite display of craftsmanship and cultural significance, commonly associated with Aztec rulers. It demonstrates the high value placed on feathers and their symbolic meanings in Aztec society.
All-T’oqapu Tunic
Culture: Inka
Date: 1450–1540 C.E.
Medium: Camelid fiber and cotton
Description: This intricately woven tunic reflects the social hierarchy of the Inka society, with specific designs denoting status and identity, showcasing advanced textile techniques prevalent in the Andean region.
Screen with the Siege of Belgrade and Hunting Scene
Artist: Circle of the González Family
Date: c. 1697–1701 C.E.
Culture: Spanish
Medium: Tempera and resin on wood, shell inlay
Description: This folding screen features a complex depiction of the historical Siege of Belgrade alongside dynamic hunting scenes, highlighting the dual themes of military prowess and leisure, reflecting the social status of the González family during the Baroque period.
The Virgin of Guadalupe (Virgen de Guadalupe)
Artist: Miguel González
Date: c. 1698 C.E.
Culture: Mexican
Medium: Oil on canvas on wood, inlaid with mother-of-pearl
Description: This artwork is based on the 16th-century original Virgin of Guadalupe, one of the most revered religious icons in Mexico. The piece symbolizes Mexican identity and spirituality and was created for the Basilica of Guadalupe, which continues to be a pilgrimage site.
Spaniard and Indian Produce a Mestizo
Artist: Attributed to Juan Rodríguez Juárez
Date: c. 1715 C.E.
Culture: Mexican
Medium: Oil on canvas
Description: This painting addresses themes of racial mixing in colonial Mexico, depicting a Spaniard and an Indigenous woman with their mestizo child. It serves as a visual commentary on social hierarchies and cultural integrations during colonial rule.
Portrait of Sor Juana Inés de la Cruz
Artist: Miguel Cabrera
Date: c. 1750 C.E.
Culture: Mexican
Medium: Oil on canvas
Description: This portrait of the prominent Mexican writer and philosopher reflects her status as a learned woman in a male-dominated colonial society. The artwork emphasizes her intellect and independence, as well as her commitment to education for women.
The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm)
Artist: Thomas Cole
Date: 1836 C.E.
Culture: American
Medium: Oil on canvas
Description: This iconic painting represents the American landscape and the Romantic movement, illustrating a dramatic contrast between cultivated land and wild nature. Cole's work evoked a sense of national identity and the American sublime, reflecting contemporary thoughts on manifest destiny.
Spiral Jetty
Artist: Robert Smithson
Location: Great Salt Lake, Utah, U.S.
Date: 1970 C.E.
Culture: American
Medium: Earthwork: mud, precipitated salt crystals, rocks, and water coil
Description: This large-scale earthwork is an iconic piece of Land Art. It explores themes of entropy, natural processes, and humanity's relationship with the environment, becoming a landmark of contemporary art.
Great Serpent Mound
Location: Adams County, Southern Ohio
Culture: Mississippian (Eastern Woodlands)
Date: c. 1070 C.E.
Medium: Earthwork/effigy mound
Description: This effigy mound, shaped like a serpent, is significant in its connection to Native American cosmology and ritual practices. It represents the cultural legacy of the Mississippian peoples and their relationship with the land.
Coyolxauhqui Stone AND Calendar/Sun Stone
Location: Templo Mayor, Tenochtitlan (modern Mexico City, Mexico)
Culture: Mexica (Aztec)
Date: c. 1375–1520 C.E.
Description: These monumental stones served as significant religious symbols for the Mexica, with the Coyolxauhqui Stone depicting the goddess Coyolxauhqui and representing cosmic themes. The Calendar Stone is critical in understanding Aztec timekeeping and cosmology.
Ruler’s Feather Headdress (probably of Motecuhzoma II)
Culture: Mexica (Aztec)
Date: c. 1428–1520 C.E.
Medium: Feathers (quetzal and cotinga) and gold
Description: This headdress is an exquisite display of craftsmanship and cultural significance, commonly associated with Aztec rulers. It demonstrates the high value placed on feathers and their symbolic meanings in Aztec society.
All-T’oqapu Tunic
Culture: Inka
Date: 1450–1540 C.E.
Medium: Camelid fiber and cotton
Description: This intricately woven tunic reflects the social hierarchy of the Inka society, with specific designs denoting status and identity, showcasing advanced textile techniques prevalent in the Andean region.
Bandolier Bag
Culture: Lenape (Delaware tribe, Eastern Woodlands)
Date: c. 1850 C.E.
Medium: Beadwork on leather
Description: This decorative bag exemplifies the intricate beadwork and artistic expression of the Lenape people, often used by men for carrying personal items and demonstrating cultural identity and artistry.
Transformation Mask
Culture: Kwakwaka’wakw, Northwest Coast of Canada
Date: Late 19th century C.E.
Medium: Wood, paint, and string
Description: Used in ceremonies, this mask represents transformation and is often utilized in dances to illustrate cultural narratives and the interconnectedness of the spirit world with the physical plane.
Painted Elk Hide
Artist: Attributed to Cotsiogo (Cadzi Cody)
Culture: Eastern Shoshone, Wind River Reservation, Wyoming
Date: c. 1890–1900 C.E.
Medium: Painted elk hide
Description: This painted hide exemplifies narrative storytelling through art within the Shoshone culture, depicting cultural themes, traditional stories, and community practices.
Black-on-Black Ceramic Vessel
Artists: Maria Martínez and Julian Martínez
Culture: Tewa, Puebloan, San Ildefonso Pueblo, New Mexico
Date: c. mid-20th century C.E.
Medium: Blackware ceramic
Description: This iconic vessel showcases the pottery techniques of the San Ildefonso Pueblo and reflects an appreciation for both form and function, with cultural significance in both daily use and art.
Wall Plaque from Oba's Palace
Culture: Edo peoples, Benin (Nigeria)
Date: 16th century C.E.
Medium: Cast brass
Description: This plaque illustrates the wealth and power of the Benin Kingdom, depicting figures and symbols important to royal ceremonies and demonstrating advanced metalworking skills.
Sika dwa ko (Golden Stool)
Culture: Ashanti peoples (south central Ghana)
Date: c. 1700 C.E.
Medium: Gold over wood and cast-gold attachments
Description: The Golden Stool is a symbol of unity and identity among the Ashanti, representing the soul of the nation and its political authority, with significant historical importance during colonial resistance.
Ndop (portrait figure) of King Mishe miShyaang maMbul
Culture: Kuba peoples (Democratic Republic of the Congo)
Date: c. 1760–1780 C.E.
Medium: Wood
Description: This wooden figure represents a king in the Kuba tradition, serving as a symbol of authority and reflecting cultural values, history, and identity through its specific stylistic elements.
Power Figure (Nkisi n’kondi)
Culture: Kongo peoples (Democratic Republic of the Congo)
Date: c. late 19th century C.E.
Medium: Wood and metal
Description: Nkisi figures are believed to hold spiritual powers and are used in rituals for healing, protection, and resolving conflicts; they reflect the deep spiritual and social beliefs of the Kongo people.
Female (Pwo) Mask
Culture: Chokwe peoples (Democratic Republic of the Congo)
Date: Late 19th to early 20th century C.E.
Medium: Wood, fiber, pigment, and metal
Description: This ritual mask embodies feminine beauty and cultural ideals; it is used in initiation ceremonies, emphasizing community values surrounding womanhood and social roles.
Portrait Mask (Mblo)
Culture: Baule peoples (Côte d’Ivoire)
Date: Early 20th century C.E.
Medium: Wood and pigment
Description: The Mblo mask is deeply connected to the Baule cultural identity, used in masquerades to celebrate individuals, reflecting aspects of identity, beauty, and social commentary.
Bundu Mask
Culture: Sande Society, Mende peoples (West African forests of Sierra Leone and Liberia)
Date: 19th to 20th century C.E.
Medium: Wood, cloth, and fiber
Description: This mask is used in initiation ceremonies for women, symbolizing ideals of beauty, social maturity, and the virtues of womanhood within the Mende culture.
Ikenga (shrine figure)
Culture: Igbo peoples (Nigeria)
Date: c. 19th to 20th century C.E.
Medium: Wood
Description: The Ikenga is a symbol of personal achievement and masculinity, often representing power and success, and is used in rituals to honor personal and ancestral spirits.
Lukasa (memory board)
Culture: Mbudye Society, Luba peoples (Democratic Republic of the Congo)
Date: c. 19th to 20th century C.E.
Medium: Wood, beads, and metal
Description: This memory board serves as a visual aid in storytelling and is crucial for preserving history and cultural knowledge within the Luba society, reflecting their oral traditions.
Aka Elephant Mask
Culture: Bamileke (Cameroon, western grassfields region)
Date: c. 19th to 20th century C.E.
Medium: Wood, woven raffia, cloth, and beads
Description: This ceremonial mask, associated with the royal court of the Bamileke, represents power and prestige, used during important ceremonies to embody strength and ancestral connections.
Reliquary Figure (byeri)
Culture: Fang peoples (southern Cameroon)
Date: c. 19th to 20th century C.E.
Medium: Wood
Description: These figures are believed to guard the reliquaries they accompany, embodying the spiritual beliefs of the Fang people and serving to honor ancestral spirits and local traditions.
Veranda Post of Enthroned King and Senior Wife (Opo Ogoga)
Artist: Olowe of Ise
Culture: Yoruba peoples
Date: c. 1910–1914 C.E.
Medium: Wood and pigment
Description: This veranda post depicts the relationship between the king and his senior wife, emphasizing the power dynamics and social hierarchy within the Yoruba culture, showcasing artistic skill and cultural narrative.
Moai on Platform (ahu)
Culture: Rapa Nui (Easter Island)
Date: c. 1100–1600 C.E.
Medium: Volcanic tuff figures on basalt base
Description: These iconic statues represent ancestral figures and demonstrate the complex social and religious practices of the Rapa Nui, addressing themes of lineage and spirituality.
‘Ahu ‘ula (feather cape)
Culture: Hawaiian
Date: Late 18th century C.E.
Medium: Feathers and fiber
Description: This feather cape is a symbol of nobility and status in Hawaiian culture, reflecting the artistry and resourcefulness in utilizing natural materials for ceremonial attire.
Staff God
Culture: Rarotonga, Cook Islands, central Polynesia
Date: Late 18th to early 19th century C.E.
Medium: Wood, tapa, fiber, and feathers
Description: This carved figure, representing deities, highlights the spiritual beliefs and cultural practices of the Cook Islands, illustrating the connection between the physical and spiritual worlds.
Female Deity
Culture: Nukuoro, Micronesia
Date: c. 18th to 19th century C.E.
Medium: Wood
Description: This figure represents feminine divinity and plays a role in rituals, reflecting the cultural values surrounding gender and spirituality in Micronesian traditions.
Buk (mask)
Culture: Torres Strait
Date: Mid- to late 19th century C.E.
Medium: Turtle shell, wood, fiber, feathers, and shell
Description: Buk masks are used in ritual practices and celebrations, showcasing the artistic traditions of the Torres Strait Islands and embodying cultural identity and heritage.
Hiapo (tapa)
Culture: Niue
Date: c. 1850–1900 C.E.
Medium: Tapa or bark cloth, freehand painting
Description: This tapa cloth illustrates the cultural significance of textile arts in Polynesia, often used in ceremonies, demonstrating social status and artistic expression.
Tamati Waka Nene
Artist: Gottfried Lindauer
Culture: Maori, New Zealand
Date: 1890 C.E.
Medium: Oil on canvas
Description: This portrait of a prominent Maori chief underscores themes of leadership and cultural identity within the Maori community, capturing both individuality and heritage.
Navigation Chart
Culture: Marshall Islands, Micronesia
Date: 19th to early 20th century C.E.
Medium: Wood and fiber
Description: These charts represent sophisticated knowledge of ocean navigation among the Marshallese, used for wayfinding across vast oceanic distances, showcasing practical and cultural significance.
Malagan Display and Mask
Culture: New Ireland Province, Papua New Guinea
Date: c. 20th century C.E.
Medium: Wood, pigment, fiber, and shell
Description: Malagan displays are used in funerary practices and initiation ceremonies, representing ancestral spirits and cultural beliefs, reflecting the rich tradition of art and spirituality in the region.
NoteStudied by 43 peopleNoteStudied by 14 peopleNoteStudied by 14 peopleNoteStudied by 17 peopleNoteStudied by 4 peopleNoteStudied by 230 people