Unit 1 : Prehistoric Art

1. Apollo 11 Stones

(Namibia. 25000 B.C.E Charcoal on stone)

- silhouette of an animal

- charcoal drawing on hand sized stone

- culture that created it composed of mobile hunters and gatherers

- oldest dated art on African continent

2. Great Hall of the Bulls

(Lascaux, France. Paleolithic Europe. 15000-13000 B.C.E. Rock painting)

- repeating forms: ritual activity to ensure successful hunting of depicted animals

- story of battle between man and bull

- animals depicted as silhouettes, designs, and outlines

3. Camelid Sacrum in the Shape of a Canine

(Tequixquiac, central Mexico. 14000-7000 B.C.E. Bone)

- altered to look like a dog head

- originally a llama/camel bone

- earliest recorded American work of art

- “sacred bone”

4. Running Horned Woman

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

- woman running w/ soldiers

- has tattoos/body paint for ritual, and patterns on skirts: ceremonial clothing

- represented in composite pose

- located in a rock shelter

- earliest and finest piece so far

5. Beaker with Ibex Motifs

(Susa, Iran. 4200-3500 B.C.E. Painted terra cotta)

- goats/dog designs

- geometric patterns

- ibex: mountain goat

- many pots like this

- found in a cemetery

6. Anthropomorphic Stele

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

- face, emphasized shoulders

- necklaces, dagger, double sash

- could have been a monument to a leader

- grave marker

7. Jade Cong

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

- very detailed/neat for time period, the tools used were very sophisticated

- many different versions/congs made like this

- shaped by rubbing w/ abrasive sand (very time consuming)

- found on graves and bi disks placed under bodies and congs on bodies

8. Stonehenge

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

- stone ceremonial site

- crafted by mortise and tenon

- created by a neolithic culture: early farmers who lived in agricultural settlement

- 3 phases of building

- has connection to astronomy: lunar/solar calendar, summer solstice

9. The Ambum Stone

(Ambum Valley, Enga Province, Papua New Guinea. 1500 B.C.E. Greywacke)

- anteater, smooth and luxurious

- one of oldest sculptures in Oceania

- used to grind food & pigment

- when discovered by Enga it was thought to be a ritualistic object

- 12 recorded sculptures like it

10. Tlatilco Female Figurine

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

- “2 faced” split personality

- emphasis on wide hips, upper thighs, and pinched waist

- no interest in hands and feet

- Tlatilco, not a nomadic culture

- found in burial sites

- created using clay and a sharp instrument to incise details

11. Terra cotta Fragment

(Lapita, Solomon Islands, 1000 BCE. Terra cotta)

- pattems, lines, stamping

- stylized human face

- Lapita culture known for ceramics that have ceramic motifs + anthropomorphic designs

- Think was used to store serve food

Unit 2 : Ancient Mediterranean

12. White Temple and its Ziggurat

(Uruk [modern Warka, Iraq]. Sumerians. 3500-3000 B.C.E. Mud Brick)

- a precursor to pyramids

- temple dedicated to sky god "Anu"

- for political + religious purpose

- has north, west, and east entrances

- focal point for the city and only for elites

13. Palette of King Narmer

(Hierakonpolis, Predynastic Egypt. 3000-2920 B.C.E. Greywacke.)

- an eye makeup and lipstick palette

- depicts King Narmer w/ a bull tail & kilt

- enemies decapitated/castrated

- use of hierarchical scale and registers

- unification of upper + lower egypt

- buried in temple dedicated to god Hons

- ceremonial use

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)

- statues of male and female donors that are used as stand in to wordshippers

- defining feature = big eyes and clasped hands

- not deities

- rigid stance to serve needy gods to get a better life

- dedicated to god "Anu"

15. Seated Scribe

(Saqqara, Egypt. Old Kingdom, Fourth Dynasty 2620-2500 B.C.E. Painted Limestones)

- of a well respected scribe in Egypt

- scribes only people no could read and write

- funerary sculpture found in an acropolis

- would have been disrespectful for a pharaoh to be depicted this way (chubby, un ideal)

- naturalistic

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)

- depicts 2 sides: war and peace

- war side: naked captives of war being given to the King; talons w/ arrow: war sign

- peace side: olive branches, men bringing crops and fish

- use of hierarchical scale & registers

- evidence of vast trade networks w/ use uf luxury materials from other cultures

17. Great Pyramids of Giza

(Menkaura, Khafre, Khufu) and Great Sphinx (Giza, Egypt. Old Kingdom, Fourth Dynasty. 2550-2490 B.C.E. Cut Limestone)

- 3 pyramids made by 3 different pharaohs

- functioned as burial sites for pharaohs

- symbol of political and religions power

- symbolic association w/ the sun

- one of the 7 wonders of the world

18. King Menkaura and Queen

(Old Kingdom, Fourth Dynasty. 2490-2472 B.C.E. Greywacke)

- Found with the pyramids

- stepping into the afterlife to ensure rebirth

- youthful and idealized form but has human quality

19. The Code of Hammurabi

(Babylon [modern Iran]. Susian. 1792-1750 B.C.E. Basalt)

- twisted perspective and hierarchical scale

- shows a list of rules/laws to abide by

- Hammurabi receiving the code from god of justice, Shamash

- composite view, stele and relief sculpture

20. Temple of Amun-Re and Hypostyle Hall

(Luxor, Egypt. New Kingdom, 18th and 19th Dynasties. Temple: 1550 B.C.E.; Hall: 1250 B.C.E. Cut sandstone and mudbrick)

- a temple dedicated to god Amun-re and honors many other gods/goddesses

- only certain people could enter the hall

- clerestory allowed illumination of central aisle

- darker to appear mysterious

- pillars = dense trees in nile (hypostyle)

- obelisk pillars

21. Mortuary Temple of Hatshepsut

(Luxor, Egypt. New Kingdom, 18th Dynasty. 1473-1458 B.C.E. Sandstone, partially carved into a rock cliff, and red granite)

- for honoring pharoah, not where they were buried

- dedicated to one of only female pharaohs

- made to solidify her right to rule

- had terraces w/ exotic trees and plants

22. Akhenaton, Nefertiti, and Three Daughters

(New Kingdom [Amarna], 18th Dynasty 1353-1335 B.C.E. Limestone).

- wanted to inspire Egyptians to worship only one god, Aten the sun god

- to show divine right to rule

- change in art style sparked by Pharaoh changing Religions (Amun to Aten)

- love + domesticity/life like

- distinct body type (swollen belly, thin ams)

- composite view, relief, and hieroglyphics

- during Amarna period

23. Tutankhamun’s Tomb, innermost coffin

(New Kingdom, 18th Dynasty. 1323 B.C.E. Gold with inlay of enamel and semi precious stones)

- Tut set on having a prepared burial process for him to get into the afterlife

- inner sarcophagus made out of gold

- depicted Tut w/ a death mask, 2 different gods, and fake beard

- Akhenaten's son, after Amarna period

24. Last judgment of Hu-Nefer, from his tomb. Book of the Dead

(New Kingdom, 19th Dynasty. 1275 B.C.E. Painted papyrus scroll)

- continuous narrative used to guide royals into the afterlife and how to pass test made by Egyptian gods

- Shows Hunefer (a scribe) explaining how he was a good person to gods

- shows importance of writing in Egypt

- conveys justice + mortality

- opening of the mouth

25. Lamassu from the Citadel of Sargon II, Dur Sharrukin (modern Khorsabad. Iraq)

(Neo-Assyrian. 720-705 B.C.E. Alabaster.)

- mesopotamia = patterns

- a protective deity w/ human head, bull body, and wings

- guarded palace of sargon

- a protective deity

26. Athenian Agora

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

-burial ground to a market place to a temple dedicated to Athena

- also a place for government, heart of Athens

- evolved gradually overtime in response to political change

- citizens felt civic pride: represented a place of communal gov. & cultural identity

27. Anavysos Kouros

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

- ideal beauty standards of men

- egyptian influence, stiff posture

- grave marker

- archaic smile

- idealized and flawless

28. Peplos Kore from the Acropolis

(Archaic Greek. 530 B.C.E. Marble, painted details)

- ideal beauty standard of women

- represented a goddess, an offering to Athena

- clothed woman: peplos

- small smile: well being and transcendence

29. Sarcophagus of the Spouses

(Etruscan. 520 B.C.E. Terra cotta)

- stylized depiction of couple reclining on couch as they would on at banquet

- found in tomb in a necropolis

- shows gender equality in Etruscan society

- archaic smile

- container that held ashes

- intimate, casual, and naturalistic

30. Audience Hall (apadana) of Darius and Xerxes

(Persepolis, Iran. Persian. 520-465 B.C.E. Limestone)

- hypostyle hall and center of persian empire

- relief sculptures used

- power and strength of the empire

- capitals very detailed

- burned down by Alexander the Great

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)

- dedicated to Minerva and shows greek influence

- sculpture apart of large program depicting a mythological narrative

- tuscan columns, only one entrance

- archaic smile w/ human quality

32. Tomb of the Triclinium

(Tarquinia, Italy. Etruscan 480-470 B.C.E. Tufa and Fresco)

- frescoes of dancers, musicians. etc

- living people sharing meal w/ deceased

- women and men dining/dancing together (more equal society compared to others at this time)

- etruscan = lively

- a funerary ritual

- stylized, not real people

33. Niobides Krater

(Niobid Painter. 460-45- B.C.E. Clay, red-figure technique)

- used to mix wine w/ water

- story in mythology w/ Hercules, Athena, Niobe, Apollo, Leto, etc

- Niobe's kids killed for comparing them to god-like beauty

- red clay figures allow for great detail

34. Doryphoros (Spear Bearer)

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

- idealized but still movement

- shows artists understanding of harmony and proportions

- contrapposto and golden ratio

- set standard for way sculptures looked

35. Acropolis

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

-contained many temples to many gods

- was burned down

- includes Parthenon w/ East Frieze/Pediment, and Temple of Athena Nike w/ Nike Ties her Sandal

- high classical a major influence on architecture

- use of doric and ionic columns

- perfect and symmetrical to the eye

36. Grave Stele of Hegeso

(Attributed to Kallimachos 410 B.C.E. marble and paint)

-a grave marker

-depicts servant holding a jewelry box and Hegoso is looking at a necklace

- reinforces patriarchal society in athens

- use of hierarchical scale a natural setting, drapery refers to classical Greek

37. Winged Victory of Samothrace

(Hellenistic Greek 190 B.C.E Marble)

- depicts the Goddess of Victory, Nike

- made to commemorate naval victory

- also an offering to Nike

- lots of intricate drapery showing movement

- was the personification of victory itself

- dramatic (characteristic of Hellenistic Greek era)

38. Great Altar of Zeus and Athena at Pergamon

(Asia Minor, Turkey. Hellenistic Greek. 175 B.C.E. Marble [architecture and sculpture])

- shows mythological story of Gods vs Giants to be in control of the universe

- high relief

- used to worship greek gods and show power

- ionic orders

- lots of diagonals and movement

39. House of the Vettii

(Pompeii, Italy. Imperial Roman. Second century B.C.E.; rebuilt 62- 79 C.E. Cut stone and fresco)

- owned by 2 former slaves that became wealthy

- well decorated so that visitors would see their high social status and wealth

- people worked and met w/ their clients in atrium

- one of the largest homes in Pompeii

40. Alexander Mosaic from the House of the Faun, Pompeii

(Republican Roman 100 B.C.E. Mosaic)

- battle of Alexander the Great vs Darius III

- naturalism and modeling

- would have been placed on floor

- a copy of Greek wall painting

- showing Hellenistic greek era through roman copy

- Alexander the Great’s death mask

41. Seated Boxer

(Hellenistic Greek. 100 B.C.E. Bronze)

- a defeated boxer and boxing culture in rome

- head and face covered w/ blood

- appealed to emotion, not intellect

- used lost wax casting

- very dramatic but naturalistic + not idealized

42. Head of a Roman Patrician

(Republican Rome 75-50 B.C.E. Marble)

- dedicated to a Roman Patrician (aristocrat/nobleman) that was well respected

- wrinkles and sagging: wisdom/determination

- people wanted to look older and wiser in this time period

- bariatric portrait, no emotion, verism (hyper-realism), exaggeration

- represents seriousness of mind, and virtue of a public career

43. Augustus of Prima Porta

(Imperial Roman. Early first century C.E. Marble)

- idealized Augustus in a breastplate

- used as propaganda to advocate his standing in government/emperor

- breastplate is his story of Roman victory

- use cf Greek style: naturalistic form, not static, contrapposto

- intentionally idealized

- Augustus bringing “Golden Age” to Rome (reference to Greek age)

44. Colosseum (Flavian Amphitheater)

(Rome. Italy. Imperial Roman. 70-80 C.E. Stones and concrete)

- was gifted to Greece

- prisoners of war, slaves,and non-citizens fight for freedom or die

- ancient Greek architecture, distinct Roman

- use of classic orders, bane vaulting. groin vaults, and buttresses

- to gain people's support by destroying Nero’s palace (gave back land by building this)

- Rome 1st to use concrete on a substantial scale

- symbol of Rome’s power

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])

- depicts Trajans defeating Dacians

- contained Roman and Greek literature

- used to solidify me t emphasizes the methodical power of imperial leadership

- open, civic space for people w/ markets

- column celebrates Trajan victory

46. Pantheon

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

- a temple to mythological gods then turned into a church

- the geometry of architecture

- most influential pieces of architecture during Renaissance

- 1st use of a dome

- use of coffers, oculus, frieze, pediments

- radial building

47. Ludovisi Battle Sarcophagus

(Late Imperial Roman 250 C.E. Marble)

- narrative piece (Romans are good guys and Goths bad)

- focal point is the hero

- Romans are smooth and Goths textured

- looks chaotic but very organized

- high sculptural quality

Unit 3 : Early Europe & Colonial Americas

48. Catacomb of Priscilla

(Rome, Italy. Late Antique Europe 200-400 C.E. Excavated tufa and fresco)

- designed originally to provide a burial place for members of early christian community

- beginnings of christian art

- evidence of earliest christian iconography

- sarcophagus for families

- scenes from bible depicted on walls

49. Santa Sabina

(Rome, Italy. Late Antique Europe 422-432 C.E. Brick and Stone, wooden roof)

- example of an ancient constantinian basilica

- includes 1st depiction of crucifixion

- walls broken up into entablatures, spacious nave, colonnade w/ side isles

- to impress and inspire people to join christianity

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])

- used to back authority of emperor

- useful for priests to gather followers

- a continuous narrative (roman descent)

- a symbol of wealth/piety for owner

- lush materials used

- presence one of 1st manuscripts of the Bible

51. San Vitale

(Ravenna, Italy. Early Byzantine Europe. 526-547 C.E. [Brick, marble, and stone veneer, mosaic])

- glorifies Justinian and Theodora

- centrally planned basilica, windows for lighting, ambulatories, and a church

- influenced by Roman and early christian art

- lots of gold, pattern, abstract shape

- distinct gold halos and spacial depiction

52. Hagia Sophia

(Constantiople (Istanbul) Anthemius of Tralles and Isidorus of Miletus 532-537 ce Brick and ceramic elements with stone and mosaic veneer)

- burnt down 2 times, 3rd version

- induces a dome, 4 minarets, mihrab, arabic calligraphy, pendentives

- centrally planned basilica

- used as a cathedral, mosque, and museum

- lots of gold: byzantine

53. Merovingian Looped Fibulae

(Early Medieval Europe. Mid-sixth century C.E. [Silver gilt worked in filigree, with inlays of garnets and other stones])

- cloisonne: technique in inlaid semi-precious stones (in barbarian art)

- status symbols owned to enhance prestige

- used as a brooch clasp that held a cloak

- includes a lot of symbols

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

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

- wax paint and gold leaf used

- classical antiquity and mix of Greek/Roman

- spatial ambiguity, stylized, abstract, and flat halos = distinctly byzantine

- a private devotional object

- found in St. Catherine's monastery

55. Lindisfarne Gospels

(Early medieval [Hiberno Saxon] Europe 700 C.E. illuminated manuscript)

- codex (bounded book), matthew = human (animal symbol), john = eagle, mark = lion

- St. matthew Page: Hibeno-Saxon art

- Luke's page: abstract animals

- Luke's portrait: Luke sitting on stool

- John's carpet page: interplay of stacked bird

- visual representation of Bible characters

56. Great Mosque

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

- large hypostyle prayer hall, mihrab, ribbed dome, courtyard w/ fountain, minbar, repeating elements (archs, columns), mosaics

- includes inscriptions/calligraphy from Quran

- fusion of culture a religion (roman architecture by incorporating columns)

- represents presence of umayyads in caliphate Cordoba

57. Pyxis of al-Mughira

(Umayyad 968 C.E. Ivory)

- best example of tradition of carved ivory In Islamic Spain

- Often given as gifts to the royal family on special occasions or important allies

- held containers of fragrant perfume

- from an elephant tusk and inlaid jade

58. Church of Sainte-Foy Conques

(France. Romanesque Europe. Church: c. 1050–1130 ce; Reliquary of Saint Foy: ninth century ce, with later additions)

- important pilgrimage site

- reliquary: holds ashes of la famous martyr

- beginning of strong Romanesque influence

- barrel-vaulted nave, apse, radiating chapels, ambulatory, tympanum (last judgment)

- to accommodate for large # of people who traveled to see the reliquary (radiating chapels)

59. Bayeux Tapestry

(Romanesque Europe (English or Norman). c. 1066–1080 ce. Embroidery on linen)

- Battle of Hastings

- but shows preparation for battle too

- continuous narrative

- great detail of a historical narrative

- scroll-like format

- commemorate win of the Normans

60. Chartres Cathedral

(Chartres, France. Gothic Europe. Original construction c. 1145–1155 ce; reconstructed c. 1194–1220 ce. Limestone, stained glass)

- Long history of use as a Christian space: used for Christian worship especially Virgin Mary

- Everything about the church was chosen by architects in the effort to create "heaven on Earth"

- One of the best examples of Gothic cathedrals (airy, open spaces; thinner walls, and geometry)

- Jamb figures: relief figures of kings/queen to represent gatekeepers that are carved into either side of the doorways and carved in Gothic style

- popular pilgrimage site

- emphasis on stained glass, three aisles, a short transept, and an ambulatory (3 part elevation of nave arcade, triforium, and clerestory)

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)

- Depicts the Queen Blanche of Castile and her son Louis IX and a cleric and a scribe around shown below them

- sophisticated, urban setting

- Was used to teach Louis IX about moral obligations and religion

- Gold background, includes gold, lapis lazuli, green, red, yellow, gray, orange, and sepia

- Was delicate to him and shows right to rule through divine right

62. Rottgen Pieta

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

- Depictions of Christ on the cross would demonstrate the Christus triumphans

- Spirituality, mysticism, and pure emotion is shown in Mary’s face as she hold the beaten and tortured Christ

- Used to force the viewer to examine the emotion

- 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)

- Called the arena chapel because it is close to arena

- Patrons were the Scrovegni family

- Private devotional art

- A narrative scene, 3 registers: top; Yoakim and Anna’s (Christ’s grandparents) and the birth and life of Mary, middle: scenes of Christ’s life, bottom: passion, wall fresco: Last Judgment

- Use of illusionism and humanism, fresco, illusion of space, chapel covered fresco, flat figure, fake marbles panels, uses lapis lazuli, secco fresco, foreshortening, 3D figures, and Pre linear perspective

- Atone for the sin of usurer and bankers were considered ursarers

64. Golden Haggadah

(Late Medieval Spain. C.1320 CE. Illuminated manuscript (pigments and gold leaf on vellum))

- Jewish art and Christian influences

- it was forbidden to depict images like this at that time

- Depicts the history of Passover and is important to Jewish culture

- Includes: illuminated manuscript, gold lead of vellum, golden background, Christian gothic influences, and long following bodies

- Used mostly at the owner's house and showed their wealth

65. Alhambra

(Granada, Spain Nasrid Dynasty 1354- 1391 C.E. Whitewashed adobe stucco, wood, tile, paint and gliding)

- The hall of two sisters

- includes different palaces, gardens, waterpools, fountains and courtyards

- Palace of lions, The Partal Palace aka the Portico, Comares Palace

- Decorations: rhombus geometric forms, calligraphy, Fake arches, ceramics/plasterwork

- Ornamental elements: Carved stucco decoration, Reflecting water, Shaded patios, Courtyards and gardens

- Palace for the Nasrid Sultans

- Medina (city)

66. Annunciation Triptych (Merode Altarpiece)

(Tournai, South Netherlands. c. 1427-32 CE. Made by the Workshop of Robert Campin. Oil on oak)

- Campin was a successful painter in Northern Europe

- Annunciation was painted first then the side doors were added

- Center scene: Gabriel appeared to Mary to tell her about her becoming pregnant with Christ; symbolism: The drapery has sharp folds fell onto unseen bodies and floor, Shiny pot = Mary’s virginity, Many object representing incarnation, The holy spirit coming to the window holding the cross

- The patrons (husband and wife) are on the left of the painting kneeling in a wall garden (also a representation of Mary’s virginity)

- Joseph on the right making tools in a workshop

- Attention to detail: Shin nail, Rust, Shadows,

- Realism, Not in perspective, Not mathematically correct, The table shows double perspective

- Can be folded and carried and aid in private devotion

67. Pazzi Chapel

(Basilica di Santa Croce. Florence, Italy. Filippo Brunelleschi (architect) 1429-1461 C.E. Masonry)

- Commissioned by the Pazzi family

- Mostly centrally-planned space and reminiscent of the Pantheon floor plan (inspired by Roman temples)

- Content: Corinthian columns, Fluted pilasters, Pendentives w/ roundels, barrel vaults, A dome that has a halo of windows and a oculus

- Uses the Pietra Serena Stone, Perfect geometry, Very orderly

- A chapter house = a meeting for monks, A burial site for Pazzi family, A representation of the power and devotion of the Pazzi family

68. The Arnolfini Portrait

(Jan van Eyck. c. 1434. Oil paint on oak panel)

- During the Northern/Italian Renaissance

- One candle in the chandelier is a symbol of God’s presence, dog= a sign of fidelity, Shoes were removed, Prayer beads on the wall, Roundels on mirror, Jan Van Eyck signature, Acting like a witness, Mirror reflection of several human figures in a doorway, Double portrait of an already married couple

- Shows off their wealth: Oranges, Expensive furs, Carpet, Gathered skirt (not pregnant)

- Lacks perspective, Glazing, Greater attention to detail

- Documentation of a wedding

69. David

(Donatello 1440-1460 C.E. Bronze)

- Donatello displays classical knowledge of contrapposto/large-scale bronze casting of the ancient world

- During the Middle Ages (period where there was no nude art b/c of church): had not seen human-scaled bronze figures until the David=first free-standing nude figure since classical period

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

- free standing: detached from architecture, gives it freedom to move in the world, show expression, and communicate with you+contrapposto=humanistic

- Shows both thoughtful/Pride emotions

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

- Subtle pride: the facial muscles are relaxed, the mouth is slightly closed+smile small

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

- 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)

- Constructed as part of the “building boom” after the Medici family built their own

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

- Includes the Rucellai family seal

- Nearly every piece of Palazzo’s design is pulled from ancient Greek and Roman architecture

- Has: cross-hatching, large blocks of stone, post-&- Lintel portals, rectangular windows, all straight lines

- Emphasis measure and harmony, All about horizontality: the higher the floor the more intricate and fancy it becomes

- Created to house the Rucellai family

- 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)

- The Medici family commissioned it, Growing middle class

- Very simple halos

- Mary, Angels, and Christ

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

- Medici family paid for this art to show poetry, wealth

- Also used as a reminder of Christ’s story

72. Birth of Venus

(by Sandro Botticelli. c. 1482-6. Tempera on canvas)

- Venus, the Roman goddess of Love birth

- Back then, images of nude women were only tolerated in 2 contexts: educational or mythological

- Covers her lower body to incite modesty

- Zephyr and Aura, wind sprites, blowing wind from the far left

- She stands casually

- Lots of folds and lines that intersect with one another: waves, seashells, clothes: movement

- Mythical and educational

73. Last Supper

(Leonardo da Vinci 194-1498 C.E. Oil and tempera)

- Painted this during high Renaissance time and missing halos which was popular

- Narrative of a Biblical event: Christ tells the 12 apostles sitting with him that one of them will betray him during a seder at Passover, apostles have extreme reactions, Chaos erupts, and reveals who was the traitor

- Uses linear perspective, Strong sense of dept, vanishing point is behind Christ’s head, Chirst’s body is a triangle shape

- Individualized facial features and characteristics

- use of Sfumato technique

- Shows the flaws of humanity

74. Adam and Eve

(Albrecht Durer 1504 C.E, Engraving)

- Albrecht revolutionized printmaking

- Four animals in left corner symbolizing Phlegmatic (ox), Sanguine(rabbit), Melancholic (elk), and Choleric(cat) : the four Humors

- Ancient belief that humans possessed all four of the humors

- Showed the connection between humans and animals

- Symbolism used throughout showing lust, salvation, evil, etc.

- Use of woodcut engravings, Proportional bodies, Contrapposto, Naturalism, Nearly symmetrical poses

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

- Figures were large in size and presence

- No images of Christ

- Influence of Greek and ancient Roman styles

- Richly colored

- 9 Biblical scenes in chronological order placed horizontally

- Scenes are covered with prophets and sybils

- Scenes of the salvation of Israel

- The four architectural corners of nine biblical scenes are nude male figures called iguni - The Delphic Sibyl: Her body has a circular composition (shows grace and elegance and harmony), Looks as if she is coming out of the wall, Idealized body

- The Deluge: The physical space between water and the sky (separated into 4 narratives), Used to make viewers question why God killed the whole population of Earth except for Noah and his family, Shows group of people finding shelter, A small boat, Men working to build an ark

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

- Very realistic figures and idealized beauty

- Emphasis of muscular autonomy

- Where the College of Cardinals determines the next pope

- Story telling of the biblical events

76. Schools of Athens

(Stanza della Segnatura, The Vatican, Rome, Italy. c. 1509-1511. fresco)

- Created during high Renaissance in Rome

- A few years before the Protestant Reformation

- Drew inspiration from Ancient Roman architecture

- The four walls show the four branches of human knowledge (Philosophy, Theology, Poetry, and Justice)

- Modeled after the Sistine chapel ceiling

- All of the great thinkers gathered together (ex: Plato, Aristotle, Euclid, Baramate)

- The central vanishing point of the painting is the space between

- Sculptures of Greek/Roman gods

- Raphael added a left and right vanishing point, linear perspective

- A tribute to famous philosophers and thinkers in Rome

- 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)

- Created to serve as the central object of devotion in an Isenheim hospital built by Brothers of St. Anthony (patron saint of those suffering from skin disease)

- Basically a box of statues covered by folding wings

- Progression from left to right is a “highlight reel” of Christs’ life

- Left side: red robe figure standing next to the crucifixion

- Middle: Christ is centered and crucified (very dramatic) w/ people around him

- Right side: man w/ staff

- Pradella: Jesus’s dead body being held up by other people next to a grave

- Annunciation, Virgin and child, Resurrection

- Object of devotion and Fully opened on special occasions

78. Entombment of Christ

(Jacopo da Pontormo. 1525-1528 C.E. Oil on wood)

- Altarpiece located in the Capponi family’s Chapel

- A move away from the Renaissance and example of Mannerism era

- A confirmation of the Catholic Churchs’ ideas of the Miracle at time of Protestant Reformation

- No illusion of space, linear perspective, sense of weight, accurate anatomy (all opposite of the Renaissance)

- Rejects aspects of the Renaissance but maintains religious tradition

- About drama, illusion, and artist wanted to create movement rather than the traditional story

79. Allegory of Law and Grace

(Lucas Cranach the Elder. c. 1529. Woodcut and letterpress)

- Made at a time where people began to tire of the Churchs’ practices (Northern Renaissance)

- Protestant Reformation caused rebellion from the Church, people didn't want to look at religious art anymore

- Protestant ideals: Heaven is reached through faith and god’s grace

- Luther rejected the idea of Catholicism where good deeds got you to heaven: Led to conflict (rebellion and destruction against the Catholic church)

Law (left) = dying tree and Gospel (right)=living tree

- The law side: Law and judgment

- The Gospel side: Show mercy and forgiveness

- 6 columns of Bible citations on bottom of panel

- Interprets role of law, good work, faith, and grace in relation to god

- To spread Protestant Reformation ideals

80. Venus of Urbino

(Titan 1538 C.E. Oil on Canvas)

- realism=oil paint

- direct look creates sensuality and openness

- glazing: painting in layers using transparent paint

- dog represents fidelity and faith, maid represents maternal love, girl represents dowry

- refers the male gaze

- Venus= nude women, new genre created

- Female nude painting is created during the Renaissance

- Urbino is the Duke that commissioned this piece and was located in his home

- Represents sexuality, love, beauty, Roman ideals, and marriage

81. Frontispiece of the Codex Mendoza

(Viceroyalty of new Spain 1541-1542 C.E ink and color on paper)

- contains information about the Aztec empire

- relates to the organization of their capital, Tenochtitlan

- About lords of Tenochtitlan, tribute paid, and an account of life every year

- Shows why they decided on this location

- Relates to story: a deity told Aztecs to leave their home and establish their new home where they found the eagle and cactus

- uses hierarchical scale

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)

- Jesuits building and home church

- Painting on the ceiling is Baroke

- Gesu = Jesus in Italian and his monogram used everywhere

- In response to the Protestant reformation and a very direct theme

- Based off of basilica plan

- architecture oozes authority w/ scrolls, barrel vaulting, and corinthian columns

- Painting is lively w/ use of movement, color, and shadow (illusion of 3D)

- New and different styles

83. Hunters in the Snow

(Vienna, Austria. c. 1565. Realist Period. Pieter Bruegal. Oil paint on wood panel)

- Pieter most significant artist of Dutch renaissance

- Commissioned by a wealthy banker and displayed in his house

- Appears to be a candid snapshot but is finely orchestrated

- Unifies composition through the repetition of a limited color palette

- Very complex and focuses more on the landscape than activities

- Showcases everyday activities like this (an unsuccessful hunt)

84. Mosque of Selim II

(Edirne, Turkey. Sinan (architect). 1568–1575 ce. Brick and stone)

- Patron: Sultan Selim II

- During classical Ottoman period

- Made to show the greatness and wealth of the Ottomans

- Use of dome, Qibla, buttresses, minarets, and an abundance of windows

85. Calling of Saint Matthew

(Caravaggio. c. 1597–1601 ce. Oil on canvas)

- The Counter-Reformation

- The Baroque Style: Theatrical action, Diagonal lines, Gritty realism

- Biblical story of the calling of Saint Matthew

- Relates to the creation of Adam from Sistine Chapel hand

- Characters dressed in contemporary clothing of that time period

- Light has an important role: Creates an ethereal glow and The light follows from Christ’s fingers (tenebrism)

- Taught from the catholic perspective and Makes the viewer experience the painting the “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)

- From a series of paintings of Marie reinventing her life for art

- Married Henry IV for political stature

- A biblical/mythological story to portray war for love

- Filled w/ ancient mythology and Roman gods/goddesses

- Baroque (geometrics and more Renaissance w/ movement)

- Lots of detail and realism but faces are soft and idealized

87. Self-Portrait with Saskia

(Rembrandt van Rijn. c. 1636 C.E. Etching)

- Rembrandt a famous etcher at this time and an experimental artist

- A portrait of him and his wife 2 years after they were married

- Seems as an intimate moment

- Dressed as contemporary Amsterdam gentleman

- Creating sense of depth using smaller scale, darker likes, and hatching/cross-hatching

- One of first to use printmaking methods to make so many pieces

88. San Carlo alle Quattro Fontane

(Rome, Italy. Francesco Borromini (architect). 1638–1646 ce. Stone and stucco)

- commissioned by the Trinitarian order

- everything looks in motion

- dome, arches, riches, and a pediment

- based on geometric structure

- “secret” windows to illuminate and create glow effect

- movement, architecture, and geometry

- 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))

- Baroque (detail) period, claimed Protestants were wrong

- Bernini was a sculptor and artist

- very theatrical, realistic, wet drapery look

- a spiritual vision that he wanted the viewer to feel

- joining of the real world and heaven

- visual 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)

- Created after the first missionizing period (forcing indigenous people to convert to Christianity)

- Catholic Counter Reformation held a militaristic ideology that portrayed the Church as an army and angel as its soldiers

- Depictions of androgynous angel wearing stunning clothes holding a harquenas/gun

- Represents celestial, aristocracy, and military at the same time

- 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)

- First famous spanish artist, and king was the patron (1st painter to the king)

- From the POV of the king and queen

- Less informal and more intimate

- Mirror has king and queen in reflection (made for them to view)

- Painting looks like paint: less detailed and more naturalistic (freeness/looseness)

- To show ethereal perfection, wealth, but showed some informal aspects

- Illusion of depth

92. Woman Holding a Balance

(Johannes Vermeer. c. 1664 ce. Oil on canvas)

- Much more than a snapshot of life, has a biblical or higher meaning

- Change in society at this time, painting for the merchant class rather than the church

- woman part of upper merchant class and was made to sell to them (small painting)

- Pears and clothing represent material wealth

- Maybe a Vanita (vanity painting symbolizes the nature of earthly light and pleasure)

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

- Sign of self knowledge and truth, Baroque period

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)

- Housed a court and government officials, military and guard detachments, courtiers, and servants

- The center of the government until the French Revolution (turned into a museum in 1835)

- Hall of mirrors most famous because mirrors were such a delicacy at the the time

- 700 rooms that are each extremely detailed and ornate

- Interior more baroque and exterior classical architecture

- Emphasized the importance and power of King Louis XIV

- Used to host parties and military agreements

- To compare the king’s wisdom to the God, Apollo

- 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 Spanish adaptation of the japanese folding screen

- political undertones as an expression of Viceroy of New Spain’s power

- a contemporary eastern european battle and a traditional western european hunting scene

- Japanese art began to be traded and influenced art, dark floral scenes heavily influenced by this

- would have been for viewing for the viceroy and guests

- hunting scene is much more decorative and scenic than the war side

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)

- based on original Virgin of Guadalupe (became one of the most popular themes for artists)

- original is considered a work not created by humans, but divine

- only one example of the many replications

- painted and then decorated with mother of pearl (Enconchado) to emphasize sacredness/importance

- for dedication

96. Fruit and Insects

(Rachel Ruysch. 1711 ce. Oil on wood)

- still life during the renaissance

- First successful female artist during the Baroque period

- painted for high middle class, mainly painting still-life flowers

- symbolic of analyzing the natural world in detail (discovery of microscope)

- family was interested in science and natural world, followed this but catered to arts

- shows the artist’s mastery of detail of organisms

- made to sell, specifically to middle class

97. Spaniard and Indian Produce a Mestizo

(Attributed to Juan Rodríguez Juárez. c. 1715 ce. Oil on canvas)

- Mestizo: person of mixed race, Spanish and Indigenous descent

- Depicts the Holy family (Mary, Joseph, and Christ)

- Speaks to Enlightenment concerns, specifically ethnic/racial debate

- known as casta paintings, document inter-ethnic mixing in New Spain

- convey the perception that the more European you are, the closer you are to top of social/racial hierarchy

- part of a series

98. The Tete a Tete, from Marriage a la Mode

(William Hogarth. c. 1743 ce. Oil on canvas)

- series of paintings that creates a story of an aristocratic marriage, basically making fun of them coming from the middle class

- during the industrial revolution, when the aristocracy lost some power to the middle/working class

- both husband and wife are perceived to be unfaithful to their marriage, there appears to financial problems, and overall chaos in the marriage (motifs/symbols in the painting allude to this)

- made to be funny, appeals to middle class

Unit 4: Early Europe and Americas

99. Portrait of Sor Juana Ines de la Cruz

(Miguel Cabrera 1750 C.E Oil on Canvas)

- Sor Juana is referred to as the first feminist

- a nun and writer, was a child prodigy and royal but became a nun to pursue her interests, but told by the church to get rid of her intellectual pursuits and after became a nurse

- a posthumous portrait, much like paintings of male scholars/intellectuals

- was also typical of depiction of a nun and shown as the Annunciation scene

- Books, quills, etc exemplify her intelligence

- different from other nun portraits: assertive and direct gaze

100. A philosopher giving a Lecture on the Orrery

(Joseph Wright of Debrey 1763-1765 Oil on Canvas)

- shows ideas of enlightenment era and Scientific revolution

- straying away from religion and moving to science

- Wright known for dramatic contrast of light and dark and for depicting people as realistically as possible

- Model of solar system

- naturalism, took style/tradition of religious lessons and converted them to scientific

101. The Swing

(Jean-Honore Fragonard. 1767 C.E. Oil on Canvas)

- commissioned by a member of the French nobility, for aristocracy to see

- Rococo era, leaves seriousness of Baroque - sharp contrast between Baroque and neoclassicism

- ideas of sensuality and playfulness

- impasto, naturalism, soft colors, lushness

- garden = fertility

102. Monticello

(Virginia, US. Thomas Jefferson [architect] 1768-1809 C.E. brick, glass, stone, & wood)

- Jefferson resented English from American revolution so her turned to French neoclassical architecture

- had major influence on future US capitals, but also greatly resembles the Pantheon

- pediment, tuscan/doric influence: triglyphs and friezes, basilica plan

103. The Oath of the Horatii

(Jacques-Louis David. 1784 C.E. Oil on Canvas)

- precursor to the French revolution

- more moral way of thinking, depicts ancient Roman story of Rome at war—lesson is everyone loses something in battle

- Neoclassicism: looking back on ancient Greece and Rome

- Enlightenment ideals

- Brother’s willing to die for their country almost spark political revolution in France

- Jacques becomes a revolutionary

104. George Washington

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

- ideas coming out of enlightenment and the American revolution

- Washington being compared to Roman general Cinncinatus (gave up role of military power to become a farmer)

- peaceful transition of power

- commissioned by Franklin and Jefferson

- most accurate depiction of George Washington, use of a life mask

- Symbols of his life (cane, war coat, plough, etc)

- Contrapposto

105. Self-Portrait

(Elisabeth Louise Vigée Le Brun. 1790 C.E. Oil on canvas)

- Fame came from painting for Marie Antoinette

- One of few female artists at this time

- Painting something in the painting, most likely Antoinette

- Naturalism, relaxed pose, and idealized

- 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)

- Gaya last of the old masters and first of moderns

- During French occupation of Spain by Napoleon, military conflict to expel French led to the Peninsular war (bloody and gruesome)

- Subjects were always war disasters, main theme

- shows disasters of war (part of 82 images)

- Drypoint: scratch lines on the surface with a stylus

- Protest against French occupation

107. La Grande Odalisque

(Jean-Auguste-Dominique Ingres. 1814 C.E. Oil on canvas)

- Ingresi female figures were not goddesses but concubines

- hinge between neoclassical and romanticism

- Jacques-Louis Davis was his mentor

- western idealization of foreign motifs (ideal beauty, purposeful distortion of body, mannerism-like)

- coy expression yet unavailable body language, luxurious surroundings give sensuality

108. Liberty Leading the People

(Eugène Delacroix. 1830 C.E. Oil on canvas)

- Romanticism, based on July Revolution in France

- Liberty is the symbol of the revolutionary beliefs

- Breasts out references greco roman democratic beliefs

- crowd depicts mix of classes fighting for freedom, everyone is unique

- puts violence forward in an unidealized way

- chaotic scene with energy but has order, loose brushwork, emphasis on color

- she is the personification of liberty

109. The Oxbow

(View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm Thomas Cole. 1836 C.E. Oil on canvas.)

- Thomas cole: founder of the Hudson River school

- Themed around western expansion in US

- Romantic portrayal of American wilderness

- Left feels dangerous and unknown, right feels peaceful and familiar

- untouched land

110. Still Life in Studio

(Louis- Jacques-Mandé Daguerre. 1837 C.E. Daguerreotype)

- Daguerreotype: photos in an early process by using an iodine sensitized silverplate and mercury vapor

- oldest surviving photograph and argues for photographies credibility as an art form

- accentuates artistic value of the subject matter and highlights the artistic value of the new medium

- inanimate objects arranged to invoke symbolic associations, celebrates light using Putti, Ram, and the sun

- wide range of values, textures, highlights, and shadows to add visual interest

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

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

- Turner known for expressive colors, imaginative landscapes, and violent marine paintings

- Turner an abolitionist, slavery was major political/moral issue in Britain

- All ships and slaves were “ensured” incase a ship was lost at sea, but any slaves who died of natural causes could not be collected, thus the crew threw slaves overboard

- Incident went to court and gained public attention for abolition of slavery

- dramatic red, orange, and yellow sunset w/ a storm entering

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)

- Competition sparked to determine who would design it and what style (gothic or elizabethan)

- “architectural morality” - modern buildings needed $ while gothic buildings needed God

- Was built in Gothic style because Industrialization caused buildings to be “ugly” from factories, and only nice buildings were cathedrals and gov buildings, often in this style

- people also found comfort in this style, especially during rapidly changing times

- Building is Gothic but construction is modern (concrete foundation, ventilation, and new inventions)

- Style became known as Gothic Revival: Romantic Victorian ideals instead of machine heavy

113. The Stone Breakers

(Gustave Courbet. 1849 C.E. (destroyed in 1945) Oil on canvas)

- Gustave led the Realism movement and rejected academy rules/norms

- Drew attention to the Common Man

- Rejection of neoclassical art style (clean brushstrokes vs harsh)

- “real people”

- makes social statement and value of working class

- painted on a large scale as a allusion to large scale religious/aristocratic paintings, instead, painting the common people

- man on right too old to be working while boy on left is too young

- depicts the hardships, poverty, and desperation of the working class (tattered clothes light and dark, and harsh outlines

- Realism on a heroic scale

114. Nadar Raising Photography to the Height of Art

(Honoré Daumier. 1862 C.E. Lithograph)

- large change, photography now considered an art form

- depicts Nadar, the first to do aerial photography

- looks like a political cartoon

- lithography: prink making using stone

- repetition of word ‘photographie’ used to show how popular it had become in France

115. Olympia

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

- Manet led art into the impressionist movement and went against the academy standard (rejects dimension and only paints in 2D)

- Olympia: common name for sex workers in France “high class prostitute”

- example of realism, not a mythological scene, very modern

- similar to Venus of Urbino but very different

- Flat, expression of woman is different, Olympia is static

- a “real” woman: her face and body is asymmetrical, not idealized

- direct view, challenging rather than coy

- inclusion of a modern black woman, Laurie

- beauty of modern life

116. The Saint-Lazare Station

(Claude Monet. 1877 C.E. Oil on canvas)

- French society is different, more diversity and less set social classes

- Outside of academic French art style, was in an Impressionist exhibition

- Impressionism: shape, color, line, less interested in realism

- completely modern (steam, iron buildings, apartments, stores, etc)

- appeals to middle class

- abstract, about the general not the specific

117. The Horse in Motion

(Eadweard Muybridge 1878 C.E. Albumen print)

- a bet between 2 people about whether or not a horse left the ground when they ran, commissioned Muybridge to find out

- leads to ideas of film and a pivotal moment in photography, precursor to animation

- uses high speed photography

- took 12 cameras that had 1/1000 shutters per second

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)

- was taught at an English style art school (references English style and Western tradition), studied botany and weather

- a celebration of Mexican history and religion, national identity, and growth of Mexico

- landscape of Mexico in transition to modernity

- worked on piece in fields of the landscape

- Romanticism of the landscape, but still shows scientific nature and realism

119. The Burghers of Calais

(Auguste Rodin. 1884–1895 C.E. Bronze)

- Rodin commissioned by the French city of Calais to commemorate the heroism of these men (Eustache de Saint-Pierre)

- England captured the city and made a deal that 6 prominent figures would sacrifice themselves for their city in return, but their lives were spared

- conflict shown through the desire to live and need to save their city

- Rodin created his work in an unconventional way

- Composition is in a circle causing no one man to be the focal point (different viewing povs)

- slumped shoulders, bare feet, expression of anguish, tattered clothes, malnourished

- look fragile but the drapery creates a mass of unyielding bodies

120. The Starry Night

(Vincent van Gogh. 1889 C.E. Oil on canvas)

- Painted while in a mental institution, during bursts of productivity and moods of despair

- Experimented w/ the depiction of weather and varying light

- thick impasto and incense hues

- post-impressionist (more about marks and less about light)

- Painted from memory and used his imagination to fill in the blanks

121. The Coiffure

(Mary Cassatt. 1890–1891 C.E. Drypoint and aquatint)

- when Japanese culture began to expand, Europeans fascinated (including Cassatt)

- Heavily influenced by Japanese woodblock style, specifically “Takashima Onisha Using 2 Mirrors to Observe Her Coiffure”

- La Coiffure: wealthy women in glamorous settings getting ready for the day

- 19th century ideals of femininity

- If this woman were wealthy she would have a maid dressing her, but, this is a middle class woman and does it by herself (counteracts the title and ironic tension)

- not sexualized and downward gaze = modesty (breasts and details of body are deliberately muted)

- limited color palette, Japanese style and Impressionism: fleeting moments of the busy lives of Parisian bourgeois and working class

- a reproducible print

122. The Scream

(Edvard Munch. 1893 C.E. Tempera and pastels on cardboard)

- One of most famous iconic human figures in Western art behind Mona Lisa

- Many renditions of this show creativity and experimentation

- a key work for the Symbolist/Expressionist movement

- sought to express internal emotions through external forms and provide a visual image for a universal human experience

- androgynous, odd body, themes of relationships, life, dread, and death

- foreground and background blend

- the “cry of nature”

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

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

- Gauguin’s manifesto while living on island of Tahiti

- believed this was his best piece that he created, completely at a quick speed and claimed he went into the mountain to commit suicide after he finished

- themes of life, death, poetry, and symbolic meaning (philosophical questions)

- vibrant/different colors, human, animalistic, symbolic figures, frescos/icons on gold

- to be read from right to left: could answer the questions from the title, designed to show the timeline of life that we know of

- out of proportion to show that they are floating in space rather than fixed on earth, otherworldly

124. Carson, Pirie, Scott and Company Building

(Chicago, Illinois, U.S. Louis Sullivan (architect). 1899–1903 C.E. Iron, steel, glass, and terra cotta)

- design was a successful display for department store products

- architecture as a corporate symbol

- a skyscraper for the time

- elaborate decorative program and increased attention on the functional requirements of retail architecture

- steel frame and floral motifs

- mixture of functionality w/ decor

125. Mont Sainte-Victoire

(Paul Cézanne. 1902–1904 C.E. Oil on canvas)

- Cezanne known for still lifes and this painting

- Post-Impressionist (about the mark making, not about making a believable space)

- in between Impressionism and Cubism eras

- Seems half forced, optical illusion, curtain of paint, opposite of traditional landscape does not use atmospheric perspective but replaces w/ color

126. Les Demoiselles d’Avignon

(Pablo Picasso. 1907 C.E. Oil on canvas)

- “Young ladies” of Barcelona

- confrontational painting

- interest in African masks was for their looks, not their culture

- Braque and Picasso started the Cubism movement, was influenced by Cezanne (simplifying and abstracting things)

- twisted perspective, brothel of women, no linear perspective, no shadow/light

- 2 in the middle look as if they’re standing and sitting at same time

- looking at viewer as if they had walked into the room

127. The Steerage

(Alfred Stieglitz. 1907 C.E. Photogravure)

- considered to be one of the first modern photographs and American artist we’ve seen

- about the formal aspects (line,shape, color, etc.) rather than symbolic meaning

- transition for him from a pictorialist (painterly) to modernist (real)

- arguing that photography was more than just documentary and was an art

- interested in repeating of geometric shapes (the white hat)

- calls for a more complex, layered view of photography

128. The Kiss

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

- Symbolism

- Looks similar to a religious icon, Byzantine style mosaics w/ gold background

- a “modern icon”

- male clothing more linear and female clothing is curvilinear

- difference between flat patterning of clothes and realism of faces

- expression is like Mona Lisa, we can’t tell if she is wanting the kiss or not

129. The Kiss

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

- Romanian influence of stone/wood carving

- commissioned by an American collector

- opposite of the academy for the time, rejecting norms of sculpture

- a different illustration of ‘The Kiss’ (Brancusi’s 4th)

- very abstract, figures become one form, primitive/archaic, view from torso up

130. The Portuguese

(Georges Braque. 1911 C.E. Oil on canvas)

- Braque and Picasso credited w/ starting Cubism movement

- analytic Cubism: early version of Cubism w/ a fragmentary appearance of multiple views at once w/ points and overlapping planes

- a person holding a guitar

- #’s and letters purely compositional

- less interested in realism and rather abstraction/form

131. Goldfish

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

- Matisse’s paintings always very light and airy

- not trying to recreate nature but makes it his own

- complementary colors, idealistic paradise, contemplative relaxation, and happiness

- lots of patterning, flattened space, not using realistic colors (Fauve movement)

132. Improvisation 28 (second version)

(Vassily Kandinsky 1912 C.E. Oil on canvas)

- saw art as a way of depicting the natural world in an abstract/non representational way (wanted it to be viewed as a “piece of music”: synthesia experience w/ sound and color)

- leads to abstract impressionism

- somewhat recognizable objects (hill, houses/towers)

- black lines organic and strongly articulated

- color used to give lines dimension/space

133. Self-Portrait as a Soldier

(Ernst Ludwig Kirchner. 1915 C.E. Oil on canvas)

- was founder of the Die Brucke (The Bridge) movement

- was unwillingly drafted in WW1 and avoided combat roles, discharged after a mental breakdown (painted this during his recuperation period)

- his work was ridiculed as “degenerate” and removed from exhibitions

- missing hand represents inability to paint, nude figures shows he is struggling to paint (non-classical, expressive figures of The Bridge movement)

- sense of claustrophobia/anxiety, unsettling background, jarring colors, and striking facial features

- nightmarish qualities

134. Memorial Sheet for Karl Liebknecht

(Käthe Kollwitz. 1919–1920 C.E. Woodcut)

- Kolllwitz lost her son in WW1 and her grief carried over to her work, themes of war and poverty

- Liebknecht (the man depicted) was killed during a Communist uprising (apart of it) in Berlin

- did not reference to agree w/ Liebkcecht’s political ideology but made it because she respected his charisma

- grief an overwhelming theme: heads bowed, faces solemn, gaunt, heavy/anguished

- references to the Lamentation, depiction of martyrdom

- woodblock relief print (to depict the struggles of working class, a lot of copies able to be produced)

135. Villa Savoye

(Poissy-sur-Seine, France. Le Corbusier (architect). 1929 C.E. Steel and reinforced concrete)

- created buildings in an “international” style: functionality and modernity

- believed a house should be a “machine for living”

- a vacation home for an upper-class Parisian family to escape urban life

- a modernist, but was inspired by ancient buildings (Parthenon) and defined 5 points/rules of architecture

- every space is utilized in some way: ground has space for a car, furniture is built into the walls, and roof is a patio

- utilitarian and focuses on clean, simple, efficient living

136. Composition with Red, Blue and Yellow

(Piet Mondrian. 1930 C.E. Oil on canvas)

- was inspired by Cubism’s simplification of forms in multiple perspectives (transitioned from representational to abstract)

- believed abstraction provided a truer perspective of the world than realism (represented human evolution/progress)

- heavily contrasted w/ western perspectives on abstraction (labeled as primitive)

- use of primary colors

- no shading, asymmetrical balance, and use of black/white to separate color

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

(Varvara Stepanova. 1932 C.E. Photomontage)

- was forced to make this propaganda to show how “great/successful” the 5-year plan was

- plan tried to achieve modernization and industrialization of Russia (in reality only caused poverty)

- juxtaposition of images

- scale is off to depict powerful figures (like hierarchical scale)

- about swaying the people for USSR’s new political system

138. Object (Le Déjeuner en fourrure)

(Meret Oppenheim. 1936 C.E. Fur-covered cup, saucer, and spoon)

- idea came from a conversation w/ Picasso at a coffee shop together

- Oppenheim was a surrealist (aims to revolutionize the human experience)

- public was awed/fascinated w/ this piece, not used to seeing things like this

- Surrealist is about the unconscious mind and odd paintings

- bringing together of different objects and assembling them

139. Fallingwater

(Pennsylvania, U.S. Frank Lloyd Wright (architect). 1936–1939 C.E. Reinforced concrete, sandstone, steel, and glass)

- started trend of open plan homes after this piece

- played a key role in architectural movements of the 20th century

- Kaufmann family commissioned

- considered one of the greatest pieces of modern architecture

- organic architecture: mixing of nature and the home

- cantilever construction (large overhangs supported by horizontal beams)

- lots of windows

- fits into the landscape naturally

140. The Two Fridas

(Frida Kahlo. 1939 C.E. Oil on canvas)

- Kahlo mainly painted self-portraits, surrealism

- painted around the time of her divorce and her medical problems

- a bond physically/spiritually between 2 forms

- holds a locket w/ her ex-husband in it (marriage reference) and scissors to cut veins (health reference)

- juxtaposition

- used to express her pain mentally and physically

141. The Migration of the Negro, Panel no. 49

(Jacob Lawrence. 1940–1941 C.E. Casein tempera on hardboard)

- part of a series of 60 paintings depicting The Great Migration (movement of 6 million African Americans out of the rural South to the urban NE, midwest/W)

- influenced by the Harlem renaissance

- pictures capture things that happened during the Great Migration

- abstraction of figures, white people have expressions and black people do not

- juxtaposition of segregation, white people are “higher class” and look mean/unbothered and black people do not

- contrast of vibrant colors and earth tones

142. The Jungle

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

- artist is from Cuba and has a very diverse ethnic background (African and Caribbean)

- influenced by surrealism and African art style (African customs and some Catholicism)

- depicts labor workers/sugar plantation workers in Cuba

- very colorful (African culture)

- mixtures of shape, form, and line (unorthodox landscape)

- sugar cane mimics limbs, created a distorted view (surrealism)

- “super reality” and strange/otherworldly

- iconographic way of looking at spaces

143. Dream of a Sunday Afternoon in the Alameda Park

(Diego Rivera. 1947–1948 C.E. Fresco)

- Rivera brought back style of frescos and murals

- represents Mexican history in Mexico City’s largest park

- Colonialism, Mexican revolution, and later independence

- Surrealism, dream-like, national pride

- centers around the citizen and working class

- depicts influential people in Mexican history

144. Fountain (second version)

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

- was apart of a group that said any piece of art could be accepted into a show

- tested this, and anonymously submitted the Fountain, was rejected

- questions what counts as art and what doesn’t (art can be anything)

- opens art world to new mediums and creative freedom, very influential

- Dada period: ridiculous/ironic art after WW1

145. Woman, I

(Willem de Kooning. 1950–1952 C.E. Oil on canvas)

- Abstract expressionism

- takes ideas of male desire and oversexualized women (pin up girls) and challenges it

- colors are intentionally difficult, woman is “ugly”, tension and aggression

- looks like an icon, a large scale seated figure (refers to religious art)

- brushwork is thick and hard, adds to aggression

- deals w/ the glamourising/sexualizing of female celebrities/pop-culture women

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)

- commissioned by Seagram company

- one of the biggest architects of the time, and also ahead of their time (modernism)

- bronze is unusual for a building because it has to be regularly oiled

- classically informed modernist architecture

- can be compared to Greek and Roman architecture (bronze, symmetrical, disciplined form, pillars look like fluted column, on small platform w/ steps, Roman travertine)

- siding is purely decorative

147. Marilyn Diptych

(Andy Warhol. 1962 C.E. Oil, acrylic, and silkscreen enamel on canvas)

- references a pop culture icon (Marilyn Monroe) to a religious icon

- criticizes modern/contemporary life, changed how people thought about painting

- a photograph made for mass production

- uses her as a commodity: sex symbol, movie star, etc.

- used screen printing in a different way (on canvas rather than for mechanical use for shirts, products, etc)

- a new medium: registration

- silkscreen process flattens her face, distortion through the medium and variation of prints

148. Narcissus Garden

(Yayoi Kusama. Original installation and performance 1966. Mirror balls)

- an early female artist who got credibility later in life

- has a highly constructed persona and distinct style of art

- created a demonstration in front of the Venice Biennale Show to express that she felt ostracized in the art world because she was Asian and a woman (white men dominated industry)

- self promotion and protest of commercialization of art

- deals w/ narcissism (reference to title): seeing your reflection in mirror balls

- overproduction of the balls references her protest, ironic

- has been reinstalled in different places, over the water: references a mythological story of a goddess named Narcissus, who fell in love w/ herself and drowned

149. The Bay

(Helen Frankenthaler. 1963 C.E. Acrylic on canvas)

- 1st of female artists in abstract expressionism

- Helen’s method of art was different and new: used acrylic paint rather than oil (brought it into world of fine art)

- method of pouring paint on canvas and moving canvas

- liquid nature of paint, just about the paint, no meaning

- looking at it for it’s formal qualities

- map like

150. Lipstick (Ascending) on Caterpillar Tracks

(Claes Oldenburg. 1969–1974 C.E. Cor-Ten steel, steel, aluminum, and cast resin; painted with polyurethane enamel)

- located at Yale university and placed in front of a WW1 memorial

- to protest the Vietnam/Cold War (anti-war movement)

- looks playful but has higher meaning: contrasts “femininity” and american consumerism with “masculine” war

- consumerism of the US and beauty served as a distraction from war going on

- created w/ Yale architecture students

- Oldenburg not afraid of breaking norms and speaking out

151. Spiral Jetty

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

- meant to be art that changes overtime with the natural landscape

- entropy: nature would break it down

- DIA art foundation owns this piece and has been monitoring/documenting it’s development

- references a whirl pool, order vs chaos, site specific

152. House in New Castle County

(Delaware, U.S. Robert Venturi, John Rauch, and Denise Scott Brown (architects). 1978–1983 C.E. Wood)

- post modern architecture (architects interested in post renaissance/Baroque)

- references tradition of architecture in a “goofy” way

- sits comfortably in the land

- a normal house but has odd additions (fake classical columns, awning out of place, arches, paint style, thin/unpractical construction)

- humor and whimsical style

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))

- located in mountain valley and of ancient Andean civilization

- became a pilgrimage site

- important culture because of its impact/influence on other indigenous cultures

- jaguar sculptures are symbols of power

- maze like world underground the buildings (The Lanzone: their god, a jaguar w/ snake crown) where only high ranking officials could go

154. Mesa Verde cliff dwellings

(Montezuma County, Colorado. Ancestral Puebloan (Anasazi). 450–1300 C.E. Sandstone)

- built using stone, mud, and timber

- was abandoned and now not in use

- when rediscovered there was looting and damage done by anglos before it was preserved (difficulties of excavation)

- collection of structures and dwellings (150 rooms, 20 kivas: (ritual/fire pit area))

- used for storage, ceremonies, and living

155. Yaxchilán

(Chiapas, Mexico. Maya. 725 C.E. Limestone (architectural complex))

- an example of classic Maya architecture, standard

- exemplary relief sculptures

- major influence of the Jaguar, commissioned by Shield Jaguar II

- over 100 structures/monuments in the area

- included a lintel that tells story of an elite woman honoring/feeding the gods by shedding blood to maintain order in cosmos (bloodletting ritual)

- roof comb: decorative parts on top of building to make it look larger

156. Great Serpent Mound

(Adams County, southern Ohio. Mississippian (Eastern Woodlands). c. 1070 C.E. Earthwork/effigy mound)

- not a burial mound, an effigy mound: calendar to mark the season

- site of a crater, changed topography of the area

- largest serpent effigy mound in the world

- looks like a serpent eating an egg

- represents celestial knowledge of Native Americans: calendar, maps, compasses, etc

- sophistication of the culture

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))

- temple: devoted to 2 gods (Tlaloc, god of agriculture/rain and Huitzilopochtli, god of war/sun)

- was intentionally destroyed by Spaniards and used stones from the temple to build new Spanish structures

- Olmec mask: part of ritual caches

- calendar stone: shows sophistication of Aztecs, recorded the origin of the Aztec cosmos and creation of 5 suns

- Coyolxauhqui stone: sacrificial, tells myth of sacrificial ritual where they are pushed off the temple and land on this stone

158. Ruler's feather headdress (probably of Motecuhzoma II)

(Mexica (Aztec). 1428– 1520 C.E. Feathers (quetzal and cotinga) and gold)

- acquired by Austrian Archduke, likely sent by Hernan Cortez, Mexico is trying to get the original back (repatriation)

- green feathers from a quetzal bird (used 225 birds for this, made it very valuable)

- believed to be worn by a king

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)

- capital of Incan civilization and center of secular and religious activity

- very organized building techniques (divided into upper class, lower class, and remaining), much like Egyptian (precise and clean)

- built to sustain earthquakes, shaped like a jaguar, Qorikancaha: mixed Spanish Baroque architectural features w/ Incan materials

160. Maize cobs

(Inka. c. 1440–1533 C.E. Sheet metal/repoussé, metal alloys)

- located in City of Cusco, from garden w/ miniature llamas, corn, flowers, and people made of metal alloys

- stands out because it is so realistic/naturalistic, not like many pieces from this period

- Spanish conquistadors took these metals and melted them down

- would have been used in ritual activity: compact version of the cosmos

- mixture of gold, copper, and silver (created by pushing the metal to make design)

- an offering to deities

161. City of Machu Picchu

(Central highlands, Peru. Inka. c. 1450–1540 C.E. Granite (architectural complex))

- same techniques as City of Cusco (able to withstand earthquakes), divided into terraces and fills up total area of mountain valley (division of classes

- could have been used as a ceremonial site, military stronghold, or retreat for nobility

- uneven bricks significant to Incans, there is no use of mortar between them

- higher up, closer to the sun which was important to them

- testament to power of Incan civilizations and culture

162. All-T’oqapu tunic

(Inka. 1450–1540 C.E. Camelid fiber and cotton)

- representative of Inca’s many diverse groups, would create high value gifts for others (use of llama/camel fur, dyed textiles, rare colors: all high value materials)

- given to local leader to join new societies, very elaborate because of prestigious patrons

- made by women, done on backstrap looms using warp and weft

- boxes represent specific things in the society depicted

- would have been royal tunic because of many patches depicting Incan empire

163. Bandolier bag

(Lenape (Delaware tribe, Eastern Woodlands). c. 1850 C.E. Beadwork on leather)

- shows reference/influence of Europeans on Indigenous Americans: use of European materials and based on European soldier bags

- made by women but worn by men in ceremony

- inside lined w/ patterned cloth from India and England, intricate beadwork, and abstract/geometric

- pretty new to this area because Indigenous Americans did not have access to these materials before European appearance

164. Transformation mask

(Kwakwaka’wakw, Northwest coast of Canada. Late 19th century C.E. Wood, paint, and string)

- ceremonial headdress: ancestral worship, about the stars, sun, etc.

- transformation of animal/deceased to human form

- motifs: ovals, u-shapes, and s-shapes (geometric shapes used throughout)

- wearer could open the mask w/ strings

165. Painted elk hide

(Attributed to Cotsiogo (Cadzi Cody), Eastern Shoshone, Wind River Reservation, Wyoming. 1890–1900 C.E. Painted elk hide)

- similar to cave drawings, used to decorate surfaces

- Cotsiogo painted this specifically to appeal to tourists so he could support himself and his tribe because of changes in reservation situation

- 1st time we see Native Americans create something to sell

- buffalo (an identifier of Native Americans) appealed more to tourists along w/ dances, daily activities, and hunting/battles scenes

- “affirmed native identity” (appeals to tourists)

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)

- Maria made them and Julian painted them

- created new opportunities for Native Americans by spreading imagery of Pueblo people by traveling

- one of the most known Native potters of the century and spread native culture to a non-native audience

- pioneered style of black on black, abstract/geometric, part of art deco movement

Unit 6 : Africa

167. Conical tower and circular wall of Great Zimbabwe

(Shona peoples. c. 1000–1400 C.E. Coursed granite blocks)

- use is not known (could have been housing for religious nobles and for rituals) but would have held around 20,000 people

- Shona peoples are largest ethnic group in Africa

- part of a larger complex

- symbolized power and prestige of Great Zimbabwe rulers

- store food in the Conical tower

168. Great Mosque of Djenné

(Mali. Founded c. 1200 C.E.; rebuilt 1906–1907. Adobe)

- community center and focal point for faith, history, and legacy

- largest mud built structure in the world, and a UNESCO site (not able to modernize)

- has been rebuilt because of erosion (3 times), 1st rebuilding was constructed using French forced labor

- a religious center but also a community thing to restore it (plastering as a community)

- very complex/innovative for its time: windows/vents to allow for ventilation, wood on sides function as scaffolding for plastering and to hold building together

- ostrich egg on minaret: fertility and purity

169. Wall plaque, from Oba’s palace

(Edo peoples, Benin) (Nigeria). 16th century C.E. Cast brass)

- Oba = head

- Benin a trade center and Edo traded w/ Portuguese and British, contact w/ Europeans was strictly commercial (traded slaves, ivory, and pepper for currency/guns)

- hung w/ many others that were like it

- told story of the Obo lineage/rulers

- use of hierarchical scale, lost wax casting, head is bigger than body to show wisdom, jewels and hat symbolize prestige, horse refers to 1st Oba

- mixes African culture w/ European manuscripts

170. Sika dwa kofi (Golden Stool)

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

- most prized possession and soul of the Ashanti (said to have fallen from heaven into lap of their leader) still protected today

- stool is even more important than the king, no one is allowed to sit on it

- placed on it’s side so no one else is tempted to sit on it

- not solid gold, is wood painted w/ gold (gold = royalty)

- sumsum: everyone gets a stool to use regularly when the come of age and becomes apart of them

171. Ndop (portrait figure) of King Mishe miShyaang maMbul

(Kuba peoples) (Democratic Republic of the Congo). c. 1760–1780 C.E. Wood)

- Mishe is leader of the republic

- culture did not write down history, only relied on oral tradition (passing down of stories)

- figurative wood sculptures that portrayed important Kuba leaders

- created in way that would be easily recognizable as a specific leader

- somewhat naturalistic because it depicts specific leaders but more abstract/stylized, emphasized head (seat of intelligence)

172. Power figure (Nkisi n’kondi)

(Kongo peoples) (Democratic Republic of the Congo). c. late 19th century C.E. Wood and metal)

- Nsiki: a spirit, medicine used by healers

- used to heal a client, record contracts/agreements, or to go after liars who did not keep agreements

- became a social document of people who sought out ritual specialist

- sacred medicine and divine protection are central to Kongo peoples

- pegs, blades, nails, and belly that held medical substance, knots meant agreement

173. Female (Pwo) mask

(Chokwe peoples) (Democratic Republic of the Congo). Late 19th to early 20th century C.E. Wood, fiber, pigment, and metal)

- would have been danced and carved by a man

- made to honor women who have given birth, culture is matrilineal (lineage passed through mothers side)

- to honor mothers and founding female ancestors of Chokwe

- would have been a walk instead of imitation of women, very respectful

- respect of women is of great importance to this tribe

- eyes/mouth closed to show wisdom, hair was fashionable, dots = tattoos, spiritual ability gives her second sight

174. Portrait mask (Mblo)

(Baule peoples) (Côte d’Ivoire). Early 20th century C.E. Wood and pigment)

- Baule is largest ethnic group on Ivory Coast

- about a specific person, not religious: secular masquerade

- dancer is concealed: dancers, drummers, singers, and orators in skits/plays

- a respected member depicted, Moya Yanso, men in her family would have danced to honor her

- reverence to mothers, women would not wear masks (made/commissioned by men)

- oval face, small eyes represent wisdom, shows age and wellbeing

- not realistic to the person but rather inner beauty and morality

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)

- made by men and worn by women, for girls’ initiation when they come of age

- mask represents ideals for women: small ears/mouth = no gossip, fat = healthy to bear children, eyes closed = be reserved

- girls would be taken into secluded forest by other women of the tribe w/ teachings/dances

176. Ikenga (shrine figure)

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

- Ikenga: carved wooden figure w/ human face and animal attributes

- horns symbolizes aggressiveness and ambition

- most Ikenga holds swords to show power (this one is inconsistent w/ that)

- carved to resemble whoever commissioned it, celebrates the Igbos belief in the importance of individual achievement

- source of strength and power for the owner and emphasizes the power of the right hand usually because they hold a sword on right hand

- symbolize the significance of that person in society or past accomplishments

177. Lukasa (memory board)

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

- beads specifically placed to make patterns in touch in visualization to discuss the history of the Luba people

- designed specifically to tell a story and remember the past easily for those who are trained to able to do so

- small enough to hold to be able to read

- used as a way to record and remember important times and events in Luba people’s society

178. Aka elephant mask

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

- owned/worn by royal family, wealth title holders and warriors

- Intended to worship the elephant/leopard (symbol of sovereignty and royal authority)

- beads represent great wealth and status (different colors had different meanings)

- long panels represent the elephant trunk, geometric designs

- meant to be used in performance, wearer also wore a tunic and a decorative headdress

- very dramatic, purpose was to emphasize the complete power and dominance of the Bamileke King

179. Reliquary figure (byeri)

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

- highly respected members had reliquaries, remains sacred and played large role in ceremonies/traditions

- reliquaries guarded by the byeri because of how important they were

- also served as to help initiate young men and educate about ancestors

- emphasis of belly button: refers to umbilical cord, how the reliquary is guarding remains who have returned to spiritual world, awaiting re-birth

- abstracted

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 great master carver and celebrated for his invention and design

- held up roof of entryway veranda (porch) of palace in town of Ikere

- carved from a single piece of lumber

- Olowe’s style is distinct: treats heads as single form leading eye to crown

- hierarchical scale

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)

- Great Temple’s function is unclear, religious or administrative

- became a UNESCO World Heritage site

- pre-islamic

- became an oasis in a desert located on a trade route

- Treasury: originally a tomb, elaborate exterior w/ large relief statues, frieze, pediment, and columns (lost of Roman influence)

- water management played key role

182. Buddha

(Bamiyan, Afghanistan. Gandharan. c. 400–800 C.E. (destroyed in 2001). Cut rock with plaster and polychrome paint)

- Bamiyan Buddha: pair of high relief statues carved into sandstone cliffs, very little know about origin

- built along the Silk Road, was a space on pilgrimages and a prosperous trading center

- helped w/ spread of Buddhism

- both statues look like Hellenistic Greek traditional representation w/ Indian subject matter

- circumambulation: meditative walk, Buddhist tradition

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)

- Holiest shrine in Islam, the Kaaba/Pilgrimage is a major principle of almost all faiths

- all Muslims aspire to undertake the Hajj once in their lifetime (one of 5 pillars of Islam)

- a sanctuary in pre-Islamic times, after Muhammed, a pilgrimage site

- buildings change to accommodate to the community

- circumambulation

- massive structure (largest of any mosque in the world), relative to the 4 directions

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)

- most sacred and important Buddha image in Tibet due to time and celestial carver

- texts suggest it was sculpted from a life portrait of the Buddha

- purpose was to be the proxy of the Buddha after departure from the world

- in Lotus position, left hand in Mudra (meditation), right hand “calling the earth to witness”

- depicts moments of Enlightenment

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)

- central rock believed to be where Abraham prepared to sacrifice his son

- holds significant religious importance but not a mosque (sacred site)

- includes golden mosaics (feel Byzantine) w/ scrolls and motifs (no animals or people: discouraged in Islam)

- emphasis on calligraphy

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)

- visually embodies the tastes and political dynasties of the Persian empire

- Nizam al-Mulk commissioned the dome in 1086

- urbanized to feed growing population and integrates w/ other buildings

- calligraphy, minarets, hypostyle hall and vaults, geometric floral designs, bricks/stucco motifs/tilework, centrally planned, use of gold and blue

- to bring people to prayer, and unite the community

- location makes it the center gathering and transportation

- oldest standing mosque in Iran and a prototype for future mosques

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)

- figural imagery (human/animals) were inappropriate for sacred things, instead used vegetal and geometric motifs (Islamic tradition)

- materials used suggest wealth of the patron

- lots of planning done to construct these

188. Basin (Baptistère de St. Louis)

(Muhammad ibn al-Zain. c. 1320–1340 C.E. Brass inlaid with gold and silver)

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)

- traditionally used a basin to baptize children of French royalty

- built my Mamluks: slave warriors known for craftsmanship

- speculations that this was not originally made for French specifically

- traditional basins would have been lined w/ lots of calligraphy, this piece is not

- filled w/ animals/people along w/ decorative patterning (hunting and battle scene)

- minor Arabic inscription that signs the name of the artist

- probably made for export and a non-Islamic commissioner

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)

- book illumination story part of the translated book of kings Shahnama, still taught in Iranian schools today “national epic”

- series of adventure stories/romances but also a guide to ethics, chronicles, and manual for royal conduct

- shows power of Iranian King Bahram Gur

- calligraphy, overlapping planes, flat colorscript is continuous

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)

- covers reign of 50 kings, page focuses on first Persian king Kayumars

- represents a paradise, mytho history of Persian rulers

- gaze is loving, depicts harmony

- highest art form in Islamic culture, fine details and rich coloring, uses calligraphy

- almost an uncountable amount of figures

191. The Ardabil Carpet

(Maqsud of Kashan. 1539–1540 C.E. Silk and wool)

- carpets are a fundamental piece of Islamic art, one of the oldest Islamic carpets

- traded and sold across Islamic lands and beyond, highly prized

- design is a testament to the great skill of artisans

- use of natural dyes, includes a central medallion w/ detailed ovals, lamps, and border

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)

- is the burial mound of the Buddha (reliquaries and ashes included)

- people circumambulate around building to reflect on Buddha’s teachings

- a focal point of Buddhist worship, ashes being added makes it more religious

- stems from ideas of the “4 Noble Truths” (moments of Buddha’s life: when he was born, died, achieved nirvana and enlightenment

- 4 gateways mark cardinal directions (rep 4 Noble Truths), carved w/ images

- wheel: symbol of Buddha and his teachings

- stupas are a representation of the Buddha, not allowed to depict them

193. Terracotta warriors from the mausoleum of the first Qin emperor of China

(Qin Dynasty. c. 221–209 B.C.E. Painted terra cotta)

- one of the most recognizable pieces from China

- idea of the afterlife, a king buried w/ his army (large army, buried in 4 pits)

- soldiers all made from life size molds w/ individual heads, shoes, hands, etc. and made generic sculptures, then later added detail for specific people

- depicts different ranking of soldiers w/ clothing, painted w/ bright colors, highly detailed and individualized

- influence from other cultures, facial expressions and styles are different

194. Funeral banner of Lady Dai (Xin Zhui)

(Han Dynasty, China. c. 180 B.C.E. Painted silk)

- one of the earliest known portraits in Chinese painting and earliest depiction of a specific person in Chinese art

- found in Lady Dai’s tomb, shows indication of funerary practices

- important because it shows new methods of art in China and it’s age

- broken into 4 registers, a naturalistic scene w/ dragons, designs, and depiction of everyday life and the afterlife

195. Longmen caves

(Luoyang, China. Tang Dynasty. 493–1127 C.E. Limestone)

- similar to other large Buddha’s, main one to resemble the reincarnation of the Buddha

- one of the finest examples of Chinese Buddhist art, Tang Dyn. is considered the age of “international Buddhism”

- foreign rulers used Buddha images to assume control over China, iconography asserting their sovereignty

- influence from other religions along the Silk Road

- main Buddha is depicted as “god-like”, others are guardian figures and less serious

196. Gold and jade crown

(Three Kingdoms Period, Silla Kingdom, Korea. Fifth to sixth century C.E. Metalwork)

- Pre-Buddhism, Korea practiced Shamanism (similar to African/nature religions) who used a power figure

- also adopted Chinese funerary practices from Eurasian steppes, seen here

- was an important object taken to the grave

- tree shaped crown, looks like antlers/vines, jade adornments symbolize fruits

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))

- political and spiritual motivation for building, every Japanese citizen paid a tax for construction

- was burned down and rebuilt during civil wars

- sculptures/buildings one of the largest wooden buildings in the world

- includes usual Buddhist complex things: main hall, massive cypress trees/pillars, and a huge Buddha figure

- heavily influenced by Chinese and Korean culture

- guardian figures included at the entrance, very naturalistic

198. Borobudur Temple

(Central Java, Indonesia. Sailendra Dynasty. c. 750–842 C.E. Volcanic-stone masonry)

- a monument to the Buddha and was only in use for 100 years

- created by philosopher and architect Gunadharma, considered man of great vision

- includes a shrine, stupa, and sacred mountain

- mandala: diagram of the cosmos used for meditation

- devotees would gradually ascend, recreating “pathway to enlightenment” (circumambulation)

- 500+ statues of the Buddha, 1460 relief sculptures (reflect on Buddhist teachings) and includes open air passageways that radiate around central axis mundi

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)

- largest religious monument in the world and an important space/symbol for cambodia: on their flag and the center of pride for the people

- dedicated to Vishnu, known as the protector and built for means to legitimize claim to political office and also lay claim to protection and power of gods (houses for gods)

- lots of movement, includes a mandela, carved Hindu and Cambodian stories (8 including “Churning in the Ocean of Milk”), has enclosure and moat, an axis mundi that connects heaven and earth, and 5 stone towers that mimic mt. ranges: home of gods

200. Lakshmana Temple

(Khajuraho, India. Hindu, Chandella Dynasty. c. 930–950 C.E. Sandstone)

- built by an advanced group of peoples and dedicated to divine teachings of Jainism

- dedicated to Vishnu

- for individualized worship and circumambulation

- triple bend contrapposto (emphasizes 3D quality), movement, sculpted friezes depicting daily life, love, and war, symbolic joining of nirvana and mandala: joined couples (more about union/love than eroticism: “divine union”)

- depiction of women is idealized, female beauty: fertility, growth, and prosperity

201. Travelers among Mountains and Streams

(Fan Kuan. c. 1000 C.E. Ink and colors on silk)

- masterpieces of Chinese art: mix of Daoism and Confucianism

- most majestic landscape painting of the Song period

- depicted China’s natural landscape and had large role in its beauty, accurately captures real landscape but takes creative liberty as well

- Neo Confucianism (search for absolute truth in nature) ties into the depiction

- expresses Kaun’s own ideals and response to nature, his worldview

- use of light and dark, bold/straightforward, very detailed, balance and depth

202. Shiva as Lord of Dance (Nataraja)

(Hindu; India (Tamil Nadu), Chola Dynasty. c. 11th century C.E. Cast bronze)

- depicts a deity and an example of many pieces that have the same purpose

- medieval art of India is similar to European

- included in processional parades, a literal embodiment of the divine (takes form of the Shiva: The Destroyer, not negative connotation, more like circle of life)

- lots of detail: temple carving w/ rich iconography w/ graceful and elegant figure

- depiction taken from ancient Indian manual of visual depiction: cosmic circle of fire, mass, time, and space

203. Night Attack on the Sanjô Palace

(Kamakura Period, Japan. c. 1250–1300 C.E. Handscroll (ink and color on paper))

- describes a civil war, kidnapping of the emperor and sister to gain political power

- is read right to left and designed for close up viewing

- helps historians understand the time period and what took place, gives information about what life would have been like

- celebrates change in Japanese history, royal to military rule

- energy and chaos: starts out graceful and builds chaotically w/ a resolution

- grace, like a movie

204. The David Vases

(Yuan Dynasty, China. 1351 C.E. White porcelain with cobalt blue underglaze)

- dedicated to a Daoist temple and originally had an incense burner

-an offering to a general who was later made a god

- named after the collector, who brought the 2 vases together

- archetype of Chinese pottery w/ the blue and white designing and mass exportation of porcelain

- covered w/ motifs of dragons, florals, phoenix’s, leaves (traditional), handles are elephant heads, inscription states function (Daoist offering) and the date (May 13, 1351)

205. Portrait of Sin Sukju (1417–1475)

(Imperial Bureau of Painting. c. 15th century C.E. Hanging scroll (ink and color on silk))

- gov. officials granted portraits for service to the king and this piece was created by the gov. agency staffed by artists

- cherished, hung in an altar in family shrine at home: shows honor to family and lineage as well as to the gov.

- every one of these portraits was the same besides face: dressed in official robe/hat, full length view and heads turned, sat in folding chair, rank

- each individual got a very detail oriented face w/ wisdom and dignity

- Confucianist

206. Forbidden City

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

- a cage-like home for royals, city inside a city not open to public

- everything is symbolic, and a monument to China’s glorious past

- structures designed in accordance w/ state building standard, architectural style reflects sense of hierarchy

- animals and figures on roof would protect city from fires

- ceremonial nature (Confucian) also Buddhist and Daoist influences

- compounds were built for retired emperors/empresses

207. Ryoan-ji

(Muromachi Period, Japan. c. 1480 C.E.; current design most likely dates to the 18th century. Rock garden)

- Kyoto’s most famous garden zen and the template for zen gardens for 4 centuries

- dry garden: encourages contemplation

- place for meditation for Zen Buddhists

- nature in art, change over time, and a sacred place

- gravel and 15 placed stones make it the world's most recognizable garden image

- mood of mystery and quiet reflection

208. Jahangir Preferring a Sufi Shaikh to Kings

(Bichitr. c. 1620 C.E. Watercolor, gold, and ink on paper)

- a royal portrait of Jahangir, he wanted everything to be recorded so he had artists follow him wherever he went

- cross cultural, power, and makes a statement about spiritual learnings

- symbolizes ruler’s emperorship and divine truth: seated on an hourglass, flames of gold, halo of sun (Jahangir is source of all light)

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)

- excellent example of golden age of Muslim art and architecture

- a mausoleum and tomb build in memory of Emperor Shah Jahan’s 3rd wife, Mumtaj Mahal

- is not a mosque

- represents death, afterlife, cross cultural, power and authority

- incorporates Iranian features: octagonal shape, Indian: dome, Asian: minarets

- includes calligraphy, geometry, and flower forms

- most important was ideal of symmetry in design

210. White and Red Plum Blossoms

(Ogata Korin. c. 1710–1716 C.E. Ink, watercolor, and gold leaf on paper)

- a Japanese folding screen used to divide rooms for Tsugaru family (patrons)

- nature in art and status

- one of the greatest masterpieces in Japanese art

- tarashikomi: wet pigment technique

- used of colors, textures, and forms influenced by western modern art

- combines pure design w/ intimate naturalism of spring time

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)

- originally made to be sold to Daoist who would make the pilgrimage to mt. Fuji but was sold to tourists instead when domestic travel to Japan became popular

- Ukiyo-e: genre of Japanese art, flourished in 17th-19th c., artists produced woodblock prints and paintings

- became one of the most famous pieces of art in the world, most iconic Japanese piece

- proved to be inspirational for artists in Europe (Van Gogh)

212. Chairman Mao en Route to Anyuan

(Artist unknown; based on an oil painting by Liu Chunhua. c. 1969 C.E. Color lithograph)

- propaganda for Chairman Mao

- done anonymously because individual fame was counter cultural

- Mao worked to reform wages, education, etc. (regarded as a communist)

- the most reproduced image ever, 900 million copies

- Chinese landscape stye: misty landscape shows immortal realm

- weather shows change, he appears as a rising sun, umbrella = he is willing to travel, fist = determination

- use of modern aspects: telephone and water dam

Unit 9 : The Pacific

213. Nan Madol

(Pohnpei, Micronesia. Saudeleur Dynasty. c. 700–1600 C.E. Basalt boulders and prismatic columns)

- ancient city complex that served as the capital of the Saudeleur Dynasty

- consists of 92 small artificial islands and canals to separate them flush w/ tides (Nan Madol = “the spaces between”)

- built as living quarters for rich so King could keep an eye on powerful subjects

- walls constructed using basalt (volcanic rock) and coral (built on top of coral reef and 1st to use coral)

- the megalithic city

214. Moai on platform (ahu)

(Rapa Nui (Easter Island). c. 1100–1600 C.E. Volcanic tuff figures on basalt base)

- series of 900 statues, deification of 1st settler kings

- face inlaid to watch over the people of the island

- large heads w/ prominent foreheads, large noses and ears, and arms that reach down

- platforms holding them were just as sacred, made of stone w/ ashes from cremation

- moai = statue

215. ‘Ahu ‘ula (feather cape)

(Hawaiian. Late 18th century C.E. Feathers and fiber)

- Hawaiian male nobility wore these for ceremonies and battle

- color red is associated w/ gods and chiefs, yellow feathers are equally valuable

- was a highly skilled and time consuming process

- provided important wearer w/ sacred protection in dangerous situations

- gifted to European captains upon arrival

- coconut fiber base w/ more than 500,000 feathers from rare/colorful birds

216. Staff god

(Rarotonga, Cook Islands, central Polynesia. Late 18th to early 19th century C.E. Wood, tapa, fiber, and feathers)

- represents god, Tangaroa (creator god)

- represents both men and women working together on a common piece: men carve, women make tapa

- colonization contributed to the destruction of these staffs, large scale conversions to Christianity resulted in unknown information about the Rarotonga culture

- represented community management

- image represents adoption/forced conversion to a new faith

217. Female deity

(Nukuoro, Micronesia. c. 18th to 19th century C.E. Wood)

- statues kept in religious buildings and were meant to represent individual deities

- considered vessels for spirits or deified ancestors

- sacred objects connected to performance and ritual

- would have been dressed in garment w/ flowers while displayed

- androgynous b/c of simple, geometric forms

218. Buk (mask)

(Torres Strait. Mid- to late 19th century C.E. Turtle shell, wood, fiber, feathers, and shell)

- used a a part of a costume for funerals and male initiation rites

- ceremonies were performative w/ fire, drums, chants, etc.

- usually to recreate stories of mythical and ancestral beings (had an animal associate w/ them and human forms)

- turtle shells were precious materials and traditional

219. Hiapo (tapa)

(Niue. c. 1850–1900 C.E. Tapa or bark cloth, freehand painting.)

- allowed for lots of trade with Christian missionaries in the region

- tapa cloth traditionally seen as women’s art as it is a type of weaving and works with soft materials

- certain designs designed for people with high social status/rank

- different cultures would present similar pieces of cloth to places they travel to by boat

- use of fine lines, detailed geometric design: spirals, circles, squares, triangles, and diminishing motifs

- used to wrap/protect the staff god and demonstrate status, or to be gifted

220. Tamati Waka Nene

(Gottfried Lindauer. 1890 C.E. Oil on canvas)

- portrait of a Maon chief, painted posthumously based on a photograph

- painter known for his portraits of Maori chiefs, had many commissions

- brought ancestral presence to living world, historical record

- indications of status and mana

- painted Maori in Maori clothing for European patrons, while Maori patrons wanted to be depicted in European clothing

221. Navigation chart

(Marshall Islands, Micronesia. 19th to early 20th century C.E. Wood and fiber)

- used as a map to navigate seas and island chains of Marshall Islands

- meant to be memories prior to a voyage rather than taking it w/ them

- diagonal sticks represented water and wind currents, shells indicate islands

- chart is light, waterproof, and floats

222. Malagan display and mask

(New Ireland Province, Papua New Guinea. c. 20th century C.E. Wood, pigment, fiber, and shell)

- uses in ceremony to send the dead to the otherworld and free living of the obligation of serving the dead

- also celebrated vibrancy of living

- incredibly intricate and liberally use negative space, no 2 masks are the same

- motifs include animal elements, symbolizing affiliations to certain clans/families

- to honor a specific individual and illustrate relationship w/ ancestors and living family

- once the ceremony is over, they are burned

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)

- only pacific nation to retain a Monarchy and was protected by british government

- Cloth is presented as a gift in special ceremonies and Queen Elizabeth witnessed many Fijian traditions and participated in Kava Ceremony

- mats made by: stripping, boiling, drying, blackening, and softening leaves

- Fijian philosophy: the simpler toe design, the more meaningful and significant the object is (hence the cloth being simple)

- geometric and floral motifs

Unit 10 : Global Contemporary

224. The Gates

(Christo and Jeanne-Claude. New York City, NY. 1979-2005 C.E. Mixed media installation)

- financed projects by selling paintings of upcoming projects

- art on an industrial scale, look at art just as ideas, not symbolism

- up for a brief period in park

- wanted to make art that could be removed w/ no traces

225. Vietnam Veterans Memorial

(Maya Lin. Washington, DC. 1982 C.E. granite)

- design idea was abstract: it being a mirror and use of chronological order of deaths

- wouldn’t have been able to do the memorial if it had not been an anonymous submission

- idea of seeing themselves in the names (humanizing)

- a scar, opening of the earth

- v-shape points to Washington and Lincoln memorials

226. Horn Players

(Jean-Michel Basquiat. 1983 C.E. Acrylic and oil paintstick on 3 canvas panels)

- only active for 10 years, influenced by: art history, anatomy, jazz, current events, and African American pop-culture

- listed as “The Black Picasso”, even used some of his work as inspiration

- style is singular: crossing out of words and overall style is unique to him

- triptych elevates musicians status like in a religious icon painting

- depicts Charlie Parker w/ ornithology (study of birds) b/c his nickname was Bird and relates to Dizzy and Charlie’s lives and their jazz careers

227. Summer Trees

(Song Su-Nam. 1983 C.E. Ink on Paper)

- credited w/ revitalizing the ink painting tradition in Korea

- used traditional techniques in more modern ways

- makes illusion of depth w/ values of black

- use of an unconventional landscape

228. Androgyne III

(Magdalend Abakanowicz. 1985 C.E. Burlap, resin, wood, nails, and string)

- war like vibe and could be interpreted as praying

- is not about man nor woman, but about the human

- body is different

- multiple interpretations can be made: overall human experience, not just artists’

- from the back it looks massive but is very light and small

- skin-like texture

229. A Book from the Sky

(Xu Bing. 1987-1991 C.E. Mixed media installation)

- Xu created new Chinese characters, did not actually mean/say anything

- trained as a propaganda artist for Mao Zedong’s government in China

- an indirect protest by using traditional techniques Mao Zedong did not approve of

- printed through woodblocks

- pages on floor look like waves, up above = sky (reference to landscape from earlier Chinese periods)

230. Pink Panther

(Jeff Koons. 1988 C.E. Glazed porcelain)

- Koons creates ideas and his workers make the pieces (unconventional/controversial)

- part of a series called “Banality”, means unoriginal

- thinking about Kitch (mass-produced items) in new context, but sophisticated

- depicts Jayne Mansfield, a movie star and sex symbol of the 60s

- influenced by mass pop culture (specifically Pink Panther and Mansfield)

231. Untitled #228, from the History Portraits series

(Cindy Sherman,

232. Dancing at the Louvre, from the series The French Collection, Part I; #1

(Faith Ringgold. 1991 C.E. Acrylic on canvas, tie dyed, pieced fabric border)

233. Trade (Gifts for Trading Land with White People)

(Jaune Quick-To-See Smith. 1992 C.E. Oil and mixed media on canvas)

234. Earth’s Creation

(Emily Kame Kngwarreye. 1994 C.E. Synthetic polymer paint on canvas)

235. Rebellious Silence, from the Women of Allah series

(Shirin Neshat ; photo by Cythia Preston. 1994 C.E. Ink on photograph)

236. En la Barberia no se Llora (No Crying Allowed in the Barbershop)

(Pepon Osorio. 1994 C.E. Mixed media installation)

237. Pisupo Lua Afe (Corned Beef 2000)

(Michel Tuffery. 1994 C.E. Mixed media)

238. Electronic Highway

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

239. The Crossing

(Bill Viola. 1996 C.E. Video/sound installation)

240. Guggenheim Museum Bilbao

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

241. Pure Land

(Manko Mori. 1998 C.E. Photograph on glass)

242. Lying with the Wolf

(Kiki Smith. 2001 C.E. Ink and pencil on paper)

243. Darkytown Rebellion

(Kara Walker. 2001 C.E. Cut paper and projection on wall)

244. The Swing (after Fragonard)

(Yinka Shonibare. 2001 C.E. Mixed media installation)

245. Old Man’s Cloth

(El Anatsui. 2003 C.E. Aluminum and copper wire)

- apart of the decolonization movement in Ghana and associated cultural renaissances

- confronts Western distinction of art vs craft (in Nigeria there was no distinction)

- member of the Sankofa Movement, sought to emulate Africa’s rich artistic and cultural tradition and combine them w/ modern society

- refers to his work as textiles because of their traditional connotation to Ghana’s art

- uses liquor bottles because the alcohol industry was apart of the Transatlantic Slave Trade, therefore apart of African history

- gold color refers to colonialism and value of Ghana to British as source of gold

246. Stadia II

(Julie Mehretu. 2004 C.E. Ink and acrylic on canvas)

- a stadium filled w/ abstract action

- shapes that resemble international flags, corporate logos, and religious symbols (link to nationalism, propaganda, and identity)

- part of greater triptych: explores concepts of revolution/nationalism w/ context of art, sports, and contemporary politics

- contemporary world is cosmopolitan: represented by flags

- movement and action conveyed through use of curved lines

- stadium represents a public place where people can express national pride

- makes references to the Constructivist movement: abstraction, creating art without the context of history and utilitarianism, much like Expressionism

247. Preying Mantra

(Wangechi Mutu. 2006. Mixed media on mylar (transparent plastic))

- works take on themes of post-Imperialism w/ the imagined “African” female body at the center of her pieces

- highlights this demographic because it has been affected by objectification, racism, and sexism

- depicts a “seductress” w/ alluring gaze and posture, long legs, snake (referencing temptation of Adam and Eve), and reclined pose

- patterned service resembles cloth produced by Kuba, trees associated w/ axis mundi

- “wild”: alludes to praying mantis (female species engage in sexual cannibalism)

- photomontage: incorporates images from fashion/travel magazines, medical literature, and pornography

- concept of hybridity (common in post-colonial artwork)

248. Shibboleth

(Tate Modern, London. Doris Salcedo. 2007-2008 C.E. Installation)

- a Columbian artist whose work surrounds conflict, violence, and mourning

- Shibboleth: describes indicator of “other-ness”: usually something like a word that is difficult to pronounce for non-native speakers or a custom that a foreigner/different class wouldn’t know

- invites viewers to interact and look at it from different povs

- a representation of exclusion experienced by immigrants in Europe and non-native Europeans are singled out and segregated

- involved permanently altering the hall: transgressive/”destroying the canvas”

249. MAXXI National Museum of XXI Century Arts

(Zaha Hadid. Rome, Italy. 2009 C.E. Glass, steel, and cement)

- a female Iraqi architect who won a competition to design the building (took 10 years)

- 2 museums: one for architecture and other for art, a library, auditorium, and cafeteria

- glass on ceiling provide natural light (modulated by blinds), walls and stairways melt into each other: creating flow/movement, angular exterior contrasts w/ rounded corners and contrasting color of interior

- has been described as looking like a subway system or transportation system

- Neo-Futurism: movement toward future, progressive art and ideology intended to be on display

250. Kui Hua Zi (Sunflower Seeds)

(Ai Weiwei. 2010-11 C.E. Sculpted and painted porcelain)

- Chinese artist and activist who uses his work to critique aspects of Chinese government/society

- has been arrested, sensored, and detained several times including when this piece was on view

- consists of over 100 million hand crafted and painted porcelain sunflower seeds arranged in the Tate Modern’s Turbine Hall

- made my one of 1600 craftsman, criticizing the negative connotations behind the phrase “Made in China”

- holds multiple meanings:

- as a child even the poorest would have sunflower seeds as a treat

- propaganda portrayed Chairman Mao as the sun and people of China as sunflowers that would turn and grow towards Mao

- each seed is unique and beautiful on its own, but the precise arrangement of them as well as the amount creates vastness and uniformity: a critique of conformity and censorship in China