Apollo 11 Stones Namibia, c.a. 25,000 B.C.E., Charcoal on stone Oldest art in Africa nad first evidence of artistic expression globally Layers below where stones were found contain non-native materials suggesting human settlement Animal form but has human hind legs Curved horns, possibly animal/human form reflecting shamanisitic beliefs Shows homo sapiens had capacity for modern thought Animal in profile view, named after Apollo 11 landing
Apollo 11 Stones Namibia, c.a. 25,000 B.C.E., Charcoal on stone Oldest art in Africa nad first evidence of artistic expression globally Layers below where stones were found contain non-native materials suggesting human settlement Animal form but has human hind legs Curved horns, possibly animal/human form reflecting shamanisitic beliefs Shows homo sapiens had capacity for modern thought Animal in profile view, named after Apollo 11 landing
Great Hall of the Bulls Lascaux, France Paleolithic 15000-13000 B.C.E. Rock paintin Natural products used for pigment like iron, charcoal,plants 650 paintings of cows, bulls, horses, and deer Bodies in profile while head/horns in frontal view, some animals pregnant Overlapping of figures, evidence of structures used to stand on to reach up higher Used for successful hunt, animal worship, shamanism Not dwellings as most people were migratory Paintings deep inside the cave, hundreds of feet, so not much natural light went through
Great Hall of the Bulls Lascaux, France Paleolithic 15000-13000 B.C.E. Rock paintin Natural products used for pigment like iron, charcoal,plants 650 paintings of cows, bulls, horses, and deer Bodies in profile while head/horns in frontal view, some animals pregnant Overlapping of figures, evidence of structures used to stand on to reach up higher Used for successful hunt, animal worship, shamanism Not dwellings as most people were migratory Paintings deep inside the cave, hundreds of feet, so not much natural light went through
Camelid sacrum in shape of canine Central Mexico 14000- 7000 B.C.E. Bone Sculpture from camel like animal bone from back of spine with triangular shape Uses already present features to make an image of a dog/wolf Shows use of one natural form to make another Mesoamerican idea of 2nd skull
Camelid sacrum in shape of canine Central Mexico 14000- 7000 B.C.E. Bone Sculpture from camel like animal bone from back of spine with triangular shape Uses already present features to make an image of a dog/wolf Shows use of one natural form to make another Mesoamerican idea of 2nd skull
Running Horned Woman Algeria, 6000-4000 B.C.E. Pigment on rock Composite view of body, face is frontal, body is profile Painting has great contrast b/w dark and light mediums Detailed decorations found on woman Large central woman has transparency to her allowing the background figures to be shown Dots on body reflect body paint used for rituals
Running Horned Woman Algeria, 6000-4000 B.C.E. Pigment on rock Composite view of body, face is frontal, body is profile Painting has great contrast b/w dark and light mediums Detailed decorations found on woman Large central woman has transparency to her allowing the background figures to be shown Dots on body reflect body paint used for rituals
Beaker with Ibex motifs Susa Iran, 4200-3500 B.C.E Painted terra cotta Found near burial site, one of first ceramic pieces Use of potters wheel and thin design was result of it Stylized aquatic birds at top, stylized dogs below, central ibex portrayed Ibex has oversized horns that give it an abstract quality Middle has clan symbol of family ownership showing that the deceased belonged to a certain family Geometric, linear, and curved forms balance each other
Beaker with Ibex motifs Susa Iran, 4200-3500 B.C.E Painted terra cotta Found near burial site, one of first ceramic pieces Use of potters wheel and thin design was result of it Stylized aquatic birds at top, stylized dogs below, central ibex portrayed Ibex has oversized horns that give it an abstract quality Middle has clan symbol of family ownership showing that the deceased belonged to a certain family Geometric, linear, and curved forms balance each other
Anthropomorphic Stele Arabian Peninsula, 4000 B.C.E. Sandstone 3 ft. tall, sculpted, emphasis on front with chest, head, and nose Necklace hangs with two diagonal chords across the body with a tool attached Double bladed dagger hangs from belt that wraps figures body Figure seems to be abstract but is anthropomorphic, showing a human form but not actually human Very stylized representation of a human form
Anthropomorphic Stele Arabian Peninsula, 4000 B.C.E. Sandstone 3 ft. tall, sculpted, emphasis on front with chest, head, and nose Necklace hangs with two diagonal chords across the body with a tool attached Double bladed dagger hangs from belt that wraps figures body Figure seems to be abstract but is anthropomorphic, showing a human form but not actually human Very stylized representation of a human form
Jade Cong China, 3300-2200 B.C.E. Carved Jade Circular hole inside a square Abstract geometric design with 4 corners having mask-like images representing spirits/deities Jade found in tombs of elite and linked with virtues of durability, solidity, and beauty Neolithic Liangzhu China
Jade Cong China, 3300-2200 B.C.E. Carved Jade Circular hole inside a square Abstract geometric design with 4 corners having mask-like images representing spirits/deities Jade found in tombs of elite and linked with virtues of durability, solidity, and beauty Neolithic Liangzhu China
Stonehenge Wilshire, UK Neolithic,2500-1600 B.C.E. Sandstone Took 1000 years to build by many generations Post and Lintel system used Large stones form circular shape, stones often brought from distant locations Oriented with summer and winter solstices Believed to astronomical or religious center based around the sun New theories bring evidence of bones being found indicating it was a ceremonial burial site
Stonehenge Wilshire, UK Neolithic,2500-1600 B.C.E. Sandstone Took 1000 years to build by many generations Post and Lintel system used Large stones form circular shape, stones often brought from distant locations Oriented with summer and winter solstices Believed to astronomical or religious center based around the sun New theories bring evidence of bones being found indicating it was a ceremonial burial site
Ambum Stone Ambum Valley, Papua New Guinea, c.a. 1500 B.C.E Greywacke Composite human and animal form with anteater head with a human body Use of subtractive sculpting allowing for a free standing head and neck Used stone to sculpt stone Still maintains shape of original stone
Ambum Stone Ambum Valley, Papua New Guinea, c.a. 1500 B.C.E Greywacke Composite human and animal form with anteater head with a human body Use of subtractive sculpting allowing for a free standing head and neck Used stone to sculpt stone Still maintains shape of original stone
Tlatilco Female Figurine Central Mexico, 1200-900 B.C.E. Ceramic Emphasis on wide hips and legs with a narrow waist symbolizing fertility Double faced with two noses mouths etc. but only three eyes Elaborate hairstyle depicted with incising of clay Relates to concept of duality within people in Mesoamerica Possible shamanistic function Societies now sedentary allowing specialization of labor and products like this to be made Foreshadowed the art of great civilizations in the area to come
Tlatilco Female Figurine Central Mexico, 1200-900 B.C.E. Ceramic Emphasis on wide hips and legs with a narrow waist symbolizing fertility Double faced with two noses mouths etc. but only three eyes Elaborate hairstyle depicted with incising of clay Relates to concept of duality within people in Mesoamerica Possible shamanistic function Societies now sedentary allowing specialization of labor and products like this to be made Foreshadowed the art of great civilizations in the area to come
Terra Cotta Fragment Lapita, Reef Islands, 1000 B.C.E. Terra Cotta Human face with intricate geometric designs Use of curved stamp like patterns One of earliest representations of human face in Pacific Lapita people known for pottery work
Terra Cotta Fragment Lapita, Reef Islands, 1000 B.C.E. Terra Cotta Human face with intricate geometric designs Use of curved stamp like patterns One of earliest representations of human face in Pacific Lapita people known for pottery work
White Temple and Ziggurat Uruk, Sumeria, ca 3500-3000 B.C.E. Mud Bricks Dedicated to all Sumerian deities, but Anu most important Built so it tapers down, allowing rainwater to wash off Sides feature geometric design Temple on top set back and removed from populace as it was reserved for clergy/royalty Contains multiple rooms and cella which is the most important room accessed by ruler and priest Terrace outside temple on top for outdoor rituals Stands out as it was on a flat terrain Built at high place as gods would descend from heaven 4 Corners oriented towards cardinal directions
White Temple and Ziggurat Uruk, Sumeria, ca 3500-3000 B.C.E. Mud Bricks Dedicated to all Sumerian deities, but Anu most important Built so it tapers down, allowing rainwater to wash off Sides feature geometric design Temple on top set back and removed from populace as it was reserved for clergy/royalty Contains multiple rooms and cella which is the most important room accessed by ruler and priest Terrace outside temple on top for outdoor rituals Stands out as it was on a flat terrain Built at high place as gods would descend from heaven 4 Corners oriented towards cardinal directions
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Palette of King Narmer Predynastic Egypt, 3000-2920 B.C.E Greywacke Palettes were used to prepare eye makeup probably ceremonial purpose cause of elaborate decoration Relief sculpture where King Narmer Unites Upper/Lower Egypt One of earliest examples of heiroglyphs Figures stand on ground line and arranged hierachally Front: (Right) Narmer, largest figure, wears cobra crown of lower Eygpt, reviewing heads of enemy Preceded by 4 common people and a priest, followed by his foot washer Center has stylized lionesses with elongated necks symbolizing unification Bottom has bull knocking down fall, same as Narmer knocking down his enemies Back: (Left) Narmer central figure with bull tail on waist, shows strength, pin shaped crown shows king of united Egypt Beneath are defeated Egyptians Hawk is Horus and he triumphs over Narmer's foes, holds papyrus plant symbolizes lower Egypt Schematic lines show musculature in forearms Hieroglyphs explain piece and add meaning
Palette of King Narmer Predynastic Egypt, 3000-2920 B.C.E Greywacke Palettes were used to prepare eye makeup probably ceremonial purpose cause of elaborate decoration Relief sculpture where King Narmer Unites Upper/Lower Egypt One of earliest examples of heiroglyphs Figures stand on ground line and arranged hierachally Front: (Right) Narmer, largest figure, wears cobra crown of lower Eygpt, reviewing heads of enemy Preceded by 4 common people and a priest, followed by his foot washer Center has stylized lionesses with elongated necks symbolizing unification Bottom has bull knocking down fall, same as Narmer knocking down his enemies Back: (Left) Narmer central figure with bull tail on waist, shows strength, pin shaped crown shows king of united Egypt Beneath are defeated Egyptians Hawk is Horus and he triumphs over Narmer's foes, holds papyrus plant symbolizes lower Egypt Schematic lines show musculature in forearms Hieroglyphs explain piece and add meaning
Statues of Votive Figures, from Square Temple at Eshnunna Sumeria, 2700 B.C.E. Limestone Different heights of figures showing social hierarchy Hands folded in prayer, as figures were placed facing altar of the gods Large eyes swell possibly cause staring at a deity Bare chest, skirt from waist down, beard in ripple pattern Stylized depiction of human form with no anatomical accuracy
Statues of Votive Figures, from Square Temple at Eshnunna Sumeria, 2700 B.C.E. Limestone Different heights of figures showing social hierarchy Hands folded in prayer, as figures were placed facing altar of the gods Large eyes swell possibly cause staring at a deity Bare chest, skirt from waist down, beard in ripple pattern Stylized depiction of human form with no anatomical accuracy
Seated Scribe Egypt, Old Kingdom, 2650-2500 B.C.E. Painted Limestone Uncommon that such a large sculpture isnt of a pharaoh Very naturalistic representation of pose and sagging chest unlike the very rigid stylized sculptures known of Egypt Conventional image of scribe, attentive expression Holds papyrus in his lab and formerly had a writing utencil
Seated Scribe Egypt, Old Kingdom, 2650-2500 B.C.E. Painted Limestone Uncommon that such a large sculpture isnt of a pharaoh Very naturalistic representation of pose and sagging chest unlike the very rigid stylized sculptures known of Egypt Conventional image of scribe, attentive expression Holds papyrus in his lab and formerly had a writing utencil
Standard of Ur from Royal Tombs at Ur Sumeria, 2600-2400 B.C.E. Wood, shells, lazuli and red limestone Two sides, one of war, and one of peace, early use of historical narrative Figures organized into registers on ground lines read top to bottom War Side: Sumerian king taller and in center, descended from chariot to inspect enemies brought to him Lower row shows chariots riding over dead bodies Peace Side: Food brought in a procession to the banquet, musician playing a lyre, ruler wears kilts and is larger than other figures Mediums used reflects extensive trade networks as they got their materials from different reigons Figures shown in profile with broad shoulders and emphasis on face
Standard of Ur from Royal Tombs at Ur Sumeria, 2600-2400 B.C.E. Wood, shells, lazuli and red limestone Two sides, one of war, and one of peace, early use of historical narrative Figures organized into registers on ground lines read top to bottom War Side: Sumerian king taller and in center, descended from chariot to inspect enemies brought to him Lower row shows chariots riding over dead bodies Peace Side: Food brought in a procession to the banquet, musician playing a lyre, ruler wears kilts and is larger than other figures Mediums used reflects extensive trade networks as they got their materials from different reigons Figures shown in profile with broad shoulders and emphasis on face
Great Pyramids (Menkaura, Khafre, Khufu) and Great Sphinx Giza, Egypt, Old Kingdom, 2550-2490 B.C.E. Monuments for dead pharaohs Pile of limestone blocks shaped as pyramid with small room inside beneath the building where ruler buried Each side of pyramid oriented to different direction on compass Shape influenced by sacred stone Benben found at center of sun god cult Great Sphinx: Generalized features of human, some say Khafre cause his pyramid directly behind it Carved from giant rock, symbolic of sun god Body of lion, head of pharaoh/god Seen as protector of pyramids, therefore protector of pharaohs Originally painted to stand out in the desert Badly damaged during Middle Ages
Great Pyramids (Menkaura, Khafre, Khufu) and Great Sphinx Giza, Egypt, Old Kingdom, 2550-2490 B.C.E. Monuments for dead pharaohs Pile of limestone blocks shaped as pyramid with small room inside beneath the building where ruler buried Each side of pyramid oriented to different direction on compass Shape influenced by sacred stone Benben found at center of sun god cult Great Sphinx: Generalized features of human, some say Khafre cause his pyramid directly behind it Carved from giant rock, symbolic of sun god Body of lion, head of pharaoh/god Seen as protector of pyramids, therefore protector of pharaohs Originally painted to stand out in the desert Badly damaged during Middle Ages
King Menkaura and Queen Old Kingdom, 2490-2472 B.C.E. Greywacke Figures carved from block of stone, arms/legs not free, no open space between body Rigid frontal pose with left food proceeding Staring out into space Wife holding him, presenting him to the gods Menkaura shown with strong physique showing how powerful of a king he was Gender equality as both figures same height
King Menkaura and Queen Old Kingdom, 2490-2472 B.C.E. Greywacke Figures carved from block of stone, arms/legs not free, no open space between body Rigid frontal pose with left food proceeding Staring out into space Wife holding him, presenting him to the gods Menkaura shown with strong physique showing how powerful of a king he was Gender equality as both figures same height
The Code of Hammurabi Babylon, 1792-1750 B.C.E. Basalt Earliest law code ever written and enforced by ruler, used Akkadian language Sun God Shamash enthroned is handing Hammurabi a rope, ring, and rod symbolizing divine right to rule Shamash shown with both frontal and profile view Hammurabi has greeting gesture, figures stare at each other despite shoulders being frontal 300 laws below narrative as these were the laws given to Hammurabi to enforce
The Code of Hammurabi Babylon, 1792-1750 B.C.E. Basalt Earliest law code ever written and enforced by ruler, used Akkadian language Sun God Shamash enthroned is handing Hammurabi a rope, ring, and rod symbolizing divine right to rule Shamash shown with both frontal and profile view Hammurabi has greeting gesture, figures stare at each other despite shoulders being frontal 300 laws below narrative as these were the laws given to Hammurabi to enforce
Temple of Amun Re Near Luxor Egypt, New Kingdom 1550 C.E. Sandstone Mud and Brick Hypostyle Hall 1250 B.C.E. Largest and most elaborately decorated structure in all Egypt Large columns closely packed together admit light into the sanctuary Columns elaborately painted and have varying artistic styles Lintels connect each column Tallest columns have papyrus capitals Clerestory allows so light and air into the temple Lower columns have bud capitals Columns in sunken relief One enters complex through massive gateway, then into peristyle courtyard, through hypostyle hall, and finally to a sanctuary where very few could go Largest religious complex in the world Hypostyle hall has 134 columns
Temple of Amun Re Near Luxor Egypt, New Kingdom 1550 C.E. Sandstone Mud and Brick Hypostyle Hall 1250 B.C.E. Largest and most elaborately decorated structure in all Egypt Large columns closely packed together admit light into the sanctuary Columns elaborately painted and have varying artistic styles Lintels connect each column Tallest columns have papyrus capitals Clerestory allows so light and air into the temple Lower columns have bud capitals Columns in sunken relief One enters complex through massive gateway, then into peristyle courtyard, through hypostyle hall, and finally to a sanctuary where very few could go Largest religious complex in the world Hypostyle hall has 134 columns
Mortuary Temple of Hatshepsut Near Luxor Egypt, 1473-1458 B.C.E. Sandstone and Red Granite 3 colonnaded terraces and 2 ramps Rigid geometric quality of structure contrasts greatly with the natural striking cliffs behind Structure carved directly into the cliff side with little to no structures in the area illustrating its importance as it was in such a powerful area with cliffs forming an amphitheater around it First time in history that a woman's achievements are celebrated Kneeling Statue of Hatshepsut One of 200 statues at the temple, 10 statues identical to this one Kneeling position as pharaohs would only kneel to a god, and she presents gifts in her hands to the sun god Amon Re Given male attributes such as false beard, male costume, slender proportions, and only slight breasts
Mortuary Temple of Hatshepsut Near Luxor Egypt, 1473-1458 B.C.E. Sandstone and Red Granite 3 colonnaded terraces and 2 ramps Rigid geometric quality of structure contrasts greatly with the natural striking cliffs behind Structure carved directly into the cliff side with little to no structures in the area illustrating its importance as it was in such a powerful area with cliffs forming an amphitheater around it First time in history that a woman's achievements are celebrated Kneeling Statue of Hatshepsut One of 200 statues at the temple, 10 statues identical to this one Kneeling position as pharaohs would only kneel to a god, and she presents gifts in her hands to the sun god Amon Re Given male attributes such as false beard, male costume, slender proportions, and only slight breasts
Akhenaton, Nefertiti, and 3 daughters New Kingdom 1353-1335 B.C.E. Limestone Placed in a private, domestic environment for worship Akenaton holds his oldest daughter ready to be kissed Nefertiti holds daughter with another daughter on shoulder State religion changed to honor one god Aton, symbolized by sun-disk with cobra Composite view of body, hips in profile while shoulders frontal Anatomy of figures very stylized and elongated, different from past forms of figures Rays of light have ankhs at the end the Egyptian symbol of life, and they point at the figures
Akhenaton, Nefertiti, and 3 daughters New Kingdom 1353-1335 B.C.E. Limestone Placed in a private, domestic environment for worship Akenaton holds his oldest daughter ready to be kissed Nefertiti holds daughter with another daughter on shoulder State religion changed to honor one god Aton, symbolized by sun-disk with cobra Composite view of body, hips in profile while shoulders frontal Anatomy of figures very stylized and elongated, different from past forms of figures Rays of light have ankhs at the end the Egyptian symbol of life, and they point at the figures
Tutankhamun's Tomb, Innermost coffin New Kingdom, 1323 B.C.E. Gold with enamel inlay and semiprecious stones Tut returned the religion back to its previous, normal status instead of keeping his father Akhenaten's religion In tomb discovered by Howard Carter 1922 Mummified Tut buried with 143 precious objects Made of solid gold with many precious stones, depicted as a god in his divine form of the afterlife Shows quality of workmanship and attention to detail of Egyptian art 6'7
Tutankhamun's Tomb, Innermost coffin New Kingdom, 1323 B.C.E. Gold with enamel inlay and semiprecious stones Tut returned the religion back to its previous, normal status instead of keeping his father Akhenaten's religion In tomb discovered by Howard Carter 1922 Mummified Tut buried with 143 precious objects Made of solid gold with many precious stones, depicted as a god in his divine form of the afterlife Shows quality of workmanship and attention to detail of Egyptian art 6'7" Long coffin with body of Tut Mask has smooth idealized features of boy-king Holds crook and flail across chest, symbols of Osiris Possibly handicapped due to inbreeding between his parents
Last Judgement of Hu-Nefer, page from Book of the Dead New Kingdom 1275 B.C.E. Painted papyrus scroll Hu nefer was a scribe with a priestly status Goes through a process deciding whether or not he lived a ethical life and if he should continue to the afterlife Anubis holding an Ankh symbolizing eternal life leads him into the hall where his heart is compared to a feather to see if it is lighter Crocodile/Lion animal is ready to eat heart if it proves he didnt live ethically Thoth on right documents this event Osiris on the far right is overlooking this process and grants Nefer entrance to the afterlife White base on right represents natron, the substance used to dry out/preserve bodies
Last Judgement of Hu-Nefer, page from Book of the Dead New Kingdom 1275 B.C.E. Painted papyrus scroll Hu nefer was a scribe with a priestly status Goes through a process deciding whether or not he lived a ethical life and if he should continue to the afterlife Anubis holding an Ankh symbolizing eternal life leads him into the hall where his heart is compared to a feather to see if it is lighter Crocodile/Lion animal is ready to eat heart if it proves he didnt live ethically Thoth on right documents this event Osiris on the far right is overlooking this process and grants Nefer entrance to the afterlife White base on right represents natron, the substance used to dry out/preserve bodies
Lamassu from Citadel of Sargon II Neo-Assyria, 720-705 B.C.E, Alabaster Male-headed winged animal guardian figures Five legs, 4 when looking from profile view that seem to be in motion, 2 when looking from frontal view that seem to be stationary protecting the structure Very decorative/ ornamental representation of the animals with many detailed patterns like the beard and wings Meant to ward off enemies both visible and invisible Has a feeling of harmony and stability Carved out of one piece of stone Stand in front of structures guarding and providing them protection Had structural use as it helped support the column overhead
Lamassu from Citadel of Sargon II Neo-Assyria, 720-705 B.C.E, Alabaster Male-headed winged animal guardian figures Five legs, 4 when looking from profile view that seem to be in motion, 2 when looking from frontal view that seem to be stationary protecting the structure Very decorative/ ornamental representation of the animals with many detailed patterns like the beard and wings Meant to ward off enemies both visible and invisible Has a feeling of harmony and stability Carved out of one piece of stone Stand in front of structures guarding and providing them protection Had structural use as it helped support the column overhead
Athenian Agora Plan Archaic to Hellenistic Greek 600 B.C.E.-150 C.E. Most important public space in all of Athens, heart of Athenian democracy Plaza at the base of the Acropolis containing buildings that contained commercial, civic, religious, and social buildings, and ceremonies took place here Setting for Panathenaic festival, festival honoring Athena Panathenaic Way cuts through the plaza on its way up to the Acropolis Structures such as a bouleuterion (house for council), and temples surround the plaza Large stoa (peristyle court) where much of the commercial and civil roles of the people were performed
Athenian Agora Plan Archaic to Hellenistic Greek 600 B.C.E.-150 C.E. Most important public space in all of Athens, heart of Athenian democracy Plaza at the base of the Acropolis containing buildings that contained commercial, civic, religious, and social buildings, and ceremonies took place here Setting for Panathenaic festival, festival honoring Athena Panathenaic Way cuts through the plaza on its way up to the Acropolis Structures such as a bouleuterion (house for council), and temples surround the plaza Large stoa (peristyle court) where much of the commercial and civil roles of the people were performed
Anavysos Kouros Archain Greek 530 B.C.E. Marble with remnants of paint Used as a grave marker, replacing vases used in the earlier geometric period Has traditional pose of such figures similar to Egyptian sculpture with left foot slightly proceeding More naturalistic representation of the figure, parts of body flow smoothly into each other Still has rigidity present in his stance Traditional knotted, braided hair that falls neatly on the figures back Arms and legs are separated b/w body with a space unlike Egyptian where it was one solid block Archaic smile used common to sculpture of this period Movement towards the greek ideal of a muscular body with perfect symmetrical anatomical features, but isnt there yet Slight musculature present
Anavysos Kouros Archain Greek 530 B.C.E. Marble with remnants of paint Used as a grave marker, replacing vases used in the earlier geometric period Has traditional pose of such figures similar to Egyptian sculpture with left foot slightly proceeding More naturalistic representation of the figure, parts of body flow smoothly into each other Still has rigidity present in his stance Traditional knotted, braided hair that falls neatly on the figures back Arms and legs are separated b/w body with a space unlike Egyptian where it was one solid block Archaic smile used common to sculpture of this period Movement towards the greek ideal of a muscular body with perfect symmetrical anatomical features, but isnt there yet Slight musculature present
Peplos Kore from Acropolis Archaic Greek 530 B.C.E., marble Found on the acropolis, female equivalent of a kouros Kore usually an offering to the goddess Athena, but possibly a representation of a goddess Unusual clothing similar to that of a goddess Left hand possibly used to hold a weapon such as a bow signifying she was Artemis Right hand is clenched around a possible arrow no longer there anymore possibly artemis Archaic smile present Very feminie with protruding breasts and a narrow waist Naturalistic representation with hair falling naturally on her body
Peplos Kore from Acropolis Archaic Greek 530 B.C.E., marble Found on the acropolis, female equivalent of a kouros Kore usually an offering to the goddess Athena, but possibly a representation of a goddess Unusual clothing similar to that of a goddess Left hand possibly used to hold a weapon such as a bow signifying she was Artemis Right hand is clenched around a possible arrow no longer there anymore possibly artemis Archaic smile present Very feminie with protruding breasts and a narrow waist Naturalistic representation with hair falling naturally on her body
Audience Hall of Darius and Xerxes Persepolis Iran, Persia 520-465 B.C.E. Limestone Built by Darius I and Xerxes I, destroyed by Alexander the Great Built as a seat for receptions and festivals Lamassu are at the gates with as inscription announcing that it was
Audience Hall of Darius and Xerxes Persepolis Iran, Persia 520-465 B.C.E. Limestone Built by Darius I and Xerxes I, destroyed by Alexander the Great Built as a seat for receptions and festivals Lamassu are at the gates with as inscription announcing that it was "The Gate of all Nations" showing the empires importance Relief sculptures show people from throughout the empire bringing gifts which would be stored in the treasury, site chosen as it was a central location in the Persian Empire Audience hall or Apadana had 36 columns with a wooden roof that could hold thousands of people, used for kings festivals It is a hypostyle hall, hall supported by many columns in rows Only 13 of these columns remain on the platform for the structure Columns had a bell-shaped base with an inverted lotus blossom, capitals are of bulls and lions Stairs feature Immortals which were the Kings Guard Many different cultures contribute to its creation, Greek, Persian, Babylonian, Egyptian Structure built to dwarf the viewer Stairs feature a central relief with the king surrounded by his people Order and harmony in world as people present the king with gifts
Sarcophagus of the Spouses Etruscan, 520 B.C.E Terra Cotta Large ceramic container with two figures that serve as a lid for this sarcophagus Very naturalistic flowing representation of the figures with arms extending into the space of the viewer Cut in half so the terra cotta could fit into a kiln Figures arms appear to be holding something possibly a pomegranate or egg representing the eternal life Smile on figures similar to that of the greek archaic smile, archaic period in Greece at the time so probably influenced by Kourous figures Figures have an intimate relaxed expression and pose as they embrace each other Shows symbiotic relationship of males and females in Etruscan society, and males had to protect the females Detailed upper body, with less detail in lower body/legs
Sarcophagus of the Spouses Etruscan, 520 B.C.E Terra Cotta Large ceramic container with two figures that serve as a lid for this sarcophagus Very naturalistic flowing representation of the figures with arms extending into the space of the viewer Cut in half so the terra cotta could fit into a kiln Figures arms appear to be holding something possibly a pomegranate or egg representing the eternal life Smile on figures similar to that of the greek archaic smile, archaic period in Greece at the time so probably influenced by Kourous figures Figures have an intimate relaxed expression and pose as they embrace each other Shows symbiotic relationship of males and females in Etruscan society, and males had to protect the females Detailed upper body, with less detail in lower body/legs
Temple of Minerva Sculptor Vulca, 510-500 B.C.E. Wood, Mud Brick Not much architecture survives from this period Design done by Vitruvius Steps in front direct the attention to the deep porch, emphasizing the entrance Used tuscan capitals that vary slightly from Greek Doric capitals 3 doors that allow the viewer to enter the temple represent 3 gods The interior is divided into 3 separate space Sculpture of Apollo from Veii One of 4 figures that originally stood on top of the Temple of Veii dedicated to Minerva Meant to be seen from below Figure has spirit, it moves quickly as it strides foward seen in the dynamic position of his legs Greek influence with the Archaic smile Carved by Vulca, the most famous Etruscan sculptor of the period Terra Cotta
Temple of Minerva Sculptor Vulca, 510-500 B.C.E. Wood, Mud Brick Not much architecture survives from this period Design done by Vitruvius Steps in front direct the attention to the deep porch, emphasizing the entrance Used tuscan capitals that vary slightly from Greek Doric capitals 3 doors that allow the viewer to enter the temple represent 3 gods The interior is divided into 3 separate space Sculpture of Apollo from Veii One of 4 figures that originally stood on top of the Temple of Veii dedicated to Minerva Meant to be seen from below Figure has spirit, it moves quickly as it strides foward seen in the dynamic position of his legs Greek influence with the Archaic smile Carved by Vulca, the most famous Etruscan sculptor of the period Terra Cotta
Tomb of Triclinium Etruscan Tarquinia, Italy 480-470 B.C.E. Tufa and Fresco Named after Triclinium, an ancient Roman dining table which appears in the fresco Banqueting couple recline, eating in the ancient manner Ancient convention of men painted in darker colors than women Trees spring up b/w the main figures, and shrubbery grows beneath suggesting a rural setting Intended as a funeral banquet as the fresco is inside a tomb, but all the emotions shown are of celebration Musicians and dancers are depicted on the side walls Ceiling is painted with checkerboard pattern with alternating colors evoking the fabric tents constructed near tombs for ceremonies
Tomb of Triclinium Etruscan Tarquinia, Italy 480-470 B.C.E. Tufa and Fresco Named after Triclinium, an ancient Roman dining table which appears in the fresco Banqueting couple recline, eating in the ancient manner Ancient convention of men painted in darker colors than women Trees spring up b/w the main figures, and shrubbery grows beneath suggesting a rural setting Intended as a funeral banquet as the fresco is inside a tomb, but all the emotions shown are of celebration Musicians and dancers are depicted on the side walls Ceiling is painted with checkerboard pattern with alternating colors evoking the fabric tents constructed near tombs for ceremonies
Niobides Krater Classical Greek painter known as Niobid 460-450 B.C.E. Severe Style Red-figure technique Done by anonymous sculptor named Niobides Back of vase shows women Niobe who had 7 daughters and 7 sons, and she proclaimed to be more fertile and her children them to be more beautiful than the children of goddess Leto, Apollo and Artemis Artemis and Apollo are depicting killing each and every one of the 14 figures Gods often punished mortals for showing hubris or excessive pride Dead bodies found throughout the picture space Figures have a rigid formal quality to them common to earlier greek art Red Figure technique with black outline allows for tremendous detail especially notable in Apollo's body Godess and God rendered in perfect profile view Dead bodies shown in 3/4 to a frontal view Done in the severe style, time period between archaic and classical Figures depicted on multiple lines in both the foreground and the background different from past pottery where all the figures were on one strict ground line Front portion shows Herakles surrounded by warriors Warriors are coming to Herakles asking for Herakles for protection in battle Relaxation of figures contrast greatly with the dead rigid bodies on the opposite side
Niobides Krater Classical Greek painter known as Niobid 460-450 B.C.E. Severe Style Red-figure technique Done by anonymous sculptor named Niobides Back of vase shows women Niobe who had 7 daughters and 7 sons, and she proclaimed to be more fertile and her children them to be more beautiful than the children of goddess Leto, Apollo and Artemis Artemis and Apollo are depicting killing each and every one of the 14 figures Gods often punished mortals for showing hubris or excessive pride Dead bodies found throughout the picture space Figures have a rigid formal quality to them common to earlier greek art Red Figure technique with black outline allows for tremendous detail especially notable in Apollo's body Godess and God rendered in perfect profile view Dead bodies shown in 3/4 to a frontal view Done in the severe style, time period between archaic and classical Figures depicted on multiple lines in both the foreground and the background different from past pottery where all the figures were on one strict ground line Front portion shows Herakles surrounded by warriors Warriors are coming to Herakles asking for Herakles for protection in battle Relaxation of figures contrast greatly with the dead rigid bodies on the opposite side
Doryphoros (Spear Bearer) Polykleitos 450-440 B.C.E. Classical Roman copy marble, Greek original bronze Ideal beauty,the Greco-Roman ideal of human body Perfect body created through use of proportion Turn away from stiff rigid pose of past sculpture Exemplifies contrapposoto pose as one leg is relaxed and the opposite arm is relaxed, while one leg is weight bearing and the opposite arm is weight bearing of what was believed to be a spear making harmony/balance Contrapposoto also sculptor to show that the figure is about to move Human musculature depicted
Doryphoros (Spear Bearer) Polykleitos 450-440 B.C.E. Classical Roman copy marble, Greek original bronze Ideal beauty,the Greco-Roman ideal of human body Perfect body created through use of proportion Turn away from stiff rigid pose of past sculpture Exemplifies contrapposoto pose as one leg is relaxed and the opposite arm is relaxed, while one leg is weight bearing and the opposite arm is weight bearing of what was believed to be a spear making harmony/balance Contrapposoto also sculptor to show that the figure is about to move Human musculature depicted
Acropolis Athens, Greece 447-410 B.C.E. Iktinos and Kallikrates Acropolis Plan
Acropolis Athens, Greece 447-410 B.C.E. Iktinos and Kallikrates Acropolis Plan
Parthenon, Acropolis Iktinos and Kallikrates 437-438 B.C.E. High Classical Most recognizable building on the Acropolis, built as a shrine to Athena Doric columns with doric capitals Sculpture heavily present throughout the metopes,frieze, and pediment characteristic of the Ionic style Symbols of rational thought over chaos Ionic columns also present inside the temple Athena parthenos inside Pericles oversaw construction as old temple was destroyed during Persian War Structure symbol of cities power/wealth Based on mathematical proportions to construct structure x=2y+1 Entasis present where columns taper and widen towards the bottom Floor is higher in middle so rain could run off the structure Influence on practically all Western Architecture
Parthenon, Acropolis Iktinos and Kallikrates 437-438 B.C.E. High Classical Most recognizable building on the Acropolis, built as a shrine to Athena Doric columns with doric capitals Sculpture heavily present throughout the metopes,frieze, and pediment characteristic of the Ionic style Symbols of rational thought over chaos Ionic columns also present inside the temple Athena parthenos inside Pericles oversaw construction as old temple was destroyed during Persian War Structure symbol of cities power/wealth Based on mathematical proportions to construct structure x=2y+1 Entasis present where columns taper and widen towards the bottom Floor is higher in middle so rain could run off the structure Influence on practically all Western Architecture
Helios, Horses, and Dionysus on the Acropolis Sculpture on east Pediment of the Parthenon, classical period Central portion which no longer survives depicts the birth of Athena from the head of Zeus Figures are relaxed yet sense of nobility and god status present Sculpture have classical depiction with flowing drapery revealing the from of their bodies Figures heighten as they get towards the middle because in triangular space
Helios, Horses, and Dionysus on the Acropolis Sculpture on east Pediment of the Parthenon, classical period Central portion which no longer survives depicts the birth of Athena from the head of Zeus Figures are relaxed yet sense of nobility and god status present Sculpture have classical depiction with flowing drapery revealing the from of their bodies Figures heighten as they get towards the middle because in triangular space
Temple of Athena Nike Acropolis Amphiprostyle, four columns in front and four on sides Commemorates the win at the battle of Marathon where Nike announced the win Ionic style with ionic columns and a frieze in the entablature
Temple of Athena Nike Acropolis Amphiprostyle, four columns in front and four on sides Commemorates the win at the battle of Marathon where Nike announced the win Ionic style with ionic columns and a frieze in the entablature
Victory Adjusting her Sandal from Temple Athena Nike High relief along the peripet or railing on the side of the temple Relaxed yet awkward pose as Nike reaches down to adjust her sandal Flowing drapery wraps around her giving naturalistic representation Form of her body revealed, in some cases, nude Breasts shown and wide hips clearly a female Human-like representation showing the gods had the same flaws as humans
Victory Adjusting her Sandal from Temple Athena Nike High relief along the peripet or railing on the side of the temple Relaxed yet awkward pose as Nike reaches down to adjust her sandal Flowing drapery wraps around her giving naturalistic representation Form of her body revealed, in some cases, nude Breasts shown and wide hips clearly a female Human-like representation showing the gods had the same flaws as humans
Plaque of the Ergastines from Acropolis Depicts the Pan-Athenian procession where citizens of Athens came together and walked along the sacred way up to the Acropolis where the Parthenon stood Shows contemporary real life event not common to temple sculpture Figures appear noble and depicted naturally as it was the high classical period, Intricate folds follow the form of the peoples bodies, other areas drapery falls straight down Contrapposto pose showing dynamism of figures as they walk 6 Ergastines shown who were responsible for making the peplos that would be put on a sculpture of Athena during the festival
Plaque of the Ergastines from Acropolis Depicts the Pan-Athenian procession where citizens of Athens came together and walked along the sacred way up to the Acropolis where the Parthenon stood Shows contemporary real life event not common to temple sculpture Figures appear noble and depicted naturally as it was the high classical period, Intricate folds follow the form of the peoples bodies, other areas drapery falls straight down Contrapposto pose showing dynamism of figures as they walk 6 Ergastines shown who were responsible for making the peplos that would be put on a sculpture of Athena during the festival
Grave Stele of Hegeso Kallimachos, 410 B.C.E. Marble and paint End of classical period where funerary sculpture was revived Serves as private grave marker Hegeso depicted seated opening a box containing a necklace possibly her dowry Domestic setting surrounded by pilasters and pediment Pediment has inscription identifying her and her father Drapery closely follows her body giving relaxed natural representation
Grave Stele of Hegeso Kallimachos, 410 B.C.E. Marble and paint End of classical period where funerary sculpture was revived Serves as private grave marker Hegeso depicted seated opening a box containing a necklace possibly her dowry Domestic setting surrounded by pilasters and pediment Pediment has inscription identifying her and her father Drapery closely follows her body giving relaxed natural representation
Winged Victory of Samothrace Hellenistic Greek, 190 B.C.E. Marble Theatrical stance with vigorous movement Intense emotional movement and wind blown drapery Sense of energy present Dramatic contrapposto pose Drapery clings to her body and wraps her revealing her mass and feminine features
Winged Victory of Samothrace Hellenistic Greek, 190 B.C.E. Marble Theatrical stance with vigorous movement Intense emotional movement and wind blown drapery Sense of energy present Dramatic contrapposto pose Drapery clings to her body and wraps her revealing her mass and feminine features
Great Altar of Zeus and Athena at Pergamon Asia Minor, Hellenistic Greek, 175 B.C.E. Post Alexander the Great Classical-Romantic continuum Expressive dramatic facial expressions looking up to the heavens Deeply carved figures which overlap providing spatial illusion Bodies still feature greco-roman ideal and muscles are flexed with exaggeration of anatomical detail increasing drama and emotion Athena depicted fighting the Giants for control of the world A triumphant Athena being crowned by Nike as she is dominating the figures in battle
Great Altar of Zeus and Athena at Pergamon Asia Minor, Hellenistic Greek, 175 B.C.E. Post Alexander the Great Classical-Romantic continuum Expressive dramatic facial expressions looking up to the heavens Deeply carved figures which overlap providing spatial illusion Bodies still feature greco-roman ideal and muscles are flexed with exaggeration of anatomical detail increasing drama and emotion Athena depicted fighting the Giants for control of the world A triumphant Athena being crowned by Nike as she is dominating the figures in battle
Great Altar of Zeus and Athena at Pergamon Plan
Great Altar of Zeus and Athena at Pergamon Plan
House of the Vetti Pompeii, Imperial Rome 2nd Century B.C.E. Cut stone and fresco Common domestic architecture of a home 2 brothers owned the house and made their money as merchants Large reception area, the atrium with impluvium to catch water, cubicula surround radiate around the atrium Peristyle garden in rear with fountain and statues, was the private area of the home Exterior lacks windows, and light came in through the atrium and garden Plan, Atrium, Frescoes !!!
House of the Vetti Pompeii, Imperial Rome 2nd Century B.C.E. Cut stone and fresco Common domestic architecture of a home 2 brothers owned the house and made their money as merchants Large reception area, the atrium with impluvium to catch water, cubicula surround radiate around the atrium Peristyle garden in rear with fountain and statues, was the private area of the home Exterior lacks windows, and light came in through the atrium and garden Plan, Atrium, Frescoes !!!
Alexander Mosaic from House of Faun, Pompeii Republican Rome 100 B.C.E. Mosaic Shows Battle of Issus where king of Persians Darius orders his troops to retreat as they are being dominated by the Greeks under Alexander the Great Turning point in Persian War Dynamism shown as proceeding troops contrast with the in motion chariot that is being turned around Modeling present as mosaic has both light and dark pieces that create mass through the use of shadow Detailed naturalism still present despite being made of over a million pieces of glass and stone Believed to be a copy of a Greek wall painting
Alexander Mosaic from House of Faun, Pompeii Republican Rome 100 B.C.E. Mosaic Shows Battle of Issus where king of Persians Darius orders his troops to retreat as they are being dominated by the Greeks under Alexander the Great Turning point in Persian War Dynamism shown as proceeding troops contrast with the in motion chariot that is being turned around Modeling present as mosaic has both light and dark pieces that create mass through the use of shadow Detailed naturalism still present despite being made of over a million pieces of glass and stone Believed to be a copy of a Greek wall painting
Seated Boxer Hellenistic Greek 100 B.C.E. Bronze Lost Wax casting with hollow inside and detailed incised in the metal Muscular powerful body, engages human emotion as we feel sympathy towards the long hard life he has lived, appears old Pose shows him slouched down as if broken, looking up Shows beating he has taken with broken nose, multiple gashes on his face, and his cauliflower ear Interest in emotion
Seated Boxer Hellenistic Greek 100 B.C.E. Bronze Lost Wax casting with hollow inside and detailed incised in the metal Muscular powerful body, engages human emotion as we feel sympathy towards the long hard life he has lived, appears old Pose shows him slouched down as if broken, looking up Shows beating he has taken with broken nose, multiple gashes on his face, and his cauliflower ear Interest in emotion
Head of a Roman patrician Republican Rome 75-50 B.C.E. Marble Veristic portrait, exaggeration of naturalism Shows very old patrician with large heavy wrinkles symbolizing his long life Strength and simplicity Realism that doesnt create beauty, contrasting with Greek ideals Looks out with experience and wisdom, traits needed to be a patrician Traits exaggerated to enhance adherence to Republican roman values
Head of a Roman patrician Republican Rome 75-50 B.C.E. Marble Veristic portrait, exaggeration of naturalism Shows very old patrician with large heavy wrinkles symbolizing his long life Strength and simplicity Realism that doesnt create beauty, contrasting with Greek ideals Looks out with experience and wisdom, traits needed to be a patrician Traits exaggerated to enhance adherence to Republican roman values
Augustus of Prima Porta Imperial Rome, Early first century C.E. Marble Found in his wife Livias home Augustus establishes the Roman Empire Idealized view of him to make him seem god-like, younger, more beautiful, stronger, more athletic, etc Design similar to Doryphoros, idealized beauty as Augustus intends to make peaceful golden age of Rome just as there was a golden age of Greece Contrapposto pose present shows Greek influence Barefoot indicates he is on sacred ground Cupid at his ankle shows lineage to founder of Rome Aeneas and his divine descent from Venus Breast plate features multiple gods showing his divine right to rule, gods approve, shows return of Roman standards from the Parthians Breast plate is warrior but robe is civic leader
Augustus of Prima Porta Imperial Rome, Early first century C.E. Marble Found in his wife Livias home Augustus establishes the Roman Empire Idealized view of him to make him seem god-like, younger, more beautiful, stronger, more athletic, etc Design similar to Doryphoros, idealized beauty as Augustus intends to make peaceful golden age of Rome just as there was a golden age of Greece Contrapposto pose present shows Greek influence Barefoot indicates he is on sacred ground Cupid at his ankle shows lineage to founder of Rome Aeneas and his divine descent from Venus Breast plate features multiple gods showing his divine right to rule, gods approve, shows return of Roman standards from the Parthians Breast plate is warrior but robe is civic leader
Colosseum (Flavian Ampitheater) Imperial Rome, 70-80 C.E. Stone and Concrete Commisioned by Vespasian part of the Flavian dynasty Could hold 50k spectators 76 entrances to the stadium similar to modern stadiums Division of facade with tuscan on bottom, ionic in middle, corinthian on top Very top has squared windows and held flagstaffs that anchored a canvas that formed a roof like structure providing shade to people Interplay of barrel, groin vaults, and arches Used for spectacular events like gladiator battles Concrete allowed for larger more complex structures Look at overhead view too
Colosseum (Flavian Ampitheater) Imperial Rome, 70-80 C.E. Stone and Concrete Commisioned by Vespasian part of the Flavian dynasty Could hold 50k spectators 76 entrances to the stadium similar to modern stadiums Division of facade with tuscan on bottom, ionic in middle, corinthian on top Very top has squared windows and held flagstaffs that anchored a canvas that formed a roof like structure providing shade to people Interplay of barrel, groin vaults, and arches Used for spectacular events like gladiator battles Concrete allowed for larger more complex structures Look at overhead view too
Treasury and Temple of Petra Jordan 400 B.C.E. -100 C.E. , Cut Rock, Petra Jordan Petra was the central city of the Nabataeans, a nomadic group City was built along a caravan route Buried their dead in tombs cut out of the sandstone cliffs 500 Royal tombs in the rock, but no human remains found, burial practices
Treasury and Temple of Petra Jordan 400 B.C.E. -100 C.E. , Cut Rock, Petra Jordan Petra was the central city of the Nabataeans, a nomadic group City was built along a caravan route Buried their dead in tombs cut out of the sandstone cliffs 500 Royal tombs in the rock, but no human remains found, burial practices
Forum of Trajan, Rome, Apollodorus of Damascus 106-122 C.E. Brick and concrete Trajan expanded the Empire to its largest size Largest imperial forum in Roman history Built with the booty from the War against the Dacians Large central plaza flanked by multiple buildings Administrative, commercial, political, and social center of Trajan's empire Part of complex containing other buildings Forum contained an Equestrian sculpture of the emperor
Forum of Trajan, Rome, Apollodorus of Damascus 106-122 C.E. Brick and concrete Trajan expanded the Empire to its largest size Largest imperial forum in Roman history Built with the booty from the War against the Dacians Large central plaza flanked by multiple buildings Administrative, commercial, political, and social center of Trajan's empire Part of complex containing other buildings Forum contained an Equestrian sculpture of the emperor
Markets of Trajan (Forum of Trajan) 106-112 C.E. Brick and concrete Had 150 shops Multilevel mall, in a semicircular shape Main space used groin vaults, each individual shop featured a barrel vault
Markets of Trajan (Forum of Trajan) 106-112 C.E. Brick and concrete Had 150 shops Multilevel mall, in a semicircular shape Main space used groin vaults, each individual shop featured a barrel vault
Basilica Ulpia (Forum of Trajan) 106-112 C.E. Brick and concrete 385 ft. by 128 ft., two apses, doulbe colonnaded aisle, Nave very spacious and wide Second floor held galleries or clerestory windows providing light Timber roof Held the law courts and official offices Heavily influences future architecture and basilica churches
Basilica Ulpia (Forum of Trajan) 106-112 C.E. Brick and concrete 385 ft. by 128 ft., two apses, doulbe colonnaded aisle, Nave very spacious and wide Second floor held galleries or clerestory windows providing light Timber roof Held the law courts and official offices Heavily influences future architecture and basilica churches
Column of Trajan 113 C.E. Marble Base serves as burial chamber for Trajan Stood in the Forum of Trajan 128 ft high, 625 ft. narrative cycle wrapping the column showing Trajans victory over the Dacians 150 episodes, continuous narrative as figures displayed multiple times in different parts of their life within the same pictorial space Nude statue topped the column as an ultimate symbol of is power and triumph Two libraries flanked the column, with the Basilica Ulpia behind it
Column of Trajan 113 C.E. Marble Base serves as burial chamber for Trajan Stood in the Forum of Trajan 128 ft high, 625 ft. narrative cycle wrapping the column showing Trajans victory over the Dacians 150 episodes, continuous narrative as figures displayed multiple times in different parts of their life within the same pictorial space Nude statue topped the column as an ultimate symbol of is power and triumph Two libraries flanked the column, with the Basilica Ulpia behind it
Pantheon Imperial Rome, 118-125 C.E. Concrete with stone facing Commisioned by Hadrian Temple used to worship all Roman gods Colonnaded porch with corinthian columns, monoliths as they are one whole piece not cut like the Greeks, imported from Egypt Facade has two pediments Square panels on the floor along with the square coffering contrast against the roundness of the wall Dome with coffering Width exactly the same as height as if two spheres came together to construct the building, symbolizes the two spheres of life, earth and heaven where the gods lived Walls very thick to support the weight of the dome Open, uninterrupted space Oculus allows from light to come in, acts as a sundial as a circle of light moved across the structure throughout the day Inside has seven niches housing statues of gods with corinthian columns in between them Possibly the most influential structure in history Interior View as well
Pantheon Imperial Rome, 118-125 C.E. Concrete with stone facing Commisioned by Hadrian Temple used to worship all Roman gods Colonnaded porch with corinthian columns, monoliths as they are one whole piece not cut like the Greeks, imported from Egypt Facade has two pediments Square panels on the floor along with the square coffering contrast against the roundness of the wall Dome with coffering Width exactly the same as height as if two spheres came together to construct the building, symbolizes the two spheres of life, earth and heaven where the gods lived Walls very thick to support the weight of the dome Open, uninterrupted space Oculus allows from light to come in, acts as a sundial as a circle of light moved across the structure throughout the day Inside has seven niches housing statues of gods with corinthian columns in between them Possibly the most influential structure in history Interior View as well
Ludovisi Battle Sarcophagus Late Imperial Rome 250 C.E. Marble Very crowded surface with many figures surrounding each other Heavy relief carving with contrast between figures and shadow created by the deep spaces between them Figures lack individuality Romans appear noble and serious while the barbarians look uncivilized with wild expressions Confusion of battle shown by the multitude of people and their varying poses Roman army appears triumphant over bearded barbarians lying beneath them Figures get smaller at the bottom Youthful general at top without weapons, no helmet showing he is invinicible and doesn't need protection Empire not stable during this time and is instable as barbarians begin to raid Rome
Ludovisi Battle Sarcophagus Late Imperial Rome 250 C.E. Marble Very crowded surface with many figures surrounding each other Heavy relief carving with contrast between figures and shadow created by the deep spaces between them Figures lack individuality Romans appear noble and serious while the barbarians look uncivilized with wild expressions Confusion of battle shown by the multitude of people and their varying poses Roman army appears triumphant over bearded barbarians lying beneath them Figures get smaller at the bottom Youthful general at top without weapons, no helmet showing he is invinicible and doesn't need protection Empire not stable during this time and is instable as barbarians begin to raid Rome
Catacomb of Priscilla Late Antique Europe, 200-400 C.E Tufa and frescoes Wealthy women Priscilla donated land and at first just for her family, but later for the entire Christian community Over 10 miles long holding of narrow passage ways with niches in the walls where bodies would be placed Richer people purchased larger niches which could house a sarcophagus Greek Chapel: Named as there are greek inscription in this room 3 niches for sarcophagi Decorated with the pompeiian first style that tried to recreate marble and brick paneling Frescoes of the acts that Christ performed throughout his life
Catacomb of Priscilla Late Antique Europe, 200-400 C.E Tufa and frescoes Wealthy women Priscilla donated land and at first just for her family, but later for the entire Christian community Over 10 miles long holding of narrow passage ways with niches in the walls where bodies would be placed Richer people purchased larger niches which could house a sarcophagus Greek Chapel: Named as there are greek inscription in this room 3 niches for sarcophagi Decorated with the pompeiian first style that tried to recreate marble and brick paneling Frescoes of the acts that Christ performed throughout his life
Good Shepherd: Portrait of Christ as good shepherd, pastoral motif with greek origins Symoblizes that christ rescues members of his flock who have sinned and are stray Stories of Jonah's life surround Christ, most important the whale regurgitates him, prefiguring resurrection of Christ Cross shaped composition
Good Shepherd: Portrait of Christ as good shepherd, pastoral motif with greek origins Symoblizes that christ rescues members of his flock who have sinned and are stray Stories of Jonah's life surround Christ, most important the whale regurgitates him, prefiguring resurrection of Christ Cross shaped composition
Orant Figure: Fresco above a tomb niche on an arched wall Stands with arms out in prayer, figure is dark and compact against the light background Left shows teacher with children Right shows mother and child referring to Mary and Jesus
Orant Figure: Fresco above a tomb niche on an arched wall Stands with arms out in prayer, figure is dark and compact against the light background Left shows teacher with children Right shows mother and child referring to Mary and Jesus
Santa Sabina Rome, Italy 422-432 B.C.E. Brick/Stone, Wood Roof Three aisled basilican church Long, tall, broad nave, axial plan Spolia: tall columns taken from Temple of Juno in Rome, erected at this site, statement of Christian triumph over paganism Arches/Corithian columns have a rhythm that leads eye to end with an apse and the altar Arches have repeating motifs of a chalice and bread plates symbolizing the Eucharist Clerestory windows made of gypsum that provide lots of light to shine on to the decorations inside Flat timber roof, coffered ceiling, only thin walls needed to support light weight roof Bare exterior, lavishly decorated interior, Men in nave, women in aisle Very influential in future christian churches
Santa Sabina Rome, Italy 422-432 B.C.E. Brick/Stone, Wood Roof Three aisled basilican church Long, tall, broad nave, axial plan Spolia: tall columns taken from Temple of Juno in Rome, erected at this site, statement of Christian triumph over paganism Arches/Corithian columns have a rhythm that leads eye to end with an apse and the altar Arches have repeating motifs of a chalice and bread plates symbolizing the Eucharist Clerestory windows made of gypsum that provide lots of light to shine on to the decorations inside Flat timber roof, coffered ceiling, only thin walls needed to support light weight roof Bare exterior, lavishly decorated interior, Men in nave, women in aisle Very influential in future christian churches
Santa Sabina Plan Rome, Italy 422-432 B.C.E. Brick/Stone, Wood Roof Three aisled basilican church Long, tall, broad nave, axial plan Spolia: tall columns taken from Temple of Juno in Rome, erected at this site, statement of Christian triumph over paganism Arches/Corithian columns have a rhythm that leads eye to end with an apse and the altar Arches have repeating motifs of a chalice and bread plates symbolizing the Eucharist Clerestory windows made of gypsum that provide lots of light to shine on to the decorations inside Flat timber roof, coffered ceiling, only thin walls needed to support light weight roof Bare exterior, lavishly decorated interior, Men in nave, women in aisle Very influential in future christian churches
Santa Sabina Plan Rome, Italy 422-432 B.C.E. Brick/Stone, Wood Roof Three aisled basilican church Long, tall, broad nave, axial plan Spolia: tall columns taken from Temple of Juno in Rome, erected at this site, statement of Christian triumph over paganism Arches/Corithian columns have a rhythm that leads eye to end with an apse and the altar Arches have repeating motifs of a chalice and bread plates symbolizing the Eucharist Clerestory windows made of gypsum that provide lots of light to shine on to the decorations inside Flat timber roof, coffered ceiling, only thin walls needed to support light weight roof Bare exterior, lavishly decorated interior, Men in nave, women in aisle Very influential in future christian churches
Santa Sabina Interior Rome, Italy 422-432 B.C.E. Brick/Stone, Wood Roof Three aisled basilican church Long, tall, broad nave, axial plan Spolia: tall columns taken from Temple of Juno in Rome, erected at this site, statement of Christian triumph over paganism Arches/Corithian columns have a rhythm that leads eye to end with an apse and the altar Arches have repeating motifs of a chalice and bread plates symbolizing the Eucharist Clerestory windows made of gypsum that provide lots of light to shine on to the decorations inside Flat timber roof, coffered ceiling, only thin walls needed to support light weight roof Bare exterior, lavishly decorated interior, Men in nave, women in aisle Very influential in future christian churches
Santa Sabina Interior Rome, Italy 422-432 B.C.E. Brick/Stone, Wood Roof Three aisled basilican church Long, tall, broad nave, axial plan Spolia: tall columns taken from Temple of Juno in Rome, erected at this site, statement of Christian triumph over paganism Arches/Corithian columns have a rhythm that leads eye to end with an apse and the altar Arches have repeating motifs of a chalice and bread plates symbolizing the Eucharist Clerestory windows made of gypsum that provide lots of light to shine on to the decorations inside Flat timber roof, coffered ceiling, only thin walls needed to support light weight roof Bare exterior, lavishly decorated interior, Men in nave, women in aisle Very influential in future christian churches
Rebecca and Eliezer at the Well and Jacob Wrestling the Angel from Vienna Genesis Early Byzantine, 6th century C.E., illuminated manuscript (tempera, gold, silver on purple vellum) Manuscript of the first book of the bible with greek words on top with illustrations of the scenes on the bottom Artist shows classical influence with contrapposto, foreshortening, shadowing, and perspective Dyed and purple and originally written with silver showing roman imperial influence Rebecca Eliezer at the Well (Left): Rebecca emerges from city of Nahor with jar on shoulder to go down to stream Queches thirst of local camel driver and his camels Colonnaded road leads to spring Roman water goddess personifies spring Jacob Wrestling the Angel from Vienna Genesis: Artist tries to fit a very long scene onto a narrow pictorial space Jacob leading his family across a bridge Once crossed Jacob becomes separated and starts fighting with an Angel who touches his hip joint as he asks for his blessing Angel then blesses him allowing the family to go on with their journey No longer called Jacob but now called Israel as part of transformation after being blessed Colonnaded bridge and roman arches present further showing classical influence
Rebecca and Eliezer at the Well and Jacob Wrestling the Angel from Vienna Genesis Early Byzantine, 6th century C.E., illuminated manuscript (tempera, gold, silver on purple vellum) Manuscript of the first book of the bible with greek words on top with illustrations of the scenes on the bottom Artist shows classical influence with contrapposto, foreshortening, shadowing, and perspective Dyed and purple and originally written with silver showing roman imperial influence Rebecca Eliezer at the Well (Left): Rebecca emerges from city of Nahor with jar on shoulder to go down to stream Queches thirst of local camel driver and his camels Colonnaded road leads to spring Roman water goddess personifies spring Jacob Wrestling the Angel from Vienna Genesis: Artist tries to fit a very long scene onto a narrow pictorial space Jacob leading his family across a bridge Once crossed Jacob becomes separated and starts fighting with an Angel who touches his hip joint as he asks for his blessing Angel then blesses him allowing the family to go on with their journey No longer called Jacob but now called Israel as part of transformation after being blessed Colonnaded bridge and roman arches present further showing classical influence
San Vitale Ravenna Italy, Early Byzantine, 6th century, brick marble, stone veneer, mosaic 8 sided, centrally planned church Plain exterior with bricks used from previous Roman structures Many windows to allow tremendous amount of light to illuminate the mosaics inside Interior with thin unique columns and open arched spaces Interior elements dematerialize the mass of the structure Martyrium for St. Vitalis
San Vitale Ravenna Italy, Early Byzantine, 6th century, brick marble, stone veneer, mosaic 8 sided, centrally planned church Plain exterior with bricks used from previous Roman structures Many windows to allow tremendous amount of light to illuminate the mosaics inside Interior with thin unique columns and open arched spaces Interior elements dematerialize the mass of the structure Martyrium for St. Vitalis
San Vitale Interior Ravenna Italy, Early Byzantine, 6th century, brick marble, stone veneer, mosaic 8 sided, centrally planned church Plain exterior with bricks used from previous Roman structures Many windows to allow tremendous amount of light to illuminate the mosaics inside Interior with thin unique columns and open arched spaces Interior elements dematerialize the mass of the structure Martyrium for St. Vitalis
San Vitale Interior Ravenna Italy, Early Byzantine, 6th century, brick marble, stone veneer, mosaic 8 sided, centrally planned church Plain exterior with bricks used from previous Roman structures Many windows to allow tremendous amount of light to illuminate the mosaics inside Interior with thin unique columns and open arched spaces Interior elements dematerialize the mass of the structure Martyrium for St. Vitalis
Justinian Panel San Vitale Justinian shows his power away from the center of the empire Wears purple and gold, colors of imperial rule Surrouned by religious figures, his court, and military, symbolizing he had authority over all aspects of life Holds a bread bowl symbolizing Eucharist Halo shows divine authority Flat figures, not concerend with reality Gold background common to Byzantine art
Justinian Panel San Vitale Justinian shows his power away from the center of the empire Wears purple and gold, colors of imperial rule Surrouned by religious figures, his court, and military, symbolizing he had authority over all aspects of life Holds a bread bowl symbolizing Eucharist Halo shows divine authority Flat figures, not concerend with reality Gold background common to Byzantine art
Theodora Panel San Vitale Theodora ruled as co equal to Justinian and was very powerful Halo shows divine authority Holds a chalice for wine of the Eucharist Elaborate decorative motifs used for dresses 3 Magi shown on bottom of Theodoras dress comparing the figures
Theodora Panel San Vitale Theodora ruled as co equal to Justinian and was very powerful Halo shows divine authority Holds a chalice for wine of the Eucharist Elaborate decorative motifs used for dresses 3 Magi shown on bottom of Theodoras dress comparing the figures
San Vitale Plan Ravenna Italy, Early Byzantine, 6th century, brick marble, stone veneer, mosaic 8 sided, centrally planned church Plain exterior with bricks used from previous Roman structures Many windows to allow tremendous amount of light to illuminate the mosaics inside Interior with thin unique columns and open arched spaces Interior elements dematerialize the mass of the structure Martyrium for St. Vitalis
San Vitale Plan Ravenna Italy, Early Byzantine, 6th century, brick marble, stone veneer, mosaic 8 sided, centrally planned church Plain exterior with bricks used from previous Roman structures Many windows to allow tremendous amount of light to illuminate the mosaics inside Interior with thin unique columns and open arched spaces Interior elements dematerialize the mass of the structure Martyrium for St. Vitalis
Hagia Sophia Constantinople Anthemius of Tralles and Isidorus of Miletus 523-537 C.E., Brick/Ceramic elements with stone and mosaic veneer Commisioned by Justinian showing his power after the Nike Revolt of 532 Combo of centrally planned church and axial planned basilican church Exterior is plan yet massive Central dome made with no supports beneath it done by using pendentives supported by large piers Half domes to each side of the main dome helps spread out the weight 40 windows placed at bottom of domes making it seem like they are floating Large gold mosaics once covered the walls Marble brought from across the empire Minarets added during the islamic period when building made into a mosque
Hagia Sophia Constantinople Anthemius of Tralles and Isidorus of Miletus 523-537 C.E., Brick/Ceramic elements with stone and mosaic veneer Commisioned by Justinian showing his power after the Nike Revolt of 532 Combo of centrally planned church and axial planned basilican church Exterior is plan yet massive Central dome made with no supports beneath it done by using pendentives supported by large piers Half domes to each side of the main dome helps spread out the weight 40 windows placed at bottom of domes making it seem like they are floating Large gold mosaics once covered the walls Marble brought from across the empire Minarets added during the islamic period when building made into a mosque
Hagia Sophia Interior Constantinople Anthemius of Tralles and Isidorus of Miletus 523-537 C.E., Brick/Ceramic elements with stone and mosaic veneer Commisioned by Justinian showing his power after the Nike Revolt of 532 Combo of centrally planned church and axial planned basilican church Exterior is plan yet massive Central dome made with no supports beneath it done by using pendentives supported by large piers Half domes to each side of the main dome helps spread out the weight 40 windows placed at bottom of domes making it seem like they are floating Large gold mosaics once covered the walls Marble brought from across the empire Minarets added during the islamic period when building made into a mosque
Hagia Sophia Interior Constantinople Anthemius of Tralles and Isidorus of Miletus 523-537 C.E., Brick/Ceramic elements with stone and mosaic veneer Commisioned by Justinian showing his power after the Nike Revolt of 532 Combo of centrally planned church and axial planned basilican church Exterior is plan yet massive Central dome made with no supports beneath it done by using pendentives supported by large piers Half domes to each side of the main dome helps spread out the weight 40 windows placed at bottom of domes making it seem like they are floating Large gold mosaics once covered the walls Marble brought from across the empire Minarets added during the islamic period when building made into a mosque
Hagia Sophia Plan Constantinople Anthemius of Tralles and Isidorus of Miletus 523-537 C.E., Brick/Ceramic elements with stone and mosaic veneer Commisioned by Justinian showing his power after the Nike Revolt of 532 Combo of centrally planned church and axial planned basilican church Exterior is plan yet massive Central dome made with no supports beneath it done by using pendentives supported by large piers Half domes to each side of the main dome helps spread out the weight 40 windows placed at bottom of domes making it seem like they are floating Large gold mosaics once covered the walls Marble brought from across the empire Minarets added during the islamic period when building made into a mosque
Hagia Sophia Plan Constantinople Anthemius of Tralles and Isidorus of Miletus 523-537 C.E., Brick/Ceramic elements with stone and mosaic veneer Commisioned by Justinian showing his power after the Nike Revolt of 532 Combo of centrally planned church and axial planned basilican church Exterior is plan yet massive Central dome made with no supports beneath it done by using pendentives supported by large piers Half domes to each side of the main dome helps spread out the weight 40 windows placed at bottom of domes making it seem like they are floating Large gold mosaics once covered the walls Marble brought from across the empire Minarets added during the islamic period when building made into a mosque
Merovingian Looped Fibula Early Medieval Europe, mid 6th century, silver gilt worked in filigree, inlays of garnets/other stones Fibulas were pins used to fasten garments, showed off the prestige of the wearer Cloisonne technique used by laying numerous metal strips and filling in the spaces with precious gems Zoomorphic elements, fish shown in middle referencing god, abstract stylized bird Small portable objects common as art forms of the time as most tribes were nomadic barbarians
Merovingian Looped Fibula Early Medieval Europe, mid 6th century, silver gilt worked in filigree, inlays of garnets/other stones Fibulas were pins used to fasten garments, showed off the prestige of the wearer Cloisonne technique used by laying numerous metal strips and filling in the spaces with precious gems Zoomorphic elements, fish shown in middle referencing god, abstract stylized bird Small portable objects common as art forms of the time as most tribes were nomadic barbarians
Virgin and Child between Saints Theodore and George Early Byzantine, 6th/Early 7th century, Monastery of St. Catherine Mt. Sinai, Encaustic on wood Icon placed in a sacred monastery subject to many pilgrimages as it was in the holy land Mary shown as Theotokos, mother of god Mary looks past the viewer as if seeing into the future Christ child looks away as if anticipating his crucifixion Saints Theodore/George flank them and engage with the viewer directly, very rigid/stiff poses Angles look up into the heavens done with classical style as noted by the quick brushwork Descending hand of god seen giving a blessing Spatial ambiguity present HIerarchal structure moving eyes upward towards the hand of god as if ascending
Virgin and Child between Saints Theodore and George Early Byzantine, 6th/Early 7th century, Monastery of St. Catherine Mt. Sinai, Encaustic on wood Icon placed in a sacred monastery subject to many pilgrimages as it was in the holy land Mary shown as Theotokos, mother of god Mary looks past the viewer as if seeing into the future Christ child looks away as if anticipating his crucifixion Saints Theodore/George flank them and engage with the viewer directly, very rigid/stiff poses Angles look up into the heavens done with classical style as noted by the quick brushwork Descending hand of god seen giving a blessing Spatial ambiguity present HIerarchal structure moving eyes upward towards the hand of god as if ascending
Lindisfarne Gosepls: St. Matthew Cross Carpet Page Hiberno Saxon, 700 C.E. Illuminated Manuscript Written by Eadrith, bishop of Lindisfarne Unusual because it was done by one person instead of a group of people Written in Latin, English added in 970, oldest surviving manuscript of the bible in English Latin- half-uncial English- Anglo-Saxon miniscule 130 calf skins used to make it Colophon at end tells who created it and how it was created St. Matthews Cross Page: Cross shown on page with horror vacui decoration Dog headed snakes mix with birds with long beaks Elongated figures form many
Lindisfarne Gosepls: St. Matthew Cross Carpet Page Hiberno Saxon, 700 C.E. Illuminated Manuscript Written by Eadrith, bishop of Lindisfarne Unusual because it was done by one person instead of a group of people Written in Latin, English added in 970, oldest surviving manuscript of the bible in English Latin- half-uncial English- Anglo-Saxon miniscule 130 calf skins used to make it Colophon at end tells who created it and how it was created St. Matthews Cross Page: Cross shown on page with horror vacui decoration Dog headed snakes mix with birds with long beaks Elongated figures form many "S" shapes Symmetrical energized arrangement Black background has the patterning stand out Mixture of traditional celtic imagery with christian theology Stable, expansive cross contrasts with the highly energetic patterning around it and helps stabilize the pictorial space
Lindisfarne Gosepls: St. Luke Portrait page Hiberno Saxon, 700 C.E. Illuminated Manuscript Written by Eadrith, bishop of Lindisfarne Unusual because it was done by one person instead of a group of people Written in Latin, English added in 970, oldest surviving manuscript of the bible in English Latin- half-uncial English- Anglo-Saxon miniscule 130 calf skins used to make it Colophon at end tells who created it and how it was created St Luke Portrait Page: Traditional symbol of St. Luke the calf is shown above him St. Luke identified with greek words Hagios Lucas Wears a purple and red robe characteristic of late roman citizen/philosopher, shows roman influence Heavily bearded St. Luke shows how wise of an author he was despite the young age he is depicted as Sits with legs crossed and holding a scroll and writing utencil
Lindisfarne Gosepls: St. Luke Portrait page Hiberno Saxon, 700 C.E. Illuminated Manuscript Written by Eadrith, bishop of Lindisfarne Unusual because it was done by one person instead of a group of people Written in Latin, English added in 970, oldest surviving manuscript of the bible in English Latin- half-uncial English- Anglo-Saxon miniscule 130 calf skins used to make it Colophon at end tells who created it and how it was created St Luke Portrait Page: Traditional symbol of St. Luke the calf is shown above him St. Luke identified with greek words Hagios Lucas Wears a purple and red robe characteristic of late roman citizen/philosopher, shows roman influence Heavily bearded St. Luke shows how wise of an author he was despite the young age he is depicted as Sits with legs crossed and holding a scroll and writing utencil
Lindisfarne Gosepls: St. Luke Incipit page Hiberno Saxon, 700 C.E. Illuminated Manuscript Written by Eadrith, bishop of Lindisfarne Unusual because it was done by one person instead of a group of people Written in Latin, English added in 970, oldest surviving manuscript of the bible in English Latin- half-uncial English- Anglo-Saxon miniscule 130 calf skins used to make it Colophon at end tells who created it and how it was created St. Luke's Incipit Page: Opening words of St. Lukes Gospel appear on the riaght Numerous celtic spiral ornaments, step patterns appear in the enlarged
Lindisfarne Gosepls: St. Luke Incipit page Hiberno Saxon, 700 C.E. Illuminated Manuscript Written by Eadrith, bishop of Lindisfarne Unusual because it was done by one person instead of a group of people Written in Latin, English added in 970, oldest surviving manuscript of the bible in English Latin- half-uncial English- Anglo-Saxon miniscule 130 calf skins used to make it Colophon at end tells who created it and how it was created St. Luke's Incipit Page: Opening words of St. Lukes Gospel appear on the riaght Numerous celtic spiral ornaments, step patterns appear in the enlarged "O" Lower right corner show the natural detail of a cat who has eaten a brids
Taj Mahal Agra, India, Sonte masonry, marble with inlay of precious stones, 1632-1653 English
Taj Mahal Agra, India, Sonte masonry, marble with inlay of precious stones, 1632-1653 English "Crown Palace" Named for Mumtaz Mahal, wife of Shah Jahan, as she died giving birth to her 14th kid Built to serve as her tomb, placed centrally under the dome Shah Jahan placed assymetrically next to her after his death Symmetrical harmony of design Typical islamic feature of one large arch being flanked by two smaller arches Arcuated niches fill the sides of the facade and Onion-shaped dome rises smoothly from the square facade Smaller domes flanking the central dome lessen its severity Pointed arches bring the eye upward toward the climatic dome and the minarets help to enhance the soaring theme Arcuated niches fill the sides of the facade and intricate floral/geometric patterns are found on the facade Portions of the the Quran are also found Grounds are a funerary garden meant to mimic the gardens found in heaven according to Islamic tradition Minarets focuse view towards structure and act as a frame for it Such large size to showcase the grandeur of Shah Jahan and his kingdom of the Mughal empire
Taj Mahal Interior Agra, India, Sonte masonry, marble with inlay of precious stones, 1632-1653 English
Taj Mahal Interior Agra, India, Sonte masonry, marble with inlay of precious stones, 1632-1653 English "Crown Palace" Named for Mumtaz Mahal, wife of Shah Jahan, as she died giving birth to her 14th kid Built to serve as her tomb, placed centrally under the dome Shah Jahan placed assymetrically next to her after his death Symmetrical harmony of design Typical islamic feature of one large arch being flanked by two smaller arches Onion-shaped dome rises smoothly from the square facade Smaller domes flanking the central dome lessen its severity Intricate floral/geometric patterns are found on the facade Grounds are a funerary garden meant to mimic the gardens found in heaven according to Islamic tradition Minarets focuse view towards structure and act as a frame for it Such large size to showcase the grandeur of Shah Jahan and his kingdom
Mosque of Selim II Sinan (architect),Edirne, Turkey, 1568-1575, Brick and Stone Very thin tall minarets Numerous windows make for brilliantly lit interior Decorative display of mosaics and tile work for interior Inspired by Hagia Sophia, though this is a completely central plan Octagonal interior contrasts with conventional mosques that have partitioned interiors Hospital, school, library, etc. all part of the complex Sinan was chief court architect for Suleiman the Magnificent Transitions from a square ground plan to round dome done with insertion of smaller domes that act as squiches 8 Large piers support the dome
Mosque of Selim II Sinan (architect),Edirne, Turkey, 1568-1575, Brick and Stone Very thin tall minarets Numerous windows make for brilliantly lit interior Decorative display of mosaics and tile work for interior Inspired by Hagia Sophia, though this is a completely central plan Octagonal interior contrasts with conventional mosques that have partitioned interiors Hospital, school, library, etc. all part of the complex Sinan was chief court architect for Suleiman the Magnificent Transitions from a square ground plan to round dome done with insertion of smaller domes that act as squiches 8 Large piers support the dome
Mosque of Selim II Interior Sinan (architect),Edirne, Turkey, 1568-1575, Brick and Stone Very thin tall minarets Numerous windows make for brilliantly lit interior Decorative display of mosaics and tile work for interior Inspired by Hagia Sophia, though this is a completely central plan Octagonal interior contrasts with conventional mosques that have partitioned interiors Hospital, school, library, etc. all part of the complex Sinan was chief court architect for Suleiman the Magnificent Transitions from a square ground plan to round dome done with insertion of smaller domes that act as squiches 8 Large piers support the dome
Mosque of Selim II Interior Sinan (architect),Edirne, Turkey, 1568-1575, Brick and Stone Very thin tall minarets Numerous windows make for brilliantly lit interior Decorative display of mosaics and tile work for interior Inspired by Hagia Sophia, though this is a completely central plan Octagonal interior contrasts with conventional mosques that have partitioned interiors Hospital, school, library, etc. all part of the complex Sinan was chief court architect for Suleiman the Magnificent Transitions from a square ground plan to round dome done with insertion of smaller domes that act as squiches 8 Large piers support the dome
Mosque of Selim II Plan Sinan (architect),Edirne, Turkey, 1568-1575, Brick and Stone Very thin tall minarets Numerous windows make for brilliantly lit interior Decorative display of mosaics and tile work for interior Inspired by Hagia Sophia, though this is a completely central plan Octagonal interior contrasts with conventional mosques that have partitioned interiors Hospital, school, library, etc. all part of the complex Sinan was chief court architect for Suleiman the Magnificent Transitions from a square ground plan to round dome done with insertion of smaller domes that act as squiches 8 Large piers support the dome
Mosque of Selim II Plan Sinan (architect),Edirne, Turkey, 1568-1575, Brick and Stone Very thin tall minarets Numerous windows make for brilliantly lit interior Decorative display of mosaics and tile work for interior Inspired by Hagia Sophia, though this is a completely central plan Octagonal interior contrasts with conventional mosques that have partitioned interiors Hospital, school, library, etc. all part of the complex Sinan was chief court architect for Suleiman the Magnificent Transitions from a square ground plan to round dome done with insertion of smaller domes that act as squiches 8 Large piers support the dome
Great Mosque Cordoba Spain, Umayyad 785-786 Double-arched columns articulatd in alternating bands of color on each voussoir Light, open, airy interior Horseshoe-shaped arches have a tradition in Visigothic Spain and Roman architecture Hypostyle mosque with no central focus or congregational worship Original wooden ceiling replaced by vaulting Complex dome over mihrab with elaborate squinches Columns are spolia from ancient Roman structures Relatively short columns made ceilings low, doubling of arches enhances interior space influenced by previous Roman aqueducts Kufic calligraphy on the walls Built on site of a church, after Christian reconquest center of the mosque was used for a church
Great Mosque Cordoba Spain, Umayyad 785-786 Double-arched columns articulatd in alternating bands of color on each voussoir Light, open, airy interior Horseshoe-shaped arches have a tradition in Visigothic Spain and Roman architecture Hypostyle mosque with no central focus or congregational worship Original wooden ceiling replaced by vaulting Complex dome over mihrab with elaborate squinches Columns are spolia from ancient Roman structures Relatively short columns made ceilings low, doubling of arches enhances interior space influenced by previous Roman aqueducts Kufic calligraphy on the walls Built on site of a church, after Christian reconquest center of the mosque was used for a church
Great Mosque (Cordoba) Cordoba Spain, Umayyad 785-786 Double-arched columns articulatd in alternating bands of color on each voussoir Light, open, airy interior Horseshoe-shaped arches have a tradition in Visigothic Spain and Roman architecture Hypostyle mosque with no central focus or congregational worship Original wooden ceiling replaced by vaulting Complex dome over mihrab with elaborate squinches Columns are spolia from ancient Roman structures Relatively short columns made ceilings low, doubling of arches enhances interior space influenced by previous Roman aqueducts Kufic calligraphy on the walls Built on site of a church, after Christian reconquest center of the mosque was used for a church
Great Mosque (Cordoba) Cordoba Spain, Umayyad 785-786 Double-arched columns articulatd in alternating bands of color on each voussoir Light, open, airy interior Horseshoe-shaped arches have a tradition in Visigothic Spain and Roman architecture Hypostyle mosque with no central focus or congregational worship Original wooden ceiling replaced by vaulting Complex dome over mihrab with elaborate squinches Columns are spolia from ancient Roman structures Relatively short columns made ceilings low, doubling of arches enhances interior space influenced by previous Roman aqueducts Kufic calligraphy on the walls Built on site of a church, after Christian reconquest center of the mosque was used for a church
Great Mosque (Cordoba) Cordoba Spain, Umayyad 785-786 Double-arched columns articulatd in alternating bands of color on each voussoir Light, open, airy interior Horseshoe-shaped arches have a tradition in Visigothic Spain and Roman architecture Hypostyle mosque with no central focus or congregational worship Original wooden ceiling replaced by vaulting Complex dome over mihrab with elaborate squinches Columns are spolia from ancient Roman structures Relatively short columns made ceilings low, doubling of arches enhances interior space influenced by previous Roman aqueducts Kufic calligraphy on the walls Built on site of a church, after Christian reconquest center of the mosque was used for a church
Great Mosque (Cordoba) Cordoba Spain, Umayyad 785-786 Double-arched columns articulatd in alternating bands of color on each voussoir Light, open, airy interior Horseshoe-shaped arches have a tradition in Visigothic Spain and Roman architecture Hypostyle mosque with no central focus or congregational worship Original wooden ceiling replaced by vaulting Complex dome over mihrab with elaborate squinches Columns are spolia from ancient Roman structures Relatively short columns made ceilings low, doubling of arches enhances interior space influenced by previous Roman aqueducts Kufic calligraphy on the walls Built on site of a church, after Christian reconquest center of the mosque was used for a church
Great Mosque Arches (Cordoba) Cordoba Spain, Umayyad 785-786 Double-arched columns articulatd in alternating bands of color on each voussoir Light, open, airy interior Horseshoe-shaped arches have a tradition in Visigothic Spain and Roman architecture Hypostyle mosque with no central focus or congregational worship Original wooden ceiling replaced by vaulting Complex dome over mihrab with elaborate squinches Columns are spolia from ancient Roman structures Relatively short columns made ceilings low, doubling of arches enhances interior space influenced by previous Roman aqueducts Kufic calligraphy on the walls Built on site of a church, after Christian reconquest center of the mosque was used for a church Hypostyle hall used for prayer
Great Mosque Arches (Cordoba) Cordoba Spain, Umayyad 785-786 Double-arched columns articulatd in alternating bands of color on each voussoir Light, open, airy interior Horseshoe-shaped arches have a tradition in Visigothic Spain and Roman architecture Hypostyle mosque with no central focus or congregational worship Original wooden ceiling replaced by vaulting Complex dome over mihrab with elaborate squinches Columns are spolia from ancient Roman structures Relatively short columns made ceilings low, doubling of arches enhances interior space influenced by previous Roman aqueducts Kufic calligraphy on the walls Built on site of a church, after Christian reconquest center of the mosque was used for a church Hypostyle hall used for prayer
Great Mosque Plan (Cordoba) Cordoba Spain, Umayyad 785-786 Double-arched columns articulatd in alternating bands of color on each voussoir Light, open, airy interior Horseshoe-shaped arches have a tradition in Visigothic Spain and Roman architecture Hypostyle mosque with no central focus or congregational worship Original wooden ceiling replaced by vaulting Complex dome over mihrab with elaborate squinches Columns are spolia from ancient Roman structures Relatively short columns made ceilings low, doubling of arches enhances interior space influenced by previous Roman aqueducts Kufic calligraphy on the walls Built on site of a church, after Christian reconquest center of the mosque was used for a church
Great Mosque Plan (Cordoba) Cordoba Spain, Umayyad 785-786 Double-arched columns articulatd in alternating bands of color on each voussoir Light, open, airy interior Horseshoe-shaped arches have a tradition in Visigothic Spain and Roman architecture Hypostyle mosque with no central focus or congregational worship Original wooden ceiling replaced by vaulting Complex dome over mihrab with elaborate squinches Columns are spolia from ancient Roman structures Relatively short columns made ceilings low, doubling of arches enhances interior space influenced by previous Roman aqueducts Kufic calligraphy on the walls Built on site of a church, after Christian reconquest center of the mosque was used for a church
Great Mosque Isfahan Iran (Masjid-e Jameh) Large central rectangular courtyard surrounded by two story arcade Each side of courtyard has centrally placed iwan, possibly first mosque to use this feature One iwan is an entry to hte private space used by the sultan and his advisers Has a dome adorned with tiles The qibla iwan is the largest and most decorative, its size indicates it is facing the direction of Mecca
Great Mosque Isfahan Iran (Masjid-e Jameh) Large central rectangular courtyard surrounded by two story arcade Each side of courtyard has centrally placed iwan, possibly first mosque to use this feature One iwan is an entry to hte private space used by the sultan and his advisers Has a dome adorned with tiles The qibla iwan is the largest and most decorative, its size indicates it is facing the direction of Mecca
Great Mosque Isfahan Mihrab Large central rectangular courtyard surrounded by two story arcade Each side of courtyard has centrally placed iwan, possibly first mosque to use this feature One iwan is an entry to hte private space used by the sultan and his advisers Has a dome adorned with tiles The qibla iwan is the largest and most decorative, its size indicates it is facing the direction of Meccaa
Great Mosque Isfahan Mihrab Large central rectangular courtyard surrounded by two story arcade Each side of courtyard has centrally placed iwan, possibly first mosque to use this feature One iwan is an entry to hte private space used by the sultan and his advisers Has a dome adorned with tiles The qibla iwan is the largest and most decorative, its size indicates it is facing the direction of Meccaa
Great Mosque Isfahan Iwan Large central rectangular courtyard surrounded by two story arcade Each side of courtyard has centrally placed iwan, possibly first mosque to use this feature One iwan is an entry to hte private space used by the sultan and his advisers Has a dome adorned with tiles The qibla iwan is the largest and most decorative, its size indicates it is facing the direction of Mecca
Great Mosque Isfahan Iwan Large central rectangular courtyard surrounded by two story arcade Each side of courtyard has centrally placed iwan, possibly first mosque to use this feature One iwan is an entry to hte private space used by the sultan and his advisers Has a dome adorned with tiles The qibla iwan is the largest and most decorative, its size indicates it is facing the direction of Mecca
Pyxis of al-Mughira Umayyad 968 C.E., Ivory Calligraphic inscription in Arabic identifies the owneras al-Mughira, son of a caliph, asks for Allah's blessing, tell the function of the Pyxis Used as a container for expensive aromatics Gift for the caliphs younger son at the time Horror Vacui present as the entire space is filled with patterning Vegetal/Geometric motifs 8 medallion scenes showing the pleasure activities of the royal court Muslim Spain
Pyxis of al-Mughira Umayyad 968 C.E., Ivory Calligraphic inscription in Arabic identifies the owneras al-Mughira, son of a caliph, asks for Allah's blessing, tell the function of the Pyxis Used as a container for expensive aromatics Gift for the caliphs younger son at the time Horror Vacui present as the entire space is filled with patterning Vegetal/Geometric motifs 8 medallion scenes showing the pleasure activities of the royal court Muslim Spain
The Kaaba 631-632, granite masonry covered with silk curtain/gold thread, Mecca Saudi Arabia Mecca spiritual center of Islam Said to have been built by Ibrahim and Ishamel for God (Allah) Existing structure incases the blackstone in the eastern corner, only part of original structure left Has been repaired/remodeled many times since its construction due to conflict Cube shape covered in precious textiles called the kiswa Destination for those on pilgrimage back to Mecca, perform Hajj, walk around the structure 7 times counterclockwise Today the door into the structure is made of solid gold
The Kaaba 631-632, granite masonry covered with silk curtain/gold thread, Mecca Saudi Arabia Mecca spiritual center of Islam Said to have been built by Ibrahim and Ishamel for God (Allah) Existing structure incases the blackstone in the eastern corner, only part of original structure left Has been repaired/remodeled many times since its construction due to conflict Cube shape covered in precious textiles called the kiswa Destination for those on pilgrimage back to Mecca, perform Hajj, walk around the structure 7 times counterclockwise Today the door into the structure is made of solid gold
Jowo Rinopche Jokhang Temple, Tibet, 641 Inside the Jokhang temple which is Tibet's earliest and greatest Buddhist temple, founded in 647 by the first ruler of a unified Tibet Statue thought to have been blessed by the Buddha himself, believed to have been crafted in India during his lifetime Depiction of Buddha Sakyamuni, the historical buddha as a young man around age of 12 Disappeared in 1960's during the Cultural Revolution 1983 lower part found in rubbish heap, restored in 2003
Jowo Rinopche Jokhang Temple, Tibet, 641 Inside the Jokhang temple which is Tibet's earliest and greatest Buddhist temple, founded in 647 by the first ruler of a unified Tibet Statue thought to have been blessed by the Buddha himself, believed to have been crafted in India during his lifetime Depiction of Buddha Sakyamuni, the historical buddha as a young man around age of 12 Disappeared in 1960's during the Cultural Revolution 1983 lower part found in rubbish heap, restored in 2003
Buddha Bamiyan, Afghanistan, 400-800 C.E. destroyed in 2001, cut rock with polychrome paint Bamiyan is a city at the western end of the silk road, trading/religious center Two huge Buddhas 175 ft tall and 115 ft tall First colossal buddhas made Niche is shaped like a halo or mandorla around his body Small Buddha: Sakyamuni, historical buddha Larger Buddha: Vairocana, universal Buddha Originally covered in pigment with gold Cavle galleries weave through the cliff face, some have wall paintings and images of the seated buddha Pilgrims can walk through the galleries into passages that lead to the level of the Buddha's shoulders Models for later large scale rock images of the buddha in China Destroyed by the Taliban in an act of iconoclasm in 2001
Buddha Bamiyan, Afghanistan, 400-800 C.E. destroyed in 2001, cut rock with polychrome paint Bamiyan is a city at the western end of the silk road, trading/religious center Two huge Buddhas 175 ft tall and 115 ft tall First colossal buddhas made Niche is shaped like a halo or mandorla around his body Small Buddha: Sakyamuni, historical buddha Larger Buddha: Vairocana, universal Buddha Originally covered in pigment with gold Cavle galleries weave through the cliff face, some have wall paintings and images of the seated buddha Pilgrims can walk through the galleries into passages that lead to the level of the Buddha's shoulders Models for later large scale rock images of the buddha in China Destroyed by the Taliban in an act of iconoclasm in 2001
Dome of the Rock 691-692, stone masonry/wood roof decorated with ceramic tile, mosaics, aluminum/bronze dome Domed wooden octagon Influenced by previous centrally planned buildings/churches Columns taken form Roman monuments Sacred rock where Adam was buried, Abraham nearly sacrificed Issac, Muhammad ascended to heaven, Rock enclosed by two ambulatories Meant to rival Christian church of the Holy Sepulcher in Jerusalem, but its dome was inspired by that Church Mosaics use vegetative forms instead of iconography Mosaic Arabic calligraphy encourages Muslims to embrace Allah as only god, shows that Christian trinity is polytheistc belief Oldest surviving Quran verses, first use of Quran verses in architecture Pilgrimage site for the faithful Constructed by Abd al-Malilk, caliph of the Umayyad Dynasty
Dome of the Rock 691-692, stone masonry/wood roof decorated with ceramic tile, mosaics, aluminum/bronze dome Domed wooden octagon Influenced by previous centrally planned buildings/churches Columns taken form Roman monuments Sacred rock where Adam was buried, Abraham nearly sacrificed Issac, Muhammad ascended to heaven, Rock enclosed by two ambulatories Meant to rival Christian church of the Holy Sepulcher in Jerusalem, but its dome was inspired by that Church Mosaics use vegetative forms instead of iconography Mosaic Arabic calligraphy encourages Muslims to embrace Allah as only god, shows that Christian trinity is polytheistc belief Oldest surviving Quran verses, first use of Quran verses in architecture Pilgrimage site for the faithful Constructed by Abd al-Malilk, caliph of the Umayyad Dynasty
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Folio from a Qur'an North Africa, Abbasid, 8-9 century, ink on gold parchment Arabic meant to be read from right to left like Hebrew Kufic Script: Strong uprights and long horizontals Clarity in the text as many readers read the book at once Consonants are scripted, vowels indicated by dots or markings around the other letters Qurans were compiled and codified in the mid 7th century, but the earlies surviving Quran was from the 9th century like this one
Folio from a Qur'an North Africa, Abbasid, 8-9 century, ink on gold parchment Arabic meant to be read from right to left like Hebrew Kufic Script: Strong uprights and long horizontals Clarity in the text as many readers read the book at once Consonants are scripted, vowels indicated by dots or markings around the other letters Qurans were compiled and codified in the mid 7th century, but the earlies surviving Quran was from the 9th century like this one
Basin (Baptistere de St. Louis) Muhammad ibn al-Zain, 1320-1340, brass inlaid with gold/silver Artist signed 6 times showing how proud he was of creating this work Created by Mamluks during their rule of Egypt Originally used for washing ones hands before official ceremonies Later used as a bowl for holding water of French baptisms Side of bowl has 4 figures in medallions that apear to be hunting or going into battle Top bowl shows figures alternating between hunting and fighting as they march towards a ruler on either side of the bowl Bottom of bowl shows aquatic animals like fish, eels, etc.
Basin (Baptistere de St. Louis) Muhammad ibn al-Zain, 1320-1340, brass inlaid with gold/silver Artist signed 6 times showing how proud he was of creating this work Created by Mamluks during their rule of Egypt Originally used for washing ones hands before official ceremonies Later used as a bowl for holding water of French baptisms Side of bowl has 4 figures in medallions that apear to be hunting or going into battle Top bowl shows figures alternating between hunting and fighting as they march towards a ruler on either side of the bowl Bottom of bowl shows aquatic animals like fish, eels, etc.
Bahram Gur Fights the Karg Folio from Great Il'Khanid Shanama Islamic/Persian, Il'Khanid,1330-1340, ink/opaque watercolor, gold/silver on paper Whole book has 258 illustrated pages large painted surface area, calligraphy no longer as prevalent Large areas of flat color Spatial recession indicated by overlapping planes Atmospheric perspective seen with light blue background Bahram bur was ancient Iranian king from the Sassanians dynasty Representts the ideal king as he wears a crown and golden halo Karg is a unicorn he fought on his way to India From the Book of Kings Bahram Gur wears a garment of European fabric Chinese landscape conventions can be seen in background
Bahram Gur Fights the Karg Folio from Great Il'Khanid Shanama Islamic/Persian, Il'Khanid,1330-1340, ink/opaque watercolor, gold/silver on paper Whole book has 258 illustrated pages large painted surface area, calligraphy no longer as prevalent Large areas of flat color Spatial recession indicated by overlapping planes Atmospheric perspective seen with light blue background Bahram bur was ancient Iranian king from the Sassanians dynasty Representts the ideal king as he wears a crown and golden halo Karg is a unicorn he fought on his way to India From the Book of Kings Bahram Gur wears a garment of European fabric Chinese landscape conventions can be seen in background
Court of Gayumars , foli from Shanama Sultan Muhammad, 1522-1525, ink/opaque watercolor, gold/silver on paper Shanama is the Book of Kings, a Persian epic poem by Firdawsi telling the ancient history of Perisa Whole book has 258 illustrated pages This page shows the first king, Gayumars, enthroned before his community Left shows son Siyamak, Right shows grandson Hushang Court appears in semicircle below, wearing court attire (leopard skins) Harmony between man and landscape Minute details presents but dont overcrowd the scene Animals became tame upon the kings presence
Court of Gayumars , foli from Shanama Sultan Muhammad, 1522-1525, ink/opaque watercolor, gold/silver on paper Shanama is the Book of Kings, a Persian epic poem by Firdawsi telling the ancient history of Perisa Whole book has 258 illustrated pages This page shows the first king, Gayumars, enthroned before his community Left shows son Siyamak, Right shows grandson Hushang Court appears in semicircle below, wearing court attire (leopard skins) Harmony between man and landscape Minute details presents but dont overcrowd the scene Animals became tame upon the kings presence
Ardabil Carpet Maqsud of Kashan, 1539-1540 Silk/Wook Oldest dated islamic carpet in existence Part of a matching pair put in the funerary mosque of Shayik Safial-Din, Used as a prayer carpet, covered in geometric patterns,vegetative/floral forms Medallion in center represents the inside of the dome that was above it, and it had 16 pendentives Masque lamps hang from two of the pendentives, one smaller and closer, while the other one is larger and farther away from the center Corner squinches have pendants completing the feeling of looking into a dome Wool carpet, woven by ten people, (probably men as women didnt weave in this period), importance of location and size of product shows men were the only ones who could be trusted to produce it
Ardabil Carpet Maqsud of Kashan, 1539-1540 Silk/Wook Oldest dated islamic carpet in existence Part of a matching pair put in the funerary mosque of Shayik Safial-Din, Used as a prayer carpet, covered in geometric patterns,vegetative/floral forms Medallion in center represents the inside of the dome that was above it, and it had 16 pendentives Masque lamps hang from two of the pendentives, one smaller and closer, while the other one is larger and farther away from the center Corner squinches have pendants completing the feeling of looking into a dome Wool carpet, woven by ten people, (probably men as women didnt weave in this period), importance of location and size of product shows men were the only ones who could be trusted to produce it
Church of Sainte Foy Exterior Conques, France, Romanesque, 1050-1130, stone Church built along the pilgrimage site to the Santiago de Compostela Church built to handle large number of people coming to view the relics housed there, has wide transept, large ambulatory and many radiating chapels Massive heavy unornamented interior walls No clerestory as barrel vaults were too heavy and required too much butressing so no room, but light provided by windows over side aisles and galleries Barrel vaults fill the nave, reinforced by various transverse arches Cross like ground plan
Church of Sainte Foy Exterior Conques, France, Romanesque, 1050-1130, stone Church built along the pilgrimage site to the Santiago de Compostela Church built to handle large number of people coming to view the relics housed there, has wide transept, large ambulatory and many radiating chapels Massive heavy unornamented interior walls No clerestory as barrel vaults were too heavy and required too much butressing so no room, but light provided by windows over side aisles and galleries Barrel vaults fill the nave, reinforced by various transverse arches Cross like ground plan
Church of Sainte Foy The Last Judgement Largest Romanesque tympanum Christ as a strict judge, dividing the world between those going to heaven verss those going to hell Christs welcoming right hand, cast down left hand Dividing line runs vertically through the cross in the middle of the composition Archangel Michael and devil at christs feet, weighing the souls Hell with damned on right, saved on left, people enter the church on the right and exit saved on the left Subject of typanum reminds pilgrims of the whole point behind their pilgrimage (salvation) 124 figures richly painted, densely packed together Saved move towards Christ, Mary/ St. Peter in the lead Paradise on lower left portrayed as heavenly Jerusalem In left triangle, arches of Conques Abbey with dangling chaines Sainte Foy interceded for those enslaved by Muslims in Spain, she appears keeling before a giant hand of Christ Right lower level, devil presides over a chaotic tangle of tortured condemned sinners
Church of Sainte Foy The Last Judgement Largest Romanesque tympanum Christ as a strict judge, dividing the world between those going to heaven verss those going to hell Christs welcoming right hand, cast down left hand Dividing line runs vertically through the cross in the middle of the composition Archangel Michael and devil at christs feet, weighing the souls Hell with damned on right, saved on left, people enter the church on the right and exit saved on the left Subject of typanum reminds pilgrims of the whole point behind their pilgrimage (salvation) 124 figures richly painted, densely packed together Saved move towards Christ, Mary/ St. Peter in the lead Paradise on lower left portrayed as heavenly Jerusalem In left triangle, arches of Conques Abbey with dangling chaines Sainte Foy interceded for those enslaved by Muslims in Spain, she appears keeling before a giant hand of Christ Right lower level, devil presides over a chaotic tangle of tortured condemned sinners
Church of Sainte Foy Conques, France, Romanesque, 1050-1130, stone Church built along the pilgrimage site to the Santiago de Compostela Church built to handle large number of people coming to view the relics housed there, has wide transept, large ambulatory and many radiating chapels Massive heavy unornamented interior walls No clerestory as barrel vaults were too heavy and required too much butressing so no room, but light provided by windows over side aisles and galleries Barrel vaults fill the nave, reinforced by various transverse arches Cross like ground plan
Church of Sainte Foy Conques, France, Romanesque, 1050-1130, stone Church built along the pilgrimage site to the Santiago de Compostela Church built to handle large number of people coming to view the relics housed there, has wide transept, large ambulatory and many radiating chapels Massive heavy unornamented interior walls No clerestory as barrel vaults were too heavy and required too much butressing so no room, but light provided by windows over side aisles and galleries Barrel vaults fill the nave, reinforced by various transverse arches Cross like ground plan
Reliquary of Saint Foy 9th century C.E., gold silver, gemstones, enamel over wood Reliquary of a young girl martyred in the early fourth century; she refused to sacrificeto the Roman gods in a pagan ritual Relics of her body stolen fora nearby town and enthroned in the Conques in 866 One of the earliest large scale sculpture in the Middle Ages Jewels, gems, crown added over the years by the faithful Childs skull is housed in the rather masculine looking enlarged head
Reliquary of Saint Foy 9th century C.E., gold silver, gemstones, enamel over wood Reliquary of a young girl martyred in the early fourth century; she refused to sacrificeto the Roman gods in a pagan ritual Relics of her body stolen fora nearby town and enthroned in the Conques in 866 One of the earliest large scale sculpture in the Middle Ages Jewels, gems, crown added over the years by the faithful Childs skull is housed in the rather masculine looking enlarged head
Bayeux Tapestry Romanesque, English/Norman, 1066-1080, Embroidery on linen Not actually a tapestry, its a embroidery Commisioned by Bishop Odo, half brother of William the Conqueror Tells story of William's conquest of England at Battle of Hastings in 1066 Probably designed by a man, executed by a woman of the court Imaginative creatures on both the upper and lower registers Borders used to comment on main scens or show scenes of everyday life Color used in a non-natural manner, different parts of horse are colored variously Neutral background Flatness of figures, no shadowing Influence of Column of Trajan similarly showing how Trajan conquered the Dacians 75 scenes with over 600 people 230 feeet long, continues tradition of narrative in medieval art
Bayeux Tapestry Romanesque, English/Norman, 1066-1080, Embroidery on linen Not actually a tapestry, its a embroidery Commisioned by Bishop Odo, half brother of William the Conqueror Tells story of William's conquest of England at Battle of Hastings in 1066 Probably designed by a man, executed by a woman of the court Imaginative creatures on both the upper and lower registers Borders used to comment on main scens or show scenes of everyday life Color used in a non-natural manner, different parts of horse are colored variously Neutral background Flatness of figures, no shadowing Influence of Column of Trajan similarly showing how Trajan conquered the Dacians 75 scenes with over 600 people 230 feeet long, continues tradition of narrative in medieval art
Chartres Cathedral Started in 1145; fire in 1194 forced reconstruction of everything except the facade Dedicated to Mary, Cult of Mary very important in Gothic Mary's tunic worn at Jesus's birth most sacred relic, escaped the fire and was seen as signal to rebuild the cathedral Right spire is 1160, left spire late gothic 1507, more elaborate Importance of church reflected in speed of construction, only 26 years Enlarged chevet accomodated elaborate church ceremonies Tall vertical nature of the interior pulls viewers eye up towards heaven Dark mysterious interior increases spiritual feeling Stained glass enlivens the interior
Chartres Cathedral Started in 1145; fire in 1194 forced reconstruction of everything except the facade Dedicated to Mary, Cult of Mary very important in Gothic Mary's tunic worn at Jesus's birth most sacred relic, escaped the fire and was seen as signal to rebuild the cathedral Right spire is 1160, left spire late gothic 1507, more elaborate Importance of church reflected in speed of construction, only 26 years Enlarged chevet accomodated elaborate church ceremonies Tall vertical nature of the interior pulls viewers eye up towards heaven Dark mysterious interior increases spiritual feeling Stained glass enlivens the interior
Chartres Cathedral Started in 1145; fire in 1194 forced reconstruction of everything except the facade Dedicated to Mary, Cult of Mary very important in Gothic Mary's tunic worn at Jesus's birth most sacred relic, escaped the fire and was seen as signal to rebuild the cathedral Right spire is 1160, left spire late gothic 1507, more elaborate Importance of church reflected in speed of construction, only 26 years Enlarged chevet accomodated elaborate church ceremonies Tall vertical nature of the interior pulls viewers eye up towards heaven Dark mysterious interior increases spiritual feeling Stained glass enlivens the interior Rose Window
Chartres Cathedral Started in 1145; fire in 1194 forced reconstruction of everything except the facade Dedicated to Mary, Cult of Mary very important in Gothic Mary's tunic worn at Jesus's birth most sacred relic, escaped the fire and was seen as signal to rebuild the cathedral Right spire is 1160, left spire late gothic 1507, more elaborate Importance of church reflected in speed of construction, only 26 years Enlarged chevet accomodated elaborate church ceremonies Tall vertical nature of the interior pulls viewers eye up towards heaven Dark mysterious interior increases spiritual feeling Stained glass enlivens the interior Rose Window
Chartres Cathedral Great Portal of West Facade Royal portal because jamb figures depict Old Testament kings/queens, connection between french and biblical royal Portals used by church hierarchy not common folk Jamb statues in front of wall, almost fully rounded different from Romanesque figures that are flat Jamb figures very long and linear, anatomical inaccurate Upright, rigid, elongated figures reflect vertical columns behind, vertical nature of building Rich courtly dress and vertical folds Humanized individualized faces Central typanum- Christ as Judge of the World (Last Judgement) Left Typanum- Christs Ascenion Right Tympanum- Christ on Virgins Lap Rose Window
Chartres Cathedral Great Portal of West Facade Royal portal because jamb figures depict Old Testament kings/queens, connection between french and biblical royal Portals used by church hierarchy not common folk Jamb statues in front of wall, almost fully rounded different from Romanesque figures that are flat Jamb figures very long and linear, anatomical inaccurate Upright, rigid, elongated figures reflect vertical columns behind, vertical nature of building Rich courtly dress and vertical folds Humanized individualized faces Central typanum- Christ as Judge of the World (Last Judgement) Left Typanum- Christs Ascenion Right Tympanum- Christ on Virgins Lap Rose Window
Chartres Cathedral Interior High Gothic Style after the fire of 1194 burned it down Nave Arcade Triforium (small banded arcade) Clerestory (Large stained glass lancets allow lots of light on to the nave) Sexpartite rib vaults, new innovation of gothic allow for the clerestory, put all weight on the composite piers and flying butresses over the aisles Pointed arches futher opened the nave and allowed it to be taller Large chevet for elaborate ceremonies Large rose window allows for even more light
Chartres Cathedral Interior High Gothic Style after the fire of 1194 burned it down Nave Arcade Triforium (small banded arcade) Clerestory (Large stained glass lancets allow lots of light on to the nave) Sexpartite rib vaults, new innovation of gothic allow for the clerestory, put all weight on the composite piers and flying butresses over the aisles Pointed arches futher opened the nave and allowed it to be taller Large chevet for elaborate ceremonies Large rose window allows for even more light
Chartres Cathedral Notre Dame de la Belle Verriere Window Mary crowned as Queen of Heaven with Christ child on her lap Light as a manifestation of the divine, shades color patterns across the grey stone of the cathedral Part of a lancet window Undamaged by the fire of 1194, reset with framing angles on either side of the main scene after reconstruction Bar tracery as bars go across the window to provide support
Chartres Cathedral Notre Dame de la Belle Verriere Window Mary crowned as Queen of Heaven with Christ child on her lap Light as a manifestation of the divine, shades color patterns across the grey stone of the cathedral Part of a lancet window Undamaged by the fire of 1194, reset with framing angles on either side of the main scene after reconstruction Bar tracery as bars go across the window to provide support
Chatres Cathedral Plan
Chatres Cathedral Plan
Dedication page with Blanche of Castile and King Louis IX of France, Scenes from the Apocalypse from Bible Moralisees Scenes from the Apocalypse: Eight medallion format derives from stained glass windows Two vertical columns of four painted scenes Each scene has text with summary of the event depicted Blance of Castile and King Louis IX: Moralized bible Top left: Blanche of Castile, mother and regent to king Top right: teenage King Louis IX Bottom: Older monk dicatates what his younger apprentice is painting Luminosity of stained glass windows, strong black outlining forms minimal modeling
Dedication page with Blanche of Castile and King Louis IX of France, Scenes from the Apocalypse from Bible Moralisees Scenes from the Apocalypse: Eight medallion format derives from stained glass windows Two vertical columns of four painted scenes Each scene has text with summary of the event depicted Blance of Castile and King Louis IX: Moralized bible Top left: Blanche of Castile, mother and regent to king Top right: teenage King Louis IX Bottom: Older monk dicatates what his younger apprentice is painting Luminosity of stained glass windows, strong black outlining forms minimal modeling
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Rottgen Pieta 1300-1325, Painted wood , Germany Used for private devotion Christ emaciated, drained of all blood, tissue, and muscle Horror of crucifixion manifest Humanizing religious themes Grape like drops of Christs blood at reference to the mystical vineyard
Rottgen Pieta 1300-1325, Painted wood , Germany Used for private devotion Christ emaciated, drained of all blood, tissue, and muscle Horror of crucifixion manifest Humanizing religious themes Grape like drops of Christs blood at reference to the mystical vineyard
Arena Chapel Exterior Padua Italy, Architect unknown, Chapel 1303, Brick Called Arena chapel as it was built over an ancient Roman arena Scrovegni was wealthy man who commisioned it Built to counter act the sin Scrovegni's father recieved as he was a banker
Arena Chapel Exterior Padua Italy, Architect unknown, Chapel 1303, Brick Called Arena chapel as it was built over an ancient Roman arena Scrovegni was wealthy man who commisioned it Built to counter act the sin Scrovegni's father recieved as he was a banker
Arena Chapel interior, Frescoes, Giotto Frescoes divided into 3 different sections from top to bottom: Pre-Christ (LIfe of Joachim, Anna, and daughter Mary), Life of Christ, Passion (Ends of his life/death) Christ often shown in profile similar to how Roman emperors were depicted on coins
Arena Chapel interior, Frescoes, Giotto Frescoes divided into 3 different sections from top to bottom: Pre-Christ (LIfe of Joachim, Anna, and daughter Mary), Life of Christ, Passion (Ends of his life/death) Christ often shown in profile similar to how Roman emperors were depicted on coins
Lamentation Giotto, Fresco, 1305, Maniera Greca Shows the scene of Jesus's followers mourning his death, including Mary, St. John, Mary Magdalene Mary holds Jesus head, Magdalene holds Jesus feet Left shows the old testament scene of Jonah being swallowed by the wahle and returning to life, parrallels with New Testament scene of Christ dying and coming back to life Stage created for figures as they picture space is very shallow Diagonal cliff brings attention to Christ's head and at other end is the tree of life Use of light and shadow to create mass and weight in the figures Heavy emotions are present Sadness emphasized by the grieving figures and angels above Figures have halos around them showing their divinity Space constructed with triangles symbolizing the holy trinity
Lamentation Giotto, Fresco, 1305, Maniera Greca Shows the scene of Jesus's followers mourning his death, including Mary, St. John, Mary Magdalene Mary holds Jesus head, Magdalene holds Jesus feet Left shows the old testament scene of Jonah being swallowed by the wahle and returning to life, parrallels with New Testament scene of Christ dying and coming back to life Stage created for figures as they picture space is very shallow Diagonal cliff brings attention to Christ's head and at other end is the tree of life Use of light and shadow to create mass and weight in the figures Heavy emotions are present Sadness emphasized by the grieving figures and angels above Figures have halos around them showing their divinity Space constructed with triangles symbolizing the holy trinity
Remember the border around it and what it is depicting
Golden Haggadah Late Medieval Spain, Illuminated Manuscript, Pigment on Vellum Illustrates the stroy of the Jewish exodus from Egypt under Moses and the following celebration Meant to be read on the first two nights of Passover Used to tell the story of the Jewish escape as a reminder of Gods mercy Narrative from the Book of Genesis and Exodus This type of Haggadah used primarily for private worship The most lavishly decorated manuscripts in Jewish tradition Illustrated by two Christians, written by a Jewish scribe in Hebrew Similar to French gothic manuscripts with the handling of space, architecture, figure style, facial expression, medium Done in Barcelona reigon Book read right to left as this was common for hebrew text Thought to break the commandment of no graven images but it was used for educational purposes so it was allowed
Golden Haggadah Late Medieval Spain, Illuminated Manuscript, Pigment on Vellum Illustrates the stroy of the Jewish exodus from Egypt under Moses and the following celebration Meant to be read on the first two nights of Passover Used to tell the story of the Jewish escape as a reminder of Gods mercy Narrative from the Book of Genesis and Exodus This type of Haggadah used primarily for private worship The most lavishly decorated manuscripts in Jewish tradition Illustrated by two Christians, written by a Jewish scribe in Hebrew Similar to French gothic manuscripts with the handling of space, architecture, figure style, facial expression, medium Done in Barcelona reigon Book read right to left as this was common for hebrew text Thought to break the commandment of no graven images but it was used for educational purposes so it was allowed
Alhambra 1354-1391 Palace of the Narid sultans in Southern Spain Light airy interior, fortress like exterior Built on a hill overlooking Granada Contains palaces, gardens, water pools, fountains, courtyards Small low bubbling fountains in each room helps cool temperatures during the summer
Alhambra 1354-1391 Palace of the Narid sultans in Southern Spain Light airy interior, fortress like exterior Built on a hill overlooking Granada Contains palaces, gardens, water pools, fountains, courtyards Small low bubbling fountains in each room helps cool temperatures during the summer
Court of the Lions Thin columns support heavy roofs, gives feeling of weightlessness Intricately patterned with geometric tessalations, sculpted ceilings and walls Central fountain supported by protective lions, animal imagery allowed, not people Parts of walls are chiseled through to allow light to pass through them to create patterns
Court of the Lions Thin columns support heavy roofs, gives feeling of weightlessness Intricately patterned with geometric tessalations, sculpted ceilings and walls Central fountain supported by protective lions, animal imagery allowed, not people Parts of walls are chiseled through to allow light to pass through them to create patterns
Hall of Sisters Alhambra Sixteen windows at top of hall, light dissolves into honeycomb patterns shining from the ceiling Abstract geometric patterns and forms 5000 Muqarnas refract light Sophisticated and refined interior Used a reception or music room
Hall of Sisters Alhambra Sixteen windows at top of hall, light dissolves into honeycomb patterns shining from the ceiling Abstract geometric patterns and forms 5000 Muqarnas refract light Sophisticated and refined interior Used a reception or music room
Plan of the Alhambra
Plan of the Alhambra
Anunciation Triptych (Merode Altarpiece) Robert Campin, Oil on Wood, 1427-1432 Left panel shows the donors who were of the middle class kneeling before the holy scene in front of them, wife was added later as the donor got married Center panel shows the Annunciation taking place in a typical Flemish house hold meant to bring the viewer closer to the divine Right shows Joseph as a carpenter in his workshop Figures are humanized and their surroundings make them appear even more human-like Close attention to detail in all aspects of the work Oil allowed the painter to show texture and varying degrees of shine Perspective is not mathematically correct as the ground line is too steep and figures too large for the space Symbols: Basin in background along with towel/water/lilies shows Mary's purity Flowers have 3 buds for the holy trinity, unopened bud is the unborn Christ Mary blocks fireplace, entrance to hell Figure with cross entering from the window is the holy spirit and is heading straight for mary, is the human version of god
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Pazzi Chapel Florence Italy, Filippo Brunelleschi, 1429-1461, Mansonry Rectangular chapel attached to the Church of Santa Croce Two barrel vaults on either side of a central dome with an oculus Interior has restrained color palette with muted tones but also has vibrantly glazed terra-cotta tiles It was the chapter house for the Fransican monks at the time Perfectly symmetrical, 3 corinthian columns on either side of the facade
Pazzi Chapel Florence Italy, Filippo Brunelleschi, 1429-1461, Mansonry Rectangular chapel attached to the Church of Santa Croce Two barrel vaults on either side of a central dome with an oculus Interior has restrained color palette with muted tones but also has vibrantly glazed terra-cotta tiles It was the chapter house for the Fransican monks at the time Perfectly symmetrical, 3 corinthian columns on either side of the facade
Pazzi Chapel Interior Florence Italy, Filippo Brunelleschi, 1429-1461, Mansonry Rectangular chapel attached to the Church of Santa Croce Two barrel vaults on either side of a central dome with an oculus Interior has restrained color palette with muted tones but also has vibrantly glazed terra-cotta tiles It was the chapter house for the Fransican monks at the time Perfectly symmetrical, 3 corinthian columns on either side of the facade
Pazzi Chapel Interior Florence Italy, Filippo Brunelleschi, 1429-1461, Mansonry Rectangular chapel attached to the Church of Santa Croce Two barrel vaults on either side of a central dome with an oculus Interior has restrained color palette with muted tones but also has vibrantly glazed terra-cotta tiles It was the chapter house for the Fransican monks at the time Perfectly symmetrical, 3 corinthian columns on either side of the facade
Arnolfini Portrait Jan Van Eyck, Oil on Wood, 1434 Origianally thought to be a wedding portrait Symbols of Wedding: Custom of burning candle on first night of wedding Shoes off indicates they are on holy ground Prayerful promising pose as the man holds the woman and protects her Dog symbolizes the females fidelity Two witnesses of the event are seen through a mirror in the back of the room Wife pulls up dress making it seem like she is pregnant, but she actually is not Statue of St. Margaret patron on childbirth is on the bedpost Man appears near window symbolzing his role as a busniessman working in the outside world Woman further inside symbolizing her duties in the household Oranges on window sill symbol of wealth Great attention to detail enabled by the use of oil Use of properties of light that van eyck specialized in using, figures have shading on their faces/bodies to create depth and volume
Arnolfini Portrait Jan Van Eyck, Oil on Wood, 1434 Origianally thought to be a wedding portrait Symbols of Wedding: Custom of burning candle on first night of wedding Shoes off indicates they are on holy ground Prayerful promising pose as the man holds the woman and protects her Dog symbolizes the females fidelity Two witnesses of the event are seen through a mirror in the back of the room Wife pulls up dress making it seem like she is pregnant, but she actually is not Statue of St. Margaret patron on childbirth is on the bedpost Man appears near window symbolzing his role as a busniessman working in the outside world Woman further inside symbolizing her duties in the household Oranges on window sill symbol of wealth Great attention to detail enabled by the use of oil Use of properties of light that van eyck specialized in using, figures have shading on their faces/bodies to create depth and volume
David Donatello, Bronze, 1440-1460 First free standing nude sculpture since classical antiquity Return to the love of the body and bodily features Exaggerated contrapposto shown giving dynamism and life size work probably for the Medici Young david with androgynous erotic features Looks down suggesting humility and no confidence in himself Head of Goliath at his feet Laurel on hat shows he was a poet Shows Florentine dominance over Milan in a recent war
David Donatello, Bronze, 1440-1460 First free standing nude sculpture since classical antiquity Return to the love of the body and bodily features Exaggerated contrapposto shown giving dynamism and life size work probably for the Medici Young david with androgynous erotic features Looks down suggesting humility and no confidence in himself Head of Goliath at his feet Laurel on hat shows he was a poet Shows Florentine dominance over Milan in a recent war
Palazzo Rucellai Florence Italy, Leon Battista Alberti, 1450, Stone masonry Comissioned by the Giovanni Ruccelai to compete the the Palazzo Medici recently constructed Tripartite design taken from the colesseum with tuscan, ionic, and corinthian pilasters Pilasters rise veritcally dividing the space into square shapes Detailed entablature with a frieze divides each story Frieze contains symbols of the Ruccelai family such as the billowing sails Large cornice caps the building Beveled masonry joints used instead of rusticated masonry seen in past buildings Windows are square on first floor, then they have mullions on the 2nd/3rd floors Use of humanistic values in its construction
Palazzo Rucellai Florence Italy, Leon Battista Alberti, 1450, Stone masonry Comissioned by the Giovanni Ruccelai to compete the the Palazzo Medici recently constructed Tripartite design taken from the colesseum with tuscan, ionic, and corinthian pilasters Pilasters rise veritcally dividing the space into square shapes Detailed entablature with a frieze divides each story Frieze contains symbols of the Ruccelai family such as the billowing sails Large cornice caps the building Beveled masonry joints used instead of rusticated masonry seen in past buildings Windows are square on first floor, then they have mullions on the 2nd/3rd floors Use of humanistic values in its construction
Madonna and Child with Two Angels Fra Filippo Lippi, Tempera on Wood, 1465 Mary seen as young, human, beautiful woman/mother Landscape done with atmospheric perspective inspired by Flemish painting Rock formations indicate a church, city near the virgins head is Heavenly Jerusalem Mary has a head dress of pearls commonly used as symbols in the depiction of the immaculate conception Halos reduced to thin lines circling the virgin, and christs head Angels very human like and playful Shown as if looking through a window in a home Humanization of a sacred theme
Madonna and Child with Two Angels Fra Filippo Lippi, Tempera on Wood, 1465 Mary seen as young, human, beautiful woman/mother Landscape done with atmospheric perspective inspired by Flemish painting Rock formations indicate a church, city near the virgins head is Heavenly Jerusalem Mary has a head dress of pearls commonly used as symbols in the depiction of the immaculate conception Halos reduced to thin lines circling the virgin, and christs head Angels very human like and playful Shown as if looking through a window in a home Humanization of a sacred theme
Birth of Venus Sandro Boticelli, Tempera on Canvas, 1484-1486 Student of Fra Fillipo Lippi Venus emerges fully grown from the sea on a shell Roses are scattered in front of her as they were made at the same time as she was` showing that love can be painful Left shows Zephyr (the west wind) and Chloris (a nymph) Right shows handmaiden rushing to cloth venus, Figures float upwards towards the heavens and arent anchored to the ground Clear, crisp figures with pale colors Simple unrealistic landscape composed solely of v-shaped waves Commisioned by the medici Venus born as her father Cronos cast his genitals into the sea from which she is born and fully grown
Birth of Venus Sandro Boticelli, Tempera on Canvas, 1484-1486 Student of Fra Fillipo Lippi Venus emerges fully grown from the sea on a shell Roses are scattered in front of her as they were made at the same time as she was` showing that love can be painful Left shows Zephyr (the west wind) and Chloris (a nymph) Right shows handmaiden rushing to cloth venus, Figures float upwards towards the heavens and arent anchored to the ground Clear, crisp figures with pale colors Simple unrealistic landscape composed solely of v-shaped waves Commisioned by the medici Venus born as her father Cronos cast his genitals into the sea from which she is born and fully grown
Last Supper Da Vinci, Oil on Tempera, Santa Maria dell Grazie Milan, 1484-1498 Commisioned by the Sforza of Milan for the refectory/dining hall of a dominican abbey Friars could eat in relation to the biblical meal presented Linear perspective present with orthogonals from the ceiling and floor leading to a point behind Christ's head Apostles grouped in 3, Jesus is alone but before a group of 3 windows representing the holy trinity Combination of many types of paint to achieve a chiaroscuro effect, but this caused the paint to eventually peel off the wall so it has been restored many times Moment where Jesus announces one of his apostles will betray him Reaches towards a piece of bread and glass of wine telling his apostles to take the each for they are his body and blood Halos no longer present during the High Renaissance Very dramatic as each apostle responds differently to the situation presented
Last Supper Da Vinci, Oil on Tempera, Santa Maria dell Grazie Milan, 1484-1498 Commisioned by the Sforza of Milan for the refectory/dining hall of a dominican abbey Friars could eat in relation to the biblical meal presented Linear perspective present with orthogonals from the ceiling and floor leading to a point behind Christ's head Apostles grouped in 3, Jesus is alone but before a group of 3 windows representing the holy trinity Combination of many types of paint to achieve a chiaroscuro effect, but this caused the paint to eventually peel off the wall so it has been restored many times Moment where Jesus announces one of his apostles will betray him Reaches towards a piece of bread and glass of wine telling his apostles to take the each for they are his body and blood Halos no longer present during the High Renaissance Very dramatic as each apostle responds differently to the situation presented
Adam and Eve Albrect Durer, Engraving, 1504 Shows how Durer has mastered the use of engraving as he expertly displayed detail and many different textures Heavily influenced by classical sculpture as they figures exemplify the ideal aesthetic of humans before the fall of man Contrapposto pose present Four humors present each represented by an animal, choleric cat, sanguine rabbit, melancholic elk, phlegmatic ox; all in balance before the fall of man Snake represents Satan as it tries to have Eve take the fruit from the Tree of Knowledge, has 4 thorns in its head representing the crown of thorns Christ wore on his way to his crucifixion Parrot represents cleverness Picture space centered around Tree of Knowledge Plaque the adam holds shows that Durer made it in 15041
Adam and Eve Albrect Durer, Engraving, 1504 Shows how Durer has mastered the use of engraving as he expertly displayed detail and many different textures Heavily influenced by classical sculpture as they figures exemplify the ideal aesthetic of humans before the fall of man Contrapposto pose present Four humors present each represented by an animal, choleric cat, sanguine rabbit, melancholic elk, phlegmatic ox; all in balance before the fall of man Snake represents Satan as it tries to have Eve take the fruit from the Tree of Knowledge, has 4 thorns in its head representing the crown of thorns Christ wore on his way to his crucifixion Parrot represents cleverness Picture space centered around Tree of Knowledge Plaque the adam holds shows that Durer made it in 15041
Sistine Chapel Michelangelo, Vatican City, Italy, Ceiling frescoes 1508-1512, Altar frescoes, 1536-1541 Sistine chapel erected in 1472 painted by Botticelli, Perugino, Ghirlandaio, and Michelangelo Used as the place where new popes were to be elected Michelangelo chose complicated arrangements of figures for the ceiling that illustrated the first chapters of Genesis along with Old testament figures 300 figures on ceiling, all in different poses Michelangelos obession with the male nude in motion is preeminent Varying expressions amongst the figures Painted cornices frame each group of figures is an organized manner Many figues displayed such as Ignudi dont have a narrative purpose, but are placed to increase artistic expression Acorns heavily present as they are a symbol on the crest of the buildings patron, Pope Julius II
Sistine Chapel Michelangelo, Vatican City, Italy, Ceiling frescoes 1508-1512, Altar frescoes, 1536-1541 Sistine chapel erected in 1472 painted by Botticelli, Perugino, Ghirlandaio, and Michelangelo Used as the place where new popes were to be elected Michelangelo chose complicated arrangements of figures for the ceiling that illustrated the first chapters of Genesis along with Old testament figures 300 figures on ceiling, all in different poses Michelangelos obession with the male nude in motion is preeminent Varying expressions amongst the figures Painted cornices frame each group of figures is an organized manner Many figues displayed such as Ignudi dont have a narrative purpose, but are placed to increase artistic expression Acorns heavily present as they are a symbol on the crest of the buildings patron, Pope Julius II
Delphic Sibyl Michelangelo, Vatican City, Italy, Ceiling frescoes 1508-1512, Altar frescoes, 1536-1541 One of the five sibyls (prophetess) on the ceiling She is a Greco-Roman figure whom Christians felt foretold the coming of Jesus Christ Wears a Greek style turban Turns head as if listening to something Expression seems sorrowful Contrapposto of body present despite being seated, dynamism as if she is about to get up Holds the scroll containing her prophecy Combo of Christian beliefs and pagan mythological imagery
Delphic Sibyl Michelangelo, Vatican City, Italy, Ceiling frescoes 1508-1512, Altar frescoes, 1536-1541 One of the five sibyls (prophetess) on the ceiling She is a Greco-Roman figure whom Christians felt foretold the coming of Jesus Christ Wears a Greek style turban Turns head as if listening to something Expression seems sorrowful Contrapposto of body present despite being seated, dynamism as if she is about to get up Holds the scroll containing her prophecy Combo of Christian beliefs and pagan mythological imagery
The Flood Sistine Chapel Michelangelo, Vatican City, Italy, Ceiling frescoes 1508-1512, Altar frescoes, 1536-1541 Story details Noah and his family escape of the rising flood waters as told in Genesis 7 Few remaining survivors cling to mountain tops Man carrying drowned son to safety will eventually drown too Over 60 figures making for a crowded composition Sculptural intensity of the figure style Ark in background is the only true safe haven
The Flood Sistine Chapel Michelangelo, Vatican City, Italy, Ceiling frescoes 1508-1512, Altar frescoes, 1536-1541 Story details Noah and his family escape of the rising flood waters as told in Genesis 7 Few remaining survivors cling to mountain tops Man carrying drowned son to safety will eventually drown too Over 60 figures making for a crowded composition Sculptural intensity of the figure style Ark in background is the only true safe haven
Sistine Chapel Exterior Michelangelo, Vatican City, Italy, Ceiling frescoes 1508-1512, Altar frescoes, 1536-1541
Sistine Chapel Exterior Michelangelo, Vatican City, Italy, Ceiling frescoes 1508-1512, Altar frescoes, 1536-1541
Altar Fresco, Last Judgement Michelangelo, Vatican City, Italy,Altar frescoes, 1536-1541 Unlike the ceiling this is one large open space undivided, without cornices Mannerist influence present with elongation/distortions of figures, and crowded groups 4 bands include: Bottom- Dead rising from the mouth of hell 2- Ascending elect, descending sinners, trumpeting angels 3- Ones rising to heaven surround Jesus Top- Angels carry the Cross and column used for Christs death Christ is in the center in a complex pose defiantly gesturing with his right hand Spiraling compostion goes against the high renaissance period and reflects the disunity of the Christian community caused by the reformation
Altar Fresco, Last Judgement Michelangelo, Vatican City, Italy,Altar frescoes, 1536-1541 Unlike the ceiling this is one large open space undivided, without cornices Mannerist influence present with elongation/distortions of figures, and crowded groups 4 bands include: Bottom- Dead rising from the mouth of hell 2- Ascending elect, descending sinners, trumpeting angels 3- Ones rising to heaven surround Jesus Top- Angels carry the Cross and column used for Christs death Christ is in the center in a complex pose defiantly gesturing with his right hand Spiraling compostion goes against the high renaissance period and reflects the disunity of the Christian community caused by the reformation
School of Athens Raphael, 1509-1511, Fresco, Vatican Apartments Comisioned by Pope Julius II to decorate his library, Philosophy cause books would be around it One of the 4 frescoes, this representing Philosophy, the other Theology, Poetry, and Law; the subjects of the books in the papal library Congregation of all the great Greek philosophers Open clear light uniformly spread throughout the composition Nobility/Monumentality of forms parallels to the greatness of the figures shown Figures shown making philisophical hand gestures Center sees Plato pointing up and Aristotle pointing down Bramante, the popes architect displayed in bottom right as Euclid Raphael in the corner at the far right Michelangelo shown in foreground as Heraclitus as he is isolated from the groups Figures are grouped together and compostion shows influence of Da Vinci's Last Supper Two rows of figures, with their heads forming two perfectly straight horizontal lines Orthogonals present meeting at a vanishing point between the heads of the central figures (linear perspective) Members of each field (math, science,etc.) placed together
School of Athens Raphael, 1509-1511, Fresco, Vatican Apartments Comisioned by Pope Julius II to decorate his library, Philosophy cause books would be around it One of the 4 frescoes, this representing Philosophy, the other Theology, Poetry, and Law; the subjects of the books in the papal library Congregation of all the great Greek philosophers Open clear light uniformly spread throughout the composition Nobility/Monumentality of forms parallels to the greatness of the figures shown Figures shown making philisophical hand gestures Center sees Plato pointing up and Aristotle pointing down Bramante, the popes architect displayed in bottom right as Euclid Raphael in the corner at the far right Michelangelo shown in foreground as Heraclitus as he is isolated from the groups Figures are grouped together and compostion shows influence of Da Vinci's Last Supper Two rows of figures, with their heads forming two perfectly straight horizontal lines Orthogonals present meeting at a vanishing point between the heads of the central figures (linear perspective) Members of each field (math, science,etc.) placed together
Isenheim Altarpiece Closed Put in a monastery next to a hospital that specialized in treating people for St. Anthony's fire, disease caused by eating fungus Explains St. Anthony's presence in the altar piece Crucifixion shown in the middle at night which is uncommon Christ's body shown is dead and decomposing, skin is ripping from his sockets Hands facing upwards and fingers extended emphasizing the agony Mary shown dressed as a nun in hands of St. John the evangelist St. John the baptist shown pointing at Christs body Lamb beneath the cross with crucifix in neck blood spilling out into a chalice symbolizing the blood of Christ Predella shows lamentation and once again pain and suffering is emphasized in Christ He would be amputated when the triptych opened St. Sebastian on left, St. Anthony on right Matthias Grunewald, 1512-1516, Oil on Wood
Isenheim Altarpiece Closed Put in a monastery next to a hospital that specialized in treating people for St. Anthony's fire, disease caused by eating fungus Explains St. Anthony's presence in the altar piece Crucifixion shown in the middle at night which is uncommon Christ's body shown is dead and decomposing, skin is ripping from his sockets Hands facing upwards and fingers extended emphasizing the agony Mary shown dressed as a nun in hands of St. John the evangelist St. John the baptist shown pointing at Christs body Lamb beneath the cross with crucifix in neck blood spilling out into a chalice symbolizing the blood of Christ Predella shows lamentation and once again pain and suffering is emphasized in Christ He would be amputated when the triptych opened St. Sebastian on left, St. Anthony on right Matthias Grunewald, 1512-1516, Oil on Wood
Isenheim Altarpiece Open Matthias Grunewald, 1512-1516, Oil on Wood Annunciation on the left Mary holding baby Christ in center Christ's spirit rising from the dead and his rags change to glorious robes showing that ones hardships in life will vanish in the next world
Isenheim Altarpiece Open Matthias Grunewald, 1512-1516, Oil on Wood Annunciation on the left Mary holding baby Christ in center Christ's spirit rising from the dead and his rags change to glorious robes showing that ones hardships in life will vanish in the next world
Venus of Urbino Titian, Oil on Wood 1522 Possibly not Venus but a courtesan or a prostitute dealing with the upper class Sensuous detail present, light skin color shows a beautiful woman Complex spatial environment with figure flaced forward in the picture plain evident by the servants behind her and further an open window showing landscape Roses contribute to the floral motif carried throughout the painting Dog symbolizes fidelity and faithfulness Soft application of color through process of glazing or applying many layers of paint contributes to the sensuality Servants in back shown searching inside a Cassoni or crate that holds clothing Figure looks directly at viewer showing confidence Influenced future female nudes with reclining pose for hundreds of years Proportions of body are slightly obscured, torso too long, feet too small Use of chiaroscuro to make mass/volume in figure
Venus of Urbino Titian, Oil on Wood 1522 Possibly not Venus but a courtesan or a prostitute dealing with the upper class Sensuous detail present, light skin color shows a beautiful woman Complex spatial environment with figure flaced forward in the picture plain evident by the servants behind her and further an open window showing landscape Roses contribute to the floral motif carried throughout the painting Dog symbolizes fidelity and faithfulness Soft application of color through process of glazing or applying many layers of paint contributes to the sensuality Servants in back shown searching inside a Cassoni or crate that holds clothing Figure looks directly at viewer showing confidence Influenced future female nudes with reclining pose for hundreds of years Proportions of body are slightly obscured, torso too long, feet too small Use of chiaroscuro to make mass/volume in figure
Entombment of Christ Jacopo Pontormo,1525-1528, Oil on Wood Circular composition with grouping of hands Elongation of bodies (key to mannerism) High keyed colors meant to counteract against the darkness of the chapel it was placed in No ground line for many of the figures such as Mary who appears to be floating, Where is she sitting? Some androgynous features present No weeping just intense emotional expressions on the figures faces Linear bodies that twist around each other make the elongations more clear Anti-classical construction of composition, no central figure, no pyramidal structure, no balance, etc. Called Entombment but there is no tomb and there are no symbols common to depiction of similar events to indicate what particular event is occurring Emotions appear artificial and aren't human like as if faces are masks
Entombment of Christ Jacopo Pontormo,1525-1528, Oil on Wood Circular composition with grouping of hands Elongation of bodies (key to mannerism) High keyed colors meant to counteract against the darkness of the chapel it was placed in No ground line for many of the figures such as Mary who appears to be floating, Where is she sitting? Some androgynous features present No weeping just intense emotional expressions on the figures faces Linear bodies that twist around each other make the elongations more clear Anti-classical construction of composition, no central figure, no pyramidal structure, no balance, etc. Called Entombment but there is no tomb and there are no symbols common to depiction of similar events to indicate what particular event is occurring Emotions appear artificial and aren't human like as if faces are masks
Allegory of Law and Grace Lucas Cranach the Elder, 1530, Woodcut Done as propaganda for the Protestant Reformation done in contact with Martin Luther Shows Luther ideal that one achieves salvation through gods grace Left: Last Judgment Moses holds the Ten Commandments Ten Commandments present represent the old law (Catholicism) Law of Moses is not enough to live a good life Skeleton chases a figure into hell Right: Figure bathed in Christs blood Shows that faith alone is all one needs to achieve salvation
Allegory of Law and Grace Lucas Cranach the Elder, 1530, Woodcut Done as propaganda for the Protestant Reformation done in contact with Martin Luther Shows Luther ideal that one achieves salvation through gods grace Left: Last Judgment Moses holds the Ten Commandments Ten Commandments present represent the old law (Catholicism) Law of Moses is not enough to live a good life Skeleton chases a figure into hell Right: Figure bathed in Christs blood Shows that faith alone is all one needs to achieve salvation
Frontspiece of the Codex Mendoza Viceroyality of New Spain, 1541-1542, Ink/Color on paper Named after Antonio Mendoza, the viceroy of New Spain Used as a history of the Aztecs for the Charles V of the Holy Roman Empire Created 20 years after Spanish conquest The codex held information regarding all aspects of Aztec life Shows the daily life of Aztec rulers in Mexico Uses pictograms created by Aztec artists that were annotated by the Spanish Scene depicts the founding of Tenochtitlan and the conquest of the Colhuacan/Tenayucan (Native groups) at the bottom Enemy temples are on fire while the Aztec warriors carry clubs/shields Small representation the Great Temple above the central eagle Skulls represent the sacrificial victims of the Aztecs Eagle landing on cactus at the intersection of two waterways show the division of Tenochtitlan into 4 quarters Aztecs told by chief god to look for place to settle with a cactus growing from a rock with an eagle resting on it, found this at Lake Texcoco Current Mexican flag has an eagle perched on a cactus resting on rock similar to that of this work
Frontspiece of the Codex Mendoza Viceroyality of New Spain, 1541-1542, Ink/Color on paper Named after Antonio Mendoza, the viceroy of New Spain Used as a history of the Aztecs for the Charles V of the Holy Roman Empire Created 20 years after Spanish conquest The codex held information regarding all aspects of Aztec life Shows the daily life of Aztec rulers in Mexico Uses pictograms created by Aztec artists that were annotated by the Spanish Scene depicts the founding of Tenochtitlan and the conquest of the Colhuacan/Tenayucan (Native groups) at the bottom Enemy temples are on fire while the Aztec warriors carry clubs/shields Small representation the Great Temple above the central eagle Skulls represent the sacrificial victims of the Aztecs Eagle landing on cactus at the intersection of two waterways show the division of Tenochtitlan into 4 quarters Aztecs told by chief god to look for place to settle with a cactus growing from a rock with an eagle resting on it, found this at Lake Texcoco Current Mexican flag has an eagle perched on a cactus resting on rock similar to that of this work
Il Gesu Church Rome, 1574-1584, Brick/Marble, Done by Giacomo Della Porta Baroque Principal church of the Jesuit church Engaged column grouping put emphasis on doorway Tympana and pediment put over a central door Crescendo of forms moving to the center Two stories separated by a cornice, but brought together by the scrolls at the edges Framed niche with window acts as a unifying central element One large space, no aisles, used for grand ceremonies
Il Gesu Church Rome, 1574-1584, Brick/Marble, Done by Giacomo Della Porta Baroque Principal church of the Jesuit church Engaged column grouping put emphasis on doorway Tympana and pediment put over a central door Crescendo of forms moving to the center Two stories separated by a cornice, but brought together by the scrolls at the edges Framed niche with window acts as a unifying central element One large space, no aisles, used for grand ceremonies
Triumph in the name of Jesus from Il Gesu Church On ceiling of the nave of Il Gesu church Monogram of Jesus's
Triumph in the name of Jesus from Il Gesu Church On ceiling of the nave of Il Gesu church Monogram of Jesus's "IHI" in a brilliantly lit sea of golden color Figures tumbling below the name, some carved in stucco enhancing the 3-D effect Some cast long shadows across the vaulted ceiling Figures that are painted still maintain the 3-D illusion As if ceiling were opening up to the sky and the figures are spiraling around the name of JEsus Di soot in su, view from below looking up; visual illusion of space with trump l'oiel Damned are cast into hell while the saved rise to heaven, a last judgement Dramatic emotionalism
Hunters in the Snow Pieter Brugel the Elder,1565,Oil on Wood Impasto One of a series of paintings representing the months, this being November/December Alpine landscape covered with snow, winter scene Strong diagonals lead the the eye deeper into the painting Figures are not indivduals, peasant types/common people Landscape has high horizon line, Northern Europen tradition/landscape Many details, constant motion, nothing is static Hunters have very little success in winter hunt, dogs are skinny and hand their heads
Hunters in the Snow Pieter Brugel the Elder,1565,Oil on Wood Impasto One of a series of paintings representing the months, this being November/December Alpine landscape covered with snow, winter scene Strong diagonals lead the the eye deeper into the painting Figures are not indivduals, peasant types/common people Landscape has high horizon line, Northern Europen tradition/landscape Many details, constant motion, nothing is static Hunters have very little success in winter hunt, dogs are skinny and hand their heads
Calling of St. Matthew Caravaggio, Baroque, 1597-1601, Rome, Oil on Canvas Baroque One of three paintings illustrating the life of St. Matthew in a chapel dedicated to him Light comes in from two sources on the right creating a tenebroso effect (dramatic dark/light of a space) Diagonal shaft of light points directly to St. Matthew who points to himself as if unsure that Christ would would select a tax collector Shows a precise moment in time Chirst's hand gesture similar to Adams on Sistine Chapel Ceiling (Creation of Adam) Figures dressed in latest Baroque fashion Figures take space in a narrow stage Slight halo around head of Christ suggests the holyness of the scene Figures shown with great detail, normal human beings
Calling of St. Matthew Caravaggio, Baroque, 1597-1601, Rome, Oil on Canvas Baroque One of three paintings illustrating the life of St. Matthew in a chapel dedicated to him Light comes in from two sources on the right creating a tenebroso effect (dramatic dark/light of a space) Diagonal shaft of light points directly to St. Matthew who points to himself as if unsure that Christ would would select a tax collector Shows a precise moment in time Chirst's hand gesture similar to Adams on Sistine Chapel Ceiling (Creation of Adam) Figures dressed in latest Baroque fashion Figures take space in a narrow stage Slight halo around head of Christ suggests the holyness of the scene Figures shown with great detail, normal human beings
Henri IV Recieves Portrait Marie de Medici Peter Paul Rubens, 1621-1625, Oil on Canvas Baroque Part of cycle of 21 paintings telling the life of Marie de Medici, Queen of France, Wife of Henri IV Henri IV is awed by the beauty of his future wife Portrait is held by Cupid and Hymen (Love and Marriage) Jupiter and Juno look down at the scene symbolic of marital harmony, identifiable by the eagle with the lightning bolt and the peacock Royalty considered demi-gods, approal of mythological mods in concert with their beliefs about themselves Common for portraits to be exchanged before a marriage Personification of France stands behind Henri, urges him to marry her for the goodness of French politics She wears a masculine war helmt with manly legs Putti at bottom holding a war helmet showing that Henri has chosen love over war Diagonals bring viewers attention to the portrait then up to Jupiter and below to the awe struck Henri
Henri IV Recieves Portrait Marie de Medici Peter Paul Rubens, 1621-1625, Oil on Canvas Baroque Part of cycle of 21 paintings telling the life of Marie de Medici, Queen of France, Wife of Henri IV Henri IV is awed by the beauty of his future wife Portrait is held by Cupid and Hymen (Love and Marriage) Jupiter and Juno look down at the scene symbolic of marital harmony, identifiable by the eagle with the lightning bolt and the peacock Royalty considered demi-gods, approal of mythological mods in concert with their beliefs about themselves Common for portraits to be exchanged before a marriage Personification of France stands behind Henri, urges him to marry her for the goodness of French politics She wears a masculine war helmt with manly legs Putti at bottom holding a war helmet showing that Henri has chosen love over war Diagonals bring viewers attention to the portrait then up to Jupiter and below to the awe struck Henri
Self-Portrait with Saskia Rembrandt, 1636, Etching Baroque Only etching showing Rembrandt with his wife together 30 yr old Rembrandt shown with his new wife Not wearing contemporary dress, but a traditional one Images of Saskia abundant in Rembrandt's works as she was a great inspiration to him Wears a large hat which casts a dark shadow over his eyes, adding a sense of mystery to the serious expression he is showing Marital harmony represented Wife and mother of four Rembrandt shows himself drawing, the most basic artistic skill that he has mastered Rembrandt made etching popular and master of the skill by showing he has the skill to vary the degree of bitting that occurs against the metal plate Rembrandt is more bitten making him darker and seem closer to the viewer and put mor eemphasis on himself
Self-Portrait with Saskia Rembrandt, 1636, Etching Baroque Only etching showing Rembrandt with his wife together 30 yr old Rembrandt shown with his new wife Not wearing contemporary dress, but a traditional one Images of Saskia abundant in Rembrandt's works as she was a great inspiration to him Wears a large hat which casts a dark shadow over his eyes, adding a sense of mystery to the serious expression he is showing Marital harmony represented Wife and mother of four Rembrandt shows himself drawing, the most basic artistic skill that he has mastered Rembrandt made etching popular and master of the skill by showing he has the skill to vary the degree of bitting that occurs against the metal plate Rembrandt is more bitten making him darker and seem closer to the viewer and put mor eemphasis on himself
San Carlo Alle Quattro Fontane Rome, Borromini, 1638-1646, Stone/Stucco Commisioned by the Trinitarian order during time of the counter reformation Called this because it is on a square in Rome with four fountains, very small site Alternating convex and concave patterns with UNDULATING volumes in ground plan and facade Exaggeration of geometric shapes (strechted out oval) Repetition of forms in the dome (hexagon, square, octagon, cross, exaggerate the depth of the space) Facade is higher than the rest of the building as it was completed after the structure was constructed Interior side chapels merge into the central space Hidden windows are placed beneath the dome providing unknown source of light common to Baroque architecture Repitition of the oval form in both the facade and the interior (exterior and interior have same general form) Alternation between concave and convex spaces Interior dome oval shape and coffered Walls treated sculpturally Borromini worked in shades of white, unique as he avoided the color of many other Baroque buildings
San Carlo Alle Quattro Fontane Rome, Borromini, 1638-1646, Stone/Stucco Commisioned by the Trinitarian order during time of the counter reformation Called this because it is on a square in Rome with four fountains, very small site Alternating convex and concave patterns with UNDULATING volumes in ground plan and facade Exaggeration of geometric shapes (strechted out oval) Repetition of forms in the dome (hexagon, square, octagon, cross, exaggerate the depth of the space) Facade is higher than the rest of the building as it was completed after the structure was constructed Interior side chapels merge into the central space Hidden windows are placed beneath the dome providing unknown source of light common to Baroque architecture Repitition of the oval form in both the facade and the interior (exterior and interior have same general form) Alternation between concave and convex spaces Interior dome oval shape and coffered Walls treated sculpturally Borromini worked in shades of white, unique as he avoided the color of many other Baroque buildings
Ecstasy of St. Teresa Santa Maria Vittoria, Rome, Bernini, 1647-1652, Marble Counter-Reformation, effort to convert the viewer,etc., involves the viewer Sculptural interpretation of St. Teresa's diary involving her visions of god Involves angel descending with an arrow and plunging it through her Natural light from chapel directed onto sculpture from window above the work Marble handled in a tactile way to show textures Skin is glossy, feathers are rough, drapery animated/fluid, clouds cut roughly like rock Carved from a single block of marble Figures appear to be floating in space as god's rays of light illuminate the scene Teresa's pose is erotic and very emotional as if sexual exhaustion, consistent with the spiritual events taking place in her diary Stagelike setting with patrons (Cornaro family) sitting in theater boxes flanking the work and commenting on the scene
Ecstasy of St. Teresa Santa Maria Vittoria, Rome, Bernini, 1647-1652, Marble Counter-Reformation, effort to convert the viewer,etc., involves the viewer Sculptural interpretation of St. Teresa's diary involving her visions of god Involves angel descending with an arrow and plunging it through her Natural light from chapel directed onto sculpture from window above the work Marble handled in a tactile way to show textures Skin is glossy, feathers are rough, drapery animated/fluid, clouds cut roughly like rock Carved from a single block of marble Figures appear to be floating in space as god's rays of light illuminate the scene Teresa's pose is erotic and very emotional as if sexual exhaustion, consistent with the spiritual events taking place in her diary Stagelike setting with patrons (Cornaro family) sitting in theater boxes flanking the work and commenting on the scene
Cornaro Chapel
Cornaro Chapel
Santa Maria Vittoria
Santa Maria Vittoria
Angel with Arquebus, Asiel Timor Dei Master of Calamarca (La Paz School), 17th century, Oil on Canvas Angel depicted with arquebus (form of rifle) instead of traditional sword Military pose from European artwork or military exercise Part of a series of works showing drummers, buglers, regular infantry, etc. Drapery of 17th century Spanish aristocrat, lavish rich costume Mannerist influence with the stillness of the figure in a dance-like pose Angle appears in an androgynous stance Gold embroidered fabric favored by indigenous peoples of New Spain Has a relationship with pre-columbian winged warriors in art
Angel with Arquebus, Asiel Timor Dei Master of Calamarca (La Paz School), 17th century, Oil on Canvas Angel depicted with arquebus (form of rifle) instead of traditional sword Military pose from European artwork or military exercise Part of a series of works showing drummers, buglers, regular infantry, etc. Drapery of 17th century Spanish aristocrat, lavish rich costume Mannerist influence with the stillness of the figure in a dance-like pose Angle appears in an androgynous stance Gold embroidered fabric favored by indigenous peoples of New Spain Has a relationship with pre-columbian winged warriors in art
Las Meninas Diego Velazquez, 1656, Oil on Canvas Group portrait of artist in his studio as his painting a member of the royal family Steps back from his canvas and looks at the viewer, acknowledging your presence and showing you his mastery Velazquez wears a cross from the Royal order of Santiago, elevating him to knighthood Infanta Margharita of Spain is central with her Meninas or servants, along with her dog, a dwarf, and a midget Behind are two people in half shadow who serve as chaperones In back hallway is Jose Nieto head of the Queens tapestry works King and Queen present in the mirror but it is unsure where they are, possibly the canvas, in front of the figures, reflecting a painting on the wall? Alternating darks and lights draw the eye deeper into the canvas Painting originally hung in Phillip IV's sutyd
Las Meninas Diego Velazquez, 1656, Oil on Canvas Group portrait of artist in his studio as his painting a member of the royal family Steps back from his canvas and looks at the viewer, acknowledging your presence and showing you his mastery Velazquez wears a cross from the Royal order of Santiago, elevating him to knighthood Infanta Margharita of Spain is central with her Meninas or servants, along with her dog, a dwarf, and a midget Behind are two people in half shadow who serve as chaperones In back hallway is Jose Nieto head of the Queens tapestry works King and Queen present in the mirror but it is unsure where they are, possibly the canvas, in front of the figures, reflecting a painting on the wall? Alternating darks and lights draw the eye deeper into the canvas Painting originally hung in Phillip IV's sutyd
Woman Holding a Balance Johannes Vermeer,1664, Oil on Canvas One of a few Vermeer works still in existence Artists now painting for merchant class instead of for church Balance of worldyness and spirituality in front and behind her Usually portrayed intimate scenes from a dutch home Viewer looks into private intimate world Figure seems unaware of our presence Light enters from the left window, highlights textures/surfaces of women's garment, wood table, marble floor, jewlery, painting, etc. Capture of a single moment in time, ver still, as if frozen Last Judgement behind her, a time of
Woman Holding a Balance Johannes Vermeer,1664, Oil on Canvas One of a few Vermeer works still in existence Artists now painting for merchant class instead of for church Balance of worldyness and spirituality in front and behind her Usually portrayed intimate scenes from a dutch home Viewer looks into private intimate world Figure seems unaware of our presence Light enters from the left window, highlights textures/surfaces of women's garment, wood table, marble floor, jewlery, painting, etc. Capture of a single moment in time, ver still, as if frozen Last Judgement behind her, a time of "weighing" souls Balance serves as an allegory Balance has nothing in it though a pearl and coin are below waiting to be measured Geometric lines focus attention onto the scale Woman dressed in fine high class clothing Balance between the material world and the religious pious world
Palace at Versaille Versaille France, Louis and Jules Hardouin-Mansart, Masonry, stone, wood, iron (Architecture), Marble/Bronze (Sculpture), 1669 Commisioned by Louis XIV for his new palace, formerly a hunting lodge Center of the building was Louis's bedroom/audience chamber from which all the other rooms radiate from (Known as Sun King) Inside bedroom lavish ceremonies of lever (awkening) and coucher (sleep) would be performed daily Built on the east/west axis so sun would rise and set in alignment with his home Correspond to his political and economic ambitions of keeping provincial rulers away from their native lands Building was centered in a vast garden/town complex Subdued exterior of the facade as Louis was fascinated with Greek/Roman structures, used columns, arches
Palace at Versaille Versaille France, Louis and Jules Hardouin-Mansart, Masonry, stone, wood, iron (Architecture), Marble/Bronze (Sculpture), 1669 Commisioned by Louis XIV for his new palace, formerly a hunting lodge Center of the building was Louis's bedroom/audience chamber from which all the other rooms radiate from (Known as Sun King) Inside bedroom lavish ceremonies of lever (awkening) and coucher (sleep) would be performed daily Built on the east/west axis so sun would rise and set in alignment with his home Correspond to his political and economic ambitions of keeping provincial rulers away from their native lands Building was centered in a vast garden/town complex Subdued exterior of the facade as Louis was fascinated with Greek/Roman structures, used columns, arches
Palace at Versaille Garden Meant to radiate out from the palace illustrating his power Statues of mythological figures and Roman rulers present from his fascination with antiquital times/ art Garden becomes less elaborate the farther one goes from the palace Only fountains near the palace on all the time, others would be turned on for the king as he walked by
Palace at Versaille Garden Meant to radiate out from the palace illustrating his power Statues of mythological figures and Roman rulers present from his fascination with antiquital times/ art Garden becomes less elaborate the farther one goes from the palace Only fountains near the palace on all the time, others would be turned on for the king as he walked by
Courtyard of Palace at Versaille
Courtyard of Palace at Versaille
Hall of Mirrors 240 feet long barrel vaulted room with a painted ceiling Light enters thorugh a wall of windows on one side and reflects of a wall full of mirrors on the other side, these were the largest panes of the glass that could be made at the time Reflected light would illuminate the entire room so Louis could see everything that was taking place Celing paintings illustrate civil and military achievements of Louis XIV Other paintings throughout the palace illustrate that his rule would bring peace/harmony to France Most rooms/salons dedicated to Louis's intellectual and leisure interests
Hall of Mirrors 240 feet long barrel vaulted room with a painted ceiling Light enters thorugh a wall of windows on one side and reflects of a wall full of mirrors on the other side, these were the largest panes of the glass that could be made at the time Reflected light would illuminate the entire room so Louis could see everything that was taking place Celing paintings illustrate civil and military achievements of Louis XIV Other paintings throughout the palace illustrate that his rule would bring peace/harmony to France Most rooms/salons dedicated to Louis's intellectual and leisure interests
Screen with Siege of Belgrade and Hunting Scene Circle of the Gonzalez Family,1697-1701, Tempera and Resin on Wodd Screen commisioned by Jose Sarmiento de Valladares, Viceroy of New Spain Displayed in Viceregal Palace in Mexico City Biombo inspired by Japanese folding screens Only known example of an art work combining biombos (screen) and enconchados (shell inlay) Two faces of the screen, one is hunting, the other a war scene Hunting scene suited to an intimate space for small receptions War scene more suited for a grander room with political importance War scene depicts the contemporary even of the Great Turkish War, used a Dutch print of the scene for inspiration Illustrates a scene of Hapsburg power Asserts the power of the Viceroy in the New World
Screen with Siege of Belgrade and Hunting Scene Circle of the Gonzalez Family,1697-1701, Tempera and Resin on Wodd Screen commisioned by Jose Sarmiento de Valladares, Viceroy of New Spain Displayed in Viceregal Palace in Mexico City Biombo inspired by Japanese folding screens Only known example of an art work combining biombos (screen) and enconchados (shell inlay) Two faces of the screen, one is hunting, the other a war scene Hunting scene suited to an intimate space for small receptions War scene more suited for a grander room with political importance War scene depicts the contemporary even of the Great Turkish War, used a Dutch print of the scene for inspiration Illustrates a scene of Hapsburg power Asserts the power of the Viceroy in the New World
Virgin of Guadalupe Miguel Gonzalez, 1698,Oil on Canvas on wood, inlaid with mother of pearl Painting describes an even in which Mary appeared to the Natives on a hilll called Tepeyac, Mary ordered Native convert Juan Diego in 1531 to have the local archbishop build a sanctuary on that site Mary made the hilltop flower and Juan Diego brought the flowers to the achbishop Virgin of Guadalupe the most revered symbol in Mexico, a patroness of New Spain Symbol of Mexico, bird on a cactus growing from a rock in bottom center Guadalupe always portrays Mary standing on a crescent moon surrounded by sun rays Surrounded by four roundels depiciting the apparition to Juan Diego when the image of the Virgin appears on his tunic Ornamentation on Virgin's robe made of enconchados (shell inlay), this shows the ifluence of Asian art Highly sought after image as many were made for export in New Spain
Virgin of Guadalupe Miguel Gonzalez, 1698,Oil on Canvas on wood, inlaid with mother of pearl Painting describes an even in which Mary appeared to the Natives on a hilll called Tepeyac, Mary ordered Native convert Juan Diego in 1531 to have the local archbishop build a sanctuary on that site Mary made the hilltop flower and Juan Diego brought the flowers to the achbishop Virgin of Guadalupe the most revered symbol in Mexico, a patroness of New Spain Symbol of Mexico, bird on a cactus growing from a rock in bottom center Guadalupe always portrays Mary standing on a crescent moon surrounded by sun rays Surrounded by four roundels depiciting the apparition to Juan Diego when the image of the Virgin appears on his tunic Ornamentation on Virgin's robe made of enconchados (shell inlay), this shows the ifluence of Asian art Highly sought after image as many were made for export in New Spain
Fruit and Insects Rachel Ruysch,1711, Oil on Wood Not a depicition of real flowers but a depiction of the perfect bouquet of flowers all in bloom at the same time Assymetrical arrangement Probably used illustrations in botany books at the time as a basis for the forms Her father was a professor of anatomy and botany, also an amateur painter Still lifes common at the time
Fruit and Insects Rachel Ruysch,1711, Oil on Wood Not a depicition of real flowers but a depiction of the perfect bouquet of flowers all in bloom at the same time Assymetrical arrangement Probably used illustrations in botany books at the time as a basis for the forms Her father was a professor of anatomy and botany, also an amateur painter Still lifes common at the time
Spainard and Indian Produce a Mestizo Juan Juarez, 1715, Oil on Canvas Panel from a series of Casta paintings (paintings displaying lineages) Spanish social hierarchy with Eropean ancestry at top Spanish blood linked to civilizing forces Figures wearing lavish costumes Africans/Indians rendered with respect showing harmony between the mixing classes Indians would be portrayed with European facial characteristics, Slim nose, curly hair, etc. Commisioned by colonists to be sent to Europe to show how the caste system of the New world works Viewed not as art but illustrations of ethnic groups
Spainard and Indian Produce a Mestizo Juan Juarez, 1715, Oil on Canvas Panel from a series of Casta paintings (paintings displaying lineages) Spanish social hierarchy with Eropean ancestry at top Spanish blood linked to civilizing forces Figures wearing lavish costumes Africans/Indians rendered with respect showing harmony between the mixing classes Indians would be portrayed with European facial characteristics, Slim nose, curly hair, etc. Commisioned by colonists to be sent to Europe to show how the caste system of the New world works Viewed not as art but illustrations of ethnic groups
Portrait of Sor Juana Ines de la Cruz Cabrera, 1750, Oil on canvas Sor Juana de la Cruz was a child prodigy in literature Creole woman who became a nun in 1669 Feminist culture still survived in Mexican convents where privileged nuns livd in comfort with servants and households Literary figure, published books that were widely read, also wrote poetry and theatrical pieces Maintained a great library Instrumental in giving girls an education in a patriarchal world Waring the habit of the religious order of the Hermits of St. Jerome including the escudo (framed painting worn belox the neck in spanish society) Seated in her library surrounded by symbols of her faith and learning Portrait derives from an earlier self portrait she made Done 55 years after her death for her admirers to worship
Portrait of Sor Juana Ines de la Cruz Cabrera, 1750, Oil on canvas Sor Juana de la Cruz was a child prodigy in literature Creole woman who became a nun in 1669 Feminist culture still survived in Mexican convents where privileged nuns livd in comfort with servants and households Literary figure, published books that were widely read, also wrote poetry and theatrical pieces Maintained a great library Instrumental in giving girls an education in a patriarchal world Waring the habit of the religious order of the Hermits of St. Jerome including the escudo (framed painting worn belox the neck in spanish society) Seated in her library surrounded by symbols of her faith and learning Portrait derives from an earlier self portrait she made Done 55 years after her death for her admirers to worship
The Tete a Tete from Marriage a la Mode William Hogarth, 1743, Oil on Canvas Neoclassical/Realism One of 6 paintings from a series called Mariage a la Mode Highly satiric paintings about the English aristocracy and about those who try to buy into it Here it shows shortly after a marriage, each partner has pursued their individual interests without each other Husband has been out all night with another woman, shown as the dog sniffes the bonnet suspiciously Hands in pockets with solemn expression showing he has no money Broken sword symbol of a fight and probably lost, could be sexual inadequacy Wife has been playing cards, indicated by the steward's expression that she has lost a fortune Holds 9 unpaid bills in his hands contributing to the chaos Knocked over chair with violin shows violin player left hurriedly Pious figures shown on back wall contrast with the curtained illustration of an erotic nude female
The Tete a Tete from Marriage a la Mode William Hogarth, 1743, Oil on Canvas Neoclassical/Realism One of 6 paintings from a series called Mariage a la Mode Highly satiric paintings about the English aristocracy and about those who try to buy into it Here it shows shortly after a marriage, each partner has pursued their individual interests without each other Husband has been out all night with another woman, shown as the dog sniffes the bonnet suspiciously Hands in pockets with solemn expression showing he has no money Broken sword symbol of a fight and probably lost, could be sexual inadequacy Wife has been playing cards, indicated by the steward's expression that she has lost a fortune Holds 9 unpaid bills in his hands contributing to the chaos Knocked over chair with violin shows violin player left hurriedly Pious figures shown on back wall contrast with the curtained illustration of an erotic nude female
Philosopher Giving a Lecture on the Orrey Joseph Wright of Derby,1763-1765, Oil on Canvas Realism Influenced by the meeting of a provincial group of intellectuals known as the Lunar Society who met to discuss scientific discoveries, during the Scientific Revolution/Enlightenment Orrey is an early form of a planetarium which imitated the motion of the solar system Unknown source of light at center represents the sun Mixed group of the middle class shown, men, children, woman Mixed expressions as some are curious, some fascinated, some thinking Philosopher is based loosely on a portrait of Issac Newton Stops lecture to clarify for note taker on the left Each face represents a phase of the moon based on the amount of light/shadow being cast on them, completes the celestial theme Part of a series of candle-lit aintings inspired by Caravaggios use of TENEBRISM Ordinary lecture takes the qualities of a grand history of painting REALISM
Philosopher Giving a Lecture on the Orrey Joseph Wright of Derby,1763-1765, Oil on Canvas Realism Influenced by the meeting of a provincial group of intellectuals known as the Lunar Society who met to discuss scientific discoveries, during the Scientific Revolution/Enlightenment Orrey is an early form of a planetarium which imitated the motion of the solar system Unknown source of light at center represents the sun Mixed group of the middle class shown, men, children, woman Mixed expressions as some are curious, some fascinated, some thinking Philosopher is based loosely on a portrait of Issac Newton Stops lecture to clarify for note taker on the left Each face represents a phase of the moon based on the amount of light/shadow being cast on them, completes the celestial theme Part of a series of candle-lit aintings inspired by Caravaggios use of TENEBRISM Ordinary lecture takes the qualities of a grand history of painting REALISM
The Swing Fragonard, Oil on Canvas, 1767 Rococo cause light airyness/playfullness of scene Light floral motif present throughout the entire painting Figures are small in a dominant garden, out a Watteau like environment Atmospheric perspective used to create depth (bigger clearer in front, smaller blurry in back) Patron in front looking up the skirt of a young lady, who is flirtatiously kicking off her shoe towards the cupid statue Unsuspecting bishop swings her from behind Soft application of colors alone contribute to the sensuality of the work
The Swing Fragonard, Oil on Canvas, 1767 Rococo cause light airyness/playfullness of scene Light floral motif present throughout the entire painting Figures are small in a dominant garden, out a Watteau like environment Atmospheric perspective used to create depth (bigger clearer in front, smaller blurry in back) Patron in front looking up the skirt of a young lady, who is flirtatiously kicking off her shoe towards the cupid statue Unsuspecting bishop swings her from behind Soft application of colors alone contribute to the sensuality of the work
Self Portrait Elizabeth Vigee Le Brun,1790, Oil on Canvas Naturalism 40 self-portraits in existence, very idealized Looks at the viewer as she paints a portrait of Maire Antoinette, rendered very softly from memory as she was killed during the French Revolution Subject looks admiringly at the painter, as if she is proud and respects her job She looks directly at the viewer showing her confidence as a female painter Reflects the ideals of women and the rights they want, she wears the colors of France Slight Rococo touch in the soft application of color and use of light
Self Portrait Elizabeth Vigee Le Brun,1790, Oil on Canvas Naturalism 40 self-portraits in existence, very idealized Looks at the viewer as she paints a portrait of Maire Antoinette, rendered very softly from memory as she was killed during the French Revolution Subject looks admiringly at the painter, as if she is proud and respects her job She looks directly at the viewer showing her confidence as a female painter Reflects the ideals of women and the rights they want, she wears the colors of France Slight Rococo touch in the soft application of color and use of light
Oath of Horatti David, 1784, Oil on Canvas Exemplum Virtutis Story of 3 Roman Brother, Horatti, who go to battle 3 brothers from the Curiatti from neighboring city, pledge their fidelity to their father and to Rome Female members from both of the families on the right experience sorrow and remorse as their sons/brothers go to war Pits enlightenment virtues courage, patriotism against those of emotion/love Shallow space so figures are put on a stage defined by the simple Roman architecture in the background Rigidness and angularity of the forms on the right contrast with the fluidity and curvilinear forms of the women on the left Male figures in front heavy modeling and rendered with a monumentality similar to that of Classical sculptures Foreshadows what was to come as the French revolution got closer Patriotism and sacrifice in Roman history used to show ideals of the French Perfect example of Neoclassism with geometric forms, classical aesthetic,etc. Painted under royal patronage displayed at the Salon of 1785
Oath of Horatti David, 1784, Oil on Canvas Exemplum Virtutis Story of 3 Roman Brother, Horatti, who go to battle 3 brothers from the Curiatti from neighboring city, pledge their fidelity to their father and to Rome Female members from both of the families on the right experience sorrow and remorse as their sons/brothers go to war Pits enlightenment virtues courage, patriotism against those of emotion/love Shallow space so figures are put on a stage defined by the simple Roman architecture in the background Rigidness and angularity of the forms on the right contrast with the fluidity and curvilinear forms of the women on the left Male figures in front heavy modeling and rendered with a monumentality similar to that of Classical sculptures Foreshadows what was to come as the French revolution got closer Patriotism and sacrifice in Roman history used to show ideals of the French Perfect example of Neoclassism with geometric forms, classical aesthetic,etc. Painted under royal patronage displayed at the Salon of 1785
Monticello Thomas Jefferson, Virginia, 1768-1809, Brick, Glass, Stone, Wood Little Mountain in Italian Chief building on Jefferson's plantation Symmetrical interior and exterior design Brick building with stucco applied to the trim giving it the effect of marble Tall French doors and windows to allow circulation of air during hot virginia summers Appears to be a one story building with a dome but the balustrade hides the second floor Inspired by Palladian villas in Italy Roman ruins in France Octagonal dome Saving space in his home, used narrow spiral staricases, beds in alcoves or in walls between rooms Interpretation of enlightenment belief in the perfectibility of human beings Effort to create classical style of architecture for the entire nation Building served as a visible expression of a country dedcated to liberty, use of Roman/Greek style cause he wanted to imitate the republic mixed with democracy
Monticello Thomas Jefferson, Virginia, 1768-1809, Brick, Glass, Stone, Wood Little Mountain in Italian Chief building on Jefferson's plantation Symmetrical interior and exterior design Brick building with stucco applied to the trim giving it the effect of marble Tall French doors and windows to allow circulation of air during hot virginia summers Appears to be a one story building with a dome but the balustrade hides the second floor Inspired by Palladian villas in Italy Roman ruins in France Octagonal dome Saving space in his home, used narrow spiral staricases, beds in alcoves or in walls between rooms Interpretation of enlightenment belief in the perfectibility of human beings Effort to create classical style of architecture for the entire nation Building served as a visible expression of a country dedcated to liberty, use of Roman/Greek style cause he wanted to imitate the republic mixed with democracy
Monticello plan Thomas Jefferson, Virginia, 1768-1809, Brick, Glass, Stone, Wood Little Mountain in Italian Chief building on Jefferson's plantation Symmetrical interior and exterior design Brick building with stucco applied to the trim giving it the effect of marble Tall French doors and windows to allow circulation of air during hot virginia summers Appears to be a one story building with a dome but the balustrade hides the second floor Inspired by Palladian villas in Italy Roman ruins in France Octagonal dome Saving space in his home, used narrow spiral staricases, beds in alcoves or in walls between rooms Interpretation of enlightenment belief in the perfectibility of human beings Effort to create classical style of architecture for the entire nation Building served as a visible expression of a country dedcated to liberty, use of Roman/Greek style cause he wanted to imitate the republic mixed with democracy
Monticello plan Thomas Jefferson, Virginia, 1768-1809, Brick, Glass, Stone, Wood Little Mountain in Italian Chief building on Jefferson's plantation Symmetrical interior and exterior design Brick building with stucco applied to the trim giving it the effect of marble Tall French doors and windows to allow circulation of air during hot virginia summers Appears to be a one story building with a dome but the balustrade hides the second floor Inspired by Palladian villas in Italy Roman ruins in France Octagonal dome Saving space in his home, used narrow spiral staricases, beds in alcoves or in walls between rooms Interpretation of enlightenment belief in the perfectibility of human beings Effort to create classical style of architecture for the entire nation Building served as a visible expression of a country dedcated to liberty, use of Roman/Greek style cause he wanted to imitate the republic mixed with democracy
George Washington Houdon, 1788-1792, Marble Washington dressed as an 18th century gentleman Military associations minimized, epaulettes on shoulders and sword on the side Naturalistic details like a missiong button on his jacket, tightly buttoned vest arond a protruding stomach Seen as a man of vision and enlightenment Badge of Cincinnatus on his belt, Washington left his duties as a farmer to fight for America just as Cincinnatus left his farm to command the Roman armies Plow behind him symbolizes his plantation Washington leans on the Roman fasces, a group of rods bound together at the top and bottom 13 rods symbolize 13 colonies Washington leans on the 13 colonies who give him support
George Washington Houdon, 1788-1792, Marble Washington dressed as an 18th century gentleman Military associations minimized, epaulettes on shoulders and sword on the side Naturalistic details like a missiong button on his jacket, tightly buttoned vest arond a protruding stomach Seen as a man of vision and enlightenment Badge of Cincinnatus on his belt, Washington left his duties as a farmer to fight for America just as Cincinnatus left his farm to command the Roman armies Plow behind him symbolizes his plantation Washington leans on the Roman fasces, a group of rods bound together at the top and bottom 13 rods symbolize 13 colonies Washington leans on the 13 colonies who give him support
And theres nothing to be done Francisco Goya, 1810-18323, Drypoint etching Romantiscism Part of the the Disasters of War 80 works altogether Published in 1853, 30 years after he died Crucial commentary on French occupation of Spain Influenced by the Spain's constant warfare Explores the themes of war,famine, and politics This piece is very ironic and sardonic Guns at very close range point towards victims assumedly spanish patriots being killed by French soldiers Question of who exactly are being shot
And theres nothing to be done Francisco Goya, 1810-18323, Drypoint etching Romantiscism Part of the the Disasters of War 80 works altogether Published in 1853, 30 years after he died Crucial commentary on French occupation of Spain Influenced by the Spain's constant warfare Explores the themes of war,famine, and politics This piece is very ironic and sardonic Guns at very close range point towards victims assumedly spanish patriots being killed by French soldiers Question of who exactly are being shot
La Grande Odalisque Ingres, 1814, Oil on Canvas Romanticism Raphael-like face Turkish elements: Incense burner, peacock fan, tapestrylike turban, hashish pipe, Odalisque was a turkish concubine in a harem who served the Ottoman Sultan Shows western perspective of a Harem Inconsistent arrangement of limbs, rubbery arm, elongated back, placement of leg, one arm longer than other Influenced by mannerist form of exaggerated body parts Development of the female nude Sensuality very prominent
La Grande Odalisque Ingres, 1814, Oil on Canvas Romanticism Raphael-like face Turkish elements: Incense burner, peacock fan, tapestrylike turban, hashish pipe, Odalisque was a turkish concubine in a harem who served the Ottoman Sultan Shows western perspective of a Harem Inconsistent arrangement of limbs, rubbery arm, elongated back, placement of leg, one arm longer than other Influenced by mannerist form of exaggerated body parts Development of the female nude Sensuality very prominent
Liberty Leading the People Delacroix, 1830, Oil on Canvas July Revolution of 1830, Liberty with French tricolor marches over barricades to overthrow the governement soldiers Red, white, blue echo throughout the painting Strong pyramidical structure leading to the French flag Child with pistols symbolizes the role of students in the revolt, middle class man recognizable by the top hat and carrying a rifle, lower class represented by man at extreme left with sword in hand and pistol at belt Liberty wears a red Phrygian cap worn in the ancient world by freed slaves, Notre Dame seen through the smoke on far right, french tricolor raised on its tower Memorializes the overthrow of the French gov. in favor of the
Liberty Leading the People Delacroix, 1830, Oil on Canvas July Revolution of 1830, Liberty with French tricolor marches over barricades to overthrow the governement soldiers Red, white, blue echo throughout the painting Strong pyramidical structure leading to the French flag Child with pistols symbolizes the role of students in the revolt, middle class man recognizable by the top hat and carrying a rifle, lower class represented by man at extreme left with sword in hand and pistol at belt Liberty wears a red Phrygian cap worn in the ancient world by freed slaves, Notre Dame seen through the smoke on far right, french tricolor raised on its tower Memorializes the overthrow of the French gov. in favor of the "Citizen King" Louis Phillipe Acquired French state in 1831 but not shown publicly for 25 years due to its revolutionary ideas Balance of contemporary historical fact with poetic allegory
The Oxbow Thomas Cole, 1836, Oil on canvas Credited with the invention of the landscape painting in the U.S. Founder of the Hudson River School Shows an actual view of Massachusetts Divides picture into two different contrasting landscapes, romantic on left, classical on right Coles self portrait in forground amid a dense forest that is impenetrably thick with broken trees Left landscape shows storms, element of the sublime Right shows mans touch with cultivated fields and boats floating down the river Painted as a reply to a British book claiming the Americans had destroyed the wilderness with industry Painted for an exhibit and at the National Academy of Design Manifest destiny as it Americans destiny to settle land Transition from sublime to pastoral
The Oxbow Thomas Cole, 1836, Oil on canvas Credited with the invention of the landscape painting in the U.S. Founder of the Hudson River School Shows an actual view of Massachusetts Divides picture into two different contrasting landscapes, romantic on left, classical on right Coles self portrait in forground amid a dense forest that is impenetrably thick with broken trees Left landscape shows storms, element of the sublime Right shows mans touch with cultivated fields and boats floating down the river Painted as a reply to a British book claiming the Americans had destroyed the wilderness with industry Painted for an exhibit and at the National Academy of Design Manifest destiny as it Americans destiny to settle land Transition from sublime to pastoral
Slave Ship Turner, 1840, Oil on Canvas Shown at the Royal Academy in 1840 in context an excerpt from his poem
Slave Ship Turner, 1840, Oil on Canvas Shown at the Royal Academy in 1840 in context an excerpt from his poem "The Fallacies of Hope" Based on the event where the a slave ship *The Zong* sailed to America full of slaves Slaves werent insured for sickness so this forced captains to treat the slaves humanely Captain would throw sick or dying slaves overboard into the sea Inspired by a book accounting for the scandal by Thomas Clark Emotional use of color Fast brushwork Recognizable forms like the ship, hands, and chains are reduced in size and pale compared to the turbulent landscape Bloody sunset acts as a symbol of the scene taking place Use of the sublime enhances the dramatic effect of the painting
Still Life in the Studio Louis Daguerre, 1837, Daguerrotype Sill life inspired by painted still lifes like Vanitas paintings Variety of textures, fabrics, wicker,plaster, framed print, metal, wood, etc. New art form inspired by older art forms Dagerreotypes have shiny surfaces with great detail Use of camera obscura
Still Life in the Studio Louis Daguerre, 1837, Daguerrotype Sill life inspired by painted still lifes like Vanitas paintings Variety of textures, fabrics, wicker,plaster, framed print, metal, wood, etc. New art form inspired by older art forms Dagerreotypes have shiny surfaces with great detail Use of camera obscura
Palace of Westminster Abbey (Houses of Parliament) Charles Barry and Augustus Pugin, London, 1840-1870, Limestone, Masonry, Glass Fire of 1834 burned down old structure, only westminister hall survived Perpendicualr gothic inspired by the Chapel of Henry VII neighboring the structure Competition held in 1835 for new Houses of Parliament after old one burned down Rejection of Neoclassical cause associated with France/America 97 entrants, 91 Perpendicular Gothic, 6 Elizabethan style, these styles thought to be the native styles of England Enormous structure with 1100 rooms, 100 staircases, 2 miles of corridors Modern office building cloaked in Medieval clothing Barry classical architect accounts for regularity of plan Pugin Gothic architect accounts for Gothic architectural touches Use of Gothic ornament is greater than an original gothic building Big Ben placed next to it, symbolic of a village clock for all of England
Palace of Westminster Abbey (Houses of Parliament) Charles Barry and Augustus Pugin, London, 1840-1870, Limestone, Masonry, Glass Fire of 1834 burned down old structure, only westminister hall survived Perpendicualr gothic inspired by the Chapel of Henry VII neighboring the structure Competition held in 1835 for new Houses of Parliament after old one burned down Rejection of Neoclassical cause associated with France/America 97 entrants, 91 Perpendicular Gothic, 6 Elizabethan style, these styles thought to be the native styles of England Enormous structure with 1100 rooms, 100 staircases, 2 miles of corridors Modern office building cloaked in Medieval clothing Barry classical architect accounts for regularity of plan Pugin Gothic architect accounts for Gothic architectural touches Use of Gothic ornament is greater than an original gothic building Big Ben placed next to it, symbolic of a village clock for all of England
Westminster Central Lobby Placed between the House of Commons and House of Lords Meant to be a space where constituents can meet members of their parliament Metal grills on doorways originally from House of Commons, marked the spot where women could be seated to watch Parliament, now symbols of the suffrage movement Central octagonal spaces with statues of past Kings/Queens of England/Scotland Four large mosaics over each doorway represent four saints of the different areas of the U.K. St. George is England St. Andrew is Scotland St. David is Wales St. Patrick is Ireland
Westminster Central Lobby Placed between the House of Commons and House of Lords Meant to be a space where constituents can meet members of their parliament Metal grills on doorways originally from House of Commons, marked the spot where women could be seated to watch Parliament, now symbols of the suffrage movement Central octagonal spaces with statues of past Kings/Queens of England/Scotland Four large mosaics over each doorway represent four saints of the different areas of the U.K. St. George is England St. Andrew is Scotland St. David is Wales St. Patrick is Ireland
Westminster Hall Last remaining piece of the medieval parliament building as the rest burned down
Westminster Hall Last remaining piece of the medieval parliament building as the rest burned down
The Stone Breakers Gustave Courbet, 1849, Oil on Canvas Realism Submitted to the Salon of 1850 Breaking stones down to rubble to be used for paving Emphasis on the hardship of poverty Figures born poor and will remain poor the rest of their lives Reaction to labor unrest of 1848, poor demanding better working conditions Large size of painting usually for grand historical paintings, but here it elevates the commonplace into the realm of legend and history Ripped, tattered clothes, old man versus child, hardship for life
The Stone Breakers Gustave Courbet, 1849, Oil on Canvas Realism Submitted to the Salon of 1850 Breaking stones down to rubble to be used for paving Emphasis on the hardship of poverty Figures born poor and will remain poor the rest of their lives Reaction to labor unrest of 1848, poor demanding better working conditions Large size of painting usually for grand historical paintings, but here it elevates the commonplace into the realm of legend and history Ripped, tattered clothes, old man versus child, hardship for life
Nadar Raising Photography to the Height of Art, Daumier,1862, Lithograph Nadar famous for taking aerial photos of Paris Presents Nadar as a quacky photographer lost in the excitement to get a daring shot as he almost falls out of his balloon, in the process he loses his hat Every building has word photographie on it Mocks the claims that photography can be considered high art, irony implied in the title Done after court decision of 1862 that determined photographs could be considered a piece of art Satiric of photography
Nadar Raising Photography to the Height of Art, Daumier,1862, Lithograph Nadar famous for taking aerial photos of Paris Presents Nadar as a quacky photographer lost in the excitement to get a daring shot as he almost falls out of his balloon, in the process he loses his hat Every building has word photographie on it Mocks the claims that photography can be considered high art, irony implied in the title Done after court decision of 1862 that determined photographs could be considered a piece of art Satiric of photography
Olympia Edouard Manet, 1863, OIl on Canvas Created a scandal at the Salon of 1865 Traditional subject of a reclining nude inspired by Titian's Venus of Urbino Figure is cold and uninviting, no emotion present Maid deliver flowers from an admirer Olympia was a common name for prostitutes of the time Her direct, uncaring, unnerving look of confidence startled viewers as she acknowledged that the viewer was there but still didnt care that she was naked Simplified modeling, active brushwork Stark contrast of colors Mistress used Parisian men Female nude no longer idealized and perfect like past, lips to thin, asymetrical face Figure lacks modeling everywhere except hands, critics pointed this out saying that her hands were
Olympia Edouard Manet, 1863, OIl on Canvas Created a scandal at the Salon of 1865 Traditional subject of a reclining nude inspired by Titian's Venus of Urbino Figure is cold and uninviting, no emotion present Maid deliver flowers from an admirer Olympia was a common name for prostitutes of the time Her direct, uncaring, unnerving look of confidence startled viewers as she acknowledged that the viewer was there but still didnt care that she was naked Simplified modeling, active brushwork Stark contrast of colors Mistress used Parisian men Female nude no longer idealized and perfect like past, lips to thin, asymetrical face Figure lacks modeling everywhere except hands, critics pointed this out saying that her hands were "dirty" from the work she had been doing Awkwardness in how toes emerge from underneath her slipper
The Saint Lazare Station Claude Monet, 1877, Oil on Canvas Shown at the Impressionist exhibition of 1877 One of a series of paintings depicting this train station Famous for his paintings on te same subject with different lighting during different different times of day and times of the year Originally meant to be hung next to each other for effect Effects of steam, light, color, emphasized not about the machines or people Subtle gradiations of light on the surface Forms dissolve and dematerialze, color overwhelms form Color creates form, no line Light responsible for the tones of color
The Saint Lazare Station Claude Monet, 1877, Oil on Canvas Shown at the Impressionist exhibition of 1877 One of a series of paintings depicting this train station Famous for his paintings on te same subject with different lighting during different different times of day and times of the year Originally meant to be hung next to each other for effect Effects of steam, light, color, emphasized not about the machines or people Subtle gradiations of light on the surface Forms dissolve and dematerialze, color overwhelms form Color creates form, no line Light responsible for the tones of color
The Coiffure Mary Cassat, 1890-1891, Drypoint/Aquatint Fascination of Japanese art since Matthew Perry opened Japan to the rest of the world Cassatt's world filled with women, women as independent and not needing of men to complete themselves, women who enjoy company of other woman No posing or acting, figure has natural quality Decorative charm influenced by Japanese art Japanese hair style, japanese point of view as figure is seen from back Tenderness lacking in other impressionists present Part of a series of ten print exhibited together Contrasting sensuous curves of female form and chair with straight lines of furniture/wall/mirror Pastel color scheme used
The Coiffure Mary Cassat, 1890-1891, Drypoint/Aquatint Fascination of Japanese art since Matthew Perry opened Japan to the rest of the world Cassatt's world filled with women, women as independent and not needing of men to complete themselves, women who enjoy company of other woman No posing or acting, figure has natural quality Decorative charm influenced by Japanese art Japanese hair style, japanese point of view as figure is seen from back Tenderness lacking in other impressionists present Part of a series of ten print exhibited together Contrasting sensuous curves of female form and chair with straight lines of furniture/wall/mirror Pastel color scheme used
The Horse in Motion Eadweard Muybridge, Albumen Print, 1878 Photography now advanced enough that it can capture moments that the human eye cant Camera snapped photos at evenly spaced points on a track giving the effect that the images happened in a sequence Motion studies bridge the gap between still photography and movies Used device called zoopraxiscope Debate if all horses legs come off ground or not
The Horse in Motion Eadweard Muybridge, Albumen Print, 1878 Photography now advanced enough that it can capture moments that the human eye cant Camera snapped photos at evenly spaced points on a track giving the effect that the images happened in a sequence Motion studies bridge the gap between still photography and movies Used device called zoopraxiscope Debate if all horses legs come off ground or not
The Valley of Mexico from the Hillside of Santa Isabel Jose Velasco, 1882, Oil on Canvas Primarily an academic landscape painter Specialized in broad panoramas of the Valley of Mexico Keen observer of nature; rocks, foliage, clouds, waterfalls depicted with great accuracy Rejected the realist and romantic landscapes of courbet and turner, wanted a landscape of idealized beauty Settled in Villa Guadalupe with an overview of the Valley of Mexico Dramatic perspective, very large area depicted, big distance, small figures Glorifies the beauty of the Mexican countryside Hill of Tepayac where the Virgin of Guadalupe appeared Shows effects of industrialization/urbanization with human development
The Valley of Mexico from the Hillside of Santa Isabel Jose Velasco, 1882, Oil on Canvas Primarily an academic landscape painter Specialized in broad panoramas of the Valley of Mexico Keen observer of nature; rocks, foliage, clouds, waterfalls depicted with great accuracy Rejected the realist and romantic landscapes of courbet and turner, wanted a landscape of idealized beauty Settled in Villa Guadalupe with an overview of the Valley of Mexico Dramatic perspective, very large area depicted, big distance, small figures Glorifies the beauty of the Mexican countryside Hill of Tepayac where the Virgin of Guadalupe appeared Shows effects of industrialization/urbanization with human development
The Bughers of Calais Auguste Rodin,1884/1885, Bronze 6 Burghers offer their lives to the English King in return for saving their city during the Hundred Years War, part of the siege of calais English King insisted the burghers wear sackcloths and carry the key to the city Drapery part of the ground showing that they are part of the city and will do anything to save it Parallels between Paris besieged during the Franco-Prussian War 1870 and Calais besieged in 1347 Figures suffer from privation, weak and emaciated Each figure has a different emotion, some fearful, resigned, or alone Central figure is eustache de St. Pierre who has large swollen hands and a noose around his neck, ready for execution Details reduced to emphasize the overall impression Meant to be a ground level so people can look at it up close Rejected by town coucil of Calais as being shameful, they wanted a single allegorical figure Shows the 6 men in a new innovative way of showing defeat and sorrow Shows heroes sacrificing life for their city as they did instead of showing triumphant glorified figures there commisioners wanted to see At first at eye level amongst citizens so they would have the same morals, but put on pedestal by commisioners to be looked up upon
The Bughers of Calais Auguste Rodin,1884/1885, Bronze 6 Burghers offer their lives to the English King in return for saving their city during the Hundred Years War, part of the siege of calais English King insisted the burghers wear sackcloths and carry the key to the city Drapery part of the ground showing that they are part of the city and will do anything to save it Parallels between Paris besieged during the Franco-Prussian War 1870 and Calais besieged in 1347 Figures suffer from privation, weak and emaciated Each figure has a different emotion, some fearful, resigned, or alone Central figure is eustache de St. Pierre who has large swollen hands and a noose around his neck, ready for execution Details reduced to emphasize the overall impression Meant to be a ground level so people can look at it up close Rejected by town coucil of Calais as being shameful, they wanted a single allegorical figure Shows the 6 men in a new innovative way of showing defeat and sorrow Shows heroes sacrificing life for their city as they did instead of showing triumphant glorified figures there commisioners wanted to see At first at eye level amongst citizens so they would have the same morals, but put on pedestal by commisioners to be looked up upon
Starry Night Van Gogh,1889, Oil on Canvas Post Impressionism Thick short emotional brushstrokes Mountains of St. Remy in the distance that Van Gogh was able to see from his mental hospital, steepness is greatly exaggerated Compostie landscape with Dutch church, Crescent moon, mediterranean cyprus tree Strong left to right wavelike impulse in his owrk broken only by the tree and church steeple Tree looks like green flames raching into the sky expolding with the powers of the stars over a placid village Cyprus tree symbol of death and eternal life Derived meaning and emotion of the work from the deep hues of color Transformed line with expressive color may layers Rapid brush strokes invoked by the subconsious
Starry Night Van Gogh,1889, Oil on Canvas Post Impressionism Thick short emotional brushstrokes Mountains of St. Remy in the distance that Van Gogh was able to see from his mental hospital, steepness is greatly exaggerated Compostie landscape with Dutch church, Crescent moon, mediterranean cyprus tree Strong left to right wavelike impulse in his owrk broken only by the tree and church steeple Tree looks like green flames raching into the sky expolding with the powers of the stars over a placid village Cyprus tree symbol of death and eternal life Derived meaning and emotion of the work from the deep hues of color Transformed line with expressive color may layers Rapid brush strokes invoked by the subconsious
The Scream Edward Munch, 1893, Tempera and pastel on cardboard Symbolism Figure walking on a boardwalk, boats area at sea in the distance Long thick brushstrokes swirl around the composition Figure cries in horrifying scream, landscape echoes his emotions Inspired by a peruvian mummy exhibit in Paris Starved twisting figure with skull like head Prefigured expressionist art Art Nouveau swirling patterns
The Scream Edward Munch, 1893, Tempera and pastel on cardboard Symbolism Figure walking on a boardwalk, boats area at sea in the distance Long thick brushstrokes swirl around the composition Figure cries in horrifying scream, landscape echoes his emotions Inspired by a peruvian mummy exhibit in Paris Starved twisting figure with skull like head Prefigured expressionist art Art Nouveau swirling patterns
Where do we come from? What are we? Where are we going? Paul Gauguin, 1897/1898, Oil on Canvas Painted during his stay in Tahiti Suffered from poor health/poverty, obessesed with thought of death Learned of the death of his daughter, deeply shaken, determined to commit suicide and have this painting be his last will and testament story of life read from right to left Right: birth, infant three adults Center: mid-life, picking of fruits of the world Left: death (figure derived from a peruvian mummy on exhibit in paris) Figures in foreground represent Tahiti and Eden-like paradise, background figures anguished and dark Blue idol represents the beyond/heaven Most of the scene is flat unmodulated areas of color that conveys a sense of lushness and intensity Rejection of classical influence Non tradititional influences like, Egyptian figures, Japanese prints in solids fields of color with unusual angels Tahitian imagery in polynesian idol Gauguin thought of painting as a summation of his artistic/personal expression
Where do we come from? What are we? Where are we going? Paul Gauguin, 1897/1898, Oil on Canvas Painted during his stay in Tahiti Suffered from poor health/poverty, obessesed with thought of death Learned of the death of his daughter, deeply shaken, determined to commit suicide and have this painting be his last will and testament story of life read from right to left Right: birth, infant three adults Center: mid-life, picking of fruits of the world Left: death (figure derived from a peruvian mummy on exhibit in paris) Figures in foreground represent Tahiti and Eden-like paradise, background figures anguished and dark Blue idol represents the beyond/heaven Most of the scene is flat unmodulated areas of color that conveys a sense of lushness and intensity Rejection of classical influence Non tradititional influences like, Egyptian figures, Japanese prints in solids fields of color with unusual angels Tahitian imagery in polynesian idol Gauguin thought of painting as a summation of his artistic/personal expression
Carson, Pirie, Scott, and Company Building Louis Sullivan,1899-1903, Iron, steel, glass, terra cotta *Form follows function* Chicago school of architecture Horizontal emphasis symbolizes continuous flow of floor space Limited steel structural elements allowed for maximum window area to admit light, also used to display products Nonsupportive role of exterior, decorative Cast iron decorative elements transform structure into beautiful place to by beautiful things Exterior coated in decorative terra cotta tiles, original interior very ornamented around lobby and halls Some historical touches in the round entrance arches and heavy cornice at top of building tripartite design: bottom for easy public access and lots of lighting for a reception area; middle is endless amount of identical stories for offices based on need, same because they have the same purpose, top has heavy cornice to signify end of the builing
Carson, Pirie, Scott, and Company Building Louis Sullivan,1899-1903, Iron, steel, glass, terra cotta *Form follows function* Chicago school of architecture Horizontal emphasis symbolizes continuous flow of floor space Limited steel structural elements allowed for maximum window area to admit light, also used to display products Nonsupportive role of exterior, decorative Cast iron decorative elements transform structure into beautiful place to by beautiful things Exterior coated in decorative terra cotta tiles, original interior very ornamented around lobby and halls Some historical touches in the round entrance arches and heavy cornice at top of building tripartite design: bottom for easy public access and lots of lighting for a reception area; middle is endless amount of identical stories for offices based on need, same because they have the same purpose, top has heavy cornice to signify end of the builing
Carson, Pirie, Scott, and Company Building Plan Louis Sullivan,1899-1903, Iron, steel, glass, terra cotta *Form follows function* Chicago school of architecture Horizontal emphasis symbolizes continuous flow of floor space Limited steel structural elements allowed for maximum window area to admit light, also used to display products Nonsupportive role of exterior, decorative Cast iron decorative elements transform structure into beautiful place to by beautiful things Exterior coated in decorative terra cotta tiles, original interior very ornamented around lobby and halls Some historical touches in the round entrance arches and heavy cornice at top of building
Carson, Pirie, Scott, and Company Building Plan Louis Sullivan,1899-1903, Iron, steel, glass, terra cotta *Form follows function* Chicago school of architecture Horizontal emphasis symbolizes continuous flow of floor space Limited steel structural elements allowed for maximum window area to admit light, also used to display products Nonsupportive role of exterior, decorative Cast iron decorative elements transform structure into beautiful place to by beautiful things Exterior coated in decorative terra cotta tiles, original interior very ornamented around lobby and halls Some historical touches in the round entrance arches and heavy cornice at top of building
Mont Sainte-Victorie Paul Cezanne,1902-1904, Oil on Canvas Post Impressionism One of a series of 11 paintings done with this view Contempt for flat painting, effort to make round firm objects from geometric constructions of undiluted color Intellectually order his picture plain with lines,planes, and colors found in nature Used different tones/hues of color to create depth Cool colors recede, warm colors advance Landscape rarely includes humans Interest in geometric forms and line, not the dappled effect of light sought after by Impressionists Not a moment like impressionists, a solid, firmly constructed mountain/foreground Invited to look at space but not enter
Mont Sainte-Victorie Paul Cezanne,1902-1904, Oil on Canvas Post Impressionism One of a series of 11 paintings done with this view Contempt for flat painting, effort to make round firm objects from geometric constructions of undiluted color Intellectually order his picture plain with lines,planes, and colors found in nature Used different tones/hues of color to create depth Cool colors recede, warm colors advance Landscape rarely includes humans Interest in geometric forms and line, not the dappled effect of light sought after by Impressionists Not a moment like impressionists, a solid, firmly constructed mountain/foreground Invited to look at space but not enter
Les Demoiselles de Avignon Pablo Picasso, 1907, Oil on Canvas Cubism First cubist work, influenced by later works of Cezanne African masks on figures, tribal representation/influence Represents 5 prostitutes in a bordello on Avignon street, each posing for a customer Poses are not traditionally alluring but awkward, expressionless, and uninviting 3 on left more conservatively painted two on right more radical, relfects a dichotomy in Picasso Multiple views expressed at same time no real depth Influenced by Gauguin's privitism Geometric/angular quailities Multiple view points of a figure shown creating a piece of art that is intellectually challenging to understand
Les Demoiselles de Avignon Pablo Picasso, 1907, Oil on Canvas Cubism First cubist work, influenced by later works of Cezanne African masks on figures, tribal representation/influence Represents 5 prostitutes in a bordello on Avignon street, each posing for a customer Poses are not traditionally alluring but awkward, expressionless, and uninviting 3 on left more conservatively painted two on right more radical, relfects a dichotomy in Picasso Multiple views expressed at same time no real depth Influenced by Gauguin's privitism Geometric/angular quailities Multiple view points of a figure shown creating a piece of art that is intellectually challenging to understand
The Steerage Alfred Stieglitz, 1907, Photogravure Photographed the world as he saw it, arranged little and allowed people/event to make their own compositions Interested in the compositional possibilities of diagonals and lines acting as framing elements Diagonals and framing effects of ladders, sails, steam pipes Depicts the poorest passengers on a ship traveling from the US to Europe Published in 1911 in Camera Work Influenced by experimental European painting, compared to a cubist drawing by picasso Cubist-like in arrangement of shapes and tonal values Shows social division of society Steerage was part of the ship reserved for passengers with the cheapest tickets Walkway serves as a division the poor people on bottom and middle/upper class people on top
The Steerage Alfred Stieglitz, 1907, Photogravure Photographed the world as he saw it, arranged little and allowed people/event to make their own compositions Interested in the compositional possibilities of diagonals and lines acting as framing elements Diagonals and framing effects of ladders, sails, steam pipes Depicts the poorest passengers on a ship traveling from the US to Europe Published in 1911 in Camera Work Influenced by experimental European painting, compared to a cubist drawing by picasso Cubist-like in arrangement of shapes and tonal values Shows social division of society Steerage was part of the ship reserved for passengers with the cheapest tickets Walkway serves as a division the poor people on bottom and middle/upper class people on top
The Kiss Gustav Klimt, 1907-1908, Oil on Canvas Fin de Siecle/Art Nouveau Visual representation of fin de siecle culture by capturing the opulence of love and sexual powers Little of the human form is actualy seen, two heads, four hands, two feet Bodies are suggested under a sea of richly designed patterning Male figure has large rectangular boxes, female figure has circular forms Figures dissolve into flat elaborate patterning Suggests all consuming love, passion, eroticism Spaced in an indeterminate location against a flattened background Gold leaf background reminiscent of Byzantine mosaics
The Kiss Gustav Klimt, 1907-1908, Oil on Canvas Fin de Siecle/Art Nouveau Visual representation of fin de siecle culture by capturing the opulence of love and sexual powers Little of the human form is actualy seen, two heads, four hands, two feet Bodies are suggested under a sea of richly designed patterning Male figure has large rectangular boxes, female figure has circular forms Figures dissolve into flat elaborate patterning Suggests all consuming love, passion, eroticism Spaced in an indeterminate location against a flattened background Gold leaf background reminiscent of Byzantine mosaics
The Kiss Constantin Brancusi,1916, limestone Symbolic almost cubist rendering of the male and female bodies Intertwined and enveloped figures Two eyes become one, cyclops-like Interlocked forms Brancusi worked in Rodins studio and used his
The Kiss Constantin Brancusi,1916, limestone Symbolic almost cubist rendering of the male and female bodies Intertwined and enveloped figures Two eyes become one, cyclops-like Interlocked forms Brancusi worked in Rodins studio and used his "The Kiss" sculpture as inspiration Fourth sculptural version of the same subject, done as a commision First one of Brancusi's earliest attempts at stone carving Second shown at the armory show Third used as a tombstone in Paris for a suicide victim Possibly many other versions that are undocumented
The Portuguese Georges Braque, 1911, Oil on Canvas Analytic cubism, style developed in combination with Picasso Rejected naturalistic and conventional painting Fractured forms, breaking down of objects into smaller forms Clear edged surfaces sit on the picture plane, not recessed in space Almost monochrome Not a portrait of a portuguese but on exploration of shapes Only realistic elements are the stenciled letter and numbers, suggest a dance hall poster behind the guitarist, a cafe atmosphere *2-D figures from multiple perspectives to convey a sense of totality is a uniquely modern way Simplified natural forms into geometric shapes*
The Portuguese Georges Braque, 1911, Oil on Canvas Analytic cubism, style developed in combination with Picasso Rejected naturalistic and conventional painting Fractured forms, breaking down of objects into smaller forms Clear edged surfaces sit on the picture plane, not recessed in space Almost monochrome Not a portrait of a portuguese but on exploration of shapes Only realistic elements are the stenciled letter and numbers, suggest a dance hall poster behind the guitarist, a cafe atmosphere *2-D figures from multiple perspectives to convey a sense of totality is a uniquely modern way Simplified natural forms into geometric shapes*
Goldfish Henri Matisse, 1912, Oil on Canvas Fauvism Still life painting Violent contrasting colors Thinly applied colors, white of canvas shows through Energetic painterly brushwork May have been influenced by decorative Asian art Broad patches of color anticipate Color-field painting seen later in the century
Goldfish Henri Matisse, 1912, Oil on Canvas Fauvism Still life painting Violent contrasting colors Thinly applied colors, white of canvas shows through Energetic painterly brushwork May have been influenced by decorative Asian art Broad patches of color anticipate Color-field painting seen later in the century
Improvisation 28 Vassily Kandinsky, 1912, Oil on Canvas Expressionism (Der Blaue Reiter) Kandinsky infatuated with theosophy and history and was able to understand new scientific developments of the time Movement toward abstraction, representational objects suggested rather than depicted Title derived from musical compositions Strongly articulated use of black line Colors seem to shad around the line forms Felt that sound and color were linked Gave musical titles to his works Kandinsky wanted the viewer to respond to a painting the way one would to an abstract musical composition Converyed feelings with color juxtapostions, intersecting lines, these abstractions would ledad to a more enlightened society emphasizing spirituality
Improvisation 28 Vassily Kandinsky, 1912, Oil on Canvas Expressionism (Der Blaue Reiter) Kandinsky infatuated with theosophy and history and was able to understand new scientific developments of the time Movement toward abstraction, representational objects suggested rather than depicted Title derived from musical compositions Strongly articulated use of black line Colors seem to shad around the line forms Felt that sound and color were linked Gave musical titles to his works Kandinsky wanted the viewer to respond to a painting the way one would to an abstract musical composition Converyed feelings with color juxtapostions, intersecting lines, these abstractions would ledad to a more enlightened society emphasizing spirituality
Self-Portrait as a Soldier Ernst Kircher, 1915, Oil on Canvas Kirchner was an unwilling volunteer driver in tehe artillery in WWI rather than being drafted into the infantry Declared unfit for service as he had lung problems, mental breakdowns, debate if this is fake or not so he could avoid service Painted this work during a recuperation period Drawn face, loss of right hand indicates his feeling that he has an inability to paint Nude model represents what he used to paint but no longer can Nightmarish quality Expressive quality of horrified facial features and grim surroudings Tilted persepective moves things close to the picture place
Self-Portrait as a Soldier Ernst Kircher, 1915, Oil on Canvas Kirchner was an unwilling volunteer driver in tehe artillery in WWI rather than being drafted into the infantry Declared unfit for service as he had lung problems, mental breakdowns, debate if this is fake or not so he could avoid service Painted this work during a recuperation period Drawn face, loss of right hand indicates his feeling that he has an inability to paint Nude model represents what he used to paint but no longer can Nightmarish quality Expressive quality of horrified facial features and grim surroudings Tilted persepective moves things close to the picture place
Memorial Sheet for Karl Liebknecht Kathe Kollwitz,1919-1920, woodcut Themes of war/poverty dominate her works theme of women grieving over dead children, her son died in WWI then she became a socialist Karl Liebnecht among the founder of the Berlin Spartacus League that became the German Communist Party Liebnecht shot to death in 1919 Communist uprising, Sparatacus Revolt Human grief dominates Stark black and white woodcut used to magnify the grief Same design as a lamentation, many heads at top showing how many people mourned over him, middle
Memorial Sheet for Karl Liebknecht Kathe Kollwitz,1919-1920, woodcut Themes of war/poverty dominate her works theme of women grieving over dead children, her son died in WWI then she became a socialist Karl Liebnecht among the founder of the Berlin Spartacus League that became the German Communist Party Liebnecht shot to death in 1919 Communist uprising, Sparatacus Revolt Human grief dominates Stark black and white woodcut used to magnify the grief Same design as a lamentation, many heads at top showing how many people mourned over him, middle
Villa Savoye Le Corbusier, Poissy Sur-Seine France, 1929, Steel/Reinforced Concrete International Style
Villa Savoye Le Corbusier, Poissy Sur-Seine France, 1929, Steel/Reinforced Concrete International Style "House should be a machine for living" 3 bedroom villa with servants quarters Boxlike horizontal quality, abstraction of a house Main part of house lifted off ground with thin freestanding posts(pilotis) to give floating effect Turning circle on bottom floor is a car port so family members can enter house straight from car All space is utilized, inflcuind roof which is used as a patio No historical ornamentation Subtle colors, white for exterior symbolized modern cleanliness, new,simple, healthy living Open interior without many walls Furniture built into the walls Ribbon windows wind around the second floor allowing views of the landscape Living spaces around an open courtyard type setting Pierre and Emilie Savoye commisioned house as a country home
Composition with Red, Blue, and Yellow Piet Mondrian, 1930, Oil on Canvas De Stijil Only primary colors used, red yellow, blue and the neutral colors white and black Sever geometry of form, only rights angles, gridlike No shading of colors, pure unmodulated color Assymetrical composition Only perpendicular lines, diagonals forbidden
Composition with Red, Blue, and Yellow Piet Mondrian, 1930, Oil on Canvas De Stijil Only primary colors used, red yellow, blue and the neutral colors white and black Sever geometry of form, only rights angles, gridlike No shading of colors, pure unmodulated color Assymetrical composition Only perpendicular lines, diagonals forbidden
Results from the First Five Year Plan Varvara Stepanova, 1932, Photomontage Constructivism Stepanova one of the main figures in the Russian avant-garde movement Graphic art for political and propaganda purposes Influenced by Cubism and futurism Five Year Plan: Soviet practice of increasing agricultural and industrial output in five years, 1928-1932 Emphasis on growth of heavy industry rather than commercial goods Huge increases in electrical output, (dominant industrial symbol in work) Double page spread in a book Red dominates: Color of Communist Soviet Union CCCP Russian abreviation for Soviet Union Large portrait of Lenin dominates, although deceased, image used to evoke patriotism, thoughts and ideas of socialism still incorporated in government
Results from the First Five Year Plan Varvara Stepanova, 1932, Photomontage Constructivism Stepanova one of the main figures in the Russian avant-garde movement Graphic art for political and propaganda purposes Influenced by Cubism and futurism Five Year Plan: Soviet practice of increasing agricultural and industrial output in five years, 1928-1932 Emphasis on growth of heavy industry rather than commercial goods Huge increases in electrical output, (dominant industrial symbol in work) Double page spread in a book Red dominates: Color of Communist Soviet Union CCCP Russian abreviation for Soviet Union Large portrait of Lenin dominates, although deceased, image used to evoke patriotism, thoughts and ideas of socialism still incorporated in government
Object (Le Dejeuner en Forrure) Maret Opennheim, 1936, Fur Covered cup, saucer and spoon Said to have ben done in response to Picasso's claim that anything looks good in fur Comination of unlike objects, fur and tea set Erotic overtones ???? An assemblage Cominaed traditionally female genteel objects vs. masculintiy of sculpture done in hard surfaces in great scale and made vertically Chosen by visitors of a Surrealist show in New York as the quintessential Surrealist piece Fame came to her young as she was 22 when she produced this work, and this allowed her to grow as an artist
Object (Le Dejeuner en Forrure) Maret Opennheim, 1936, Fur Covered cup, saucer and spoon Said to have ben done in response to Picasso's claim that anything looks good in fur Comination of unlike objects, fur and tea set Erotic overtones ???? An assemblage Cominaed traditionally female genteel objects vs. masculintiy of sculpture done in hard surfaces in great scale and made vertically Chosen by visitors of a Surrealist show in New York as the quintessential Surrealist piece Fame came to her young as she was 22 when she produced this work, and this allowed her to grow as an artist
The Two Fridas Frida Kahlo, 1939, Oil on Canvas Surrealism Juxtaposition of two self portraits Left: Kahlo as a Spanish lady in white lace Right: Kahlo dressed as a Mexican peasant, stiffness and provincial quality of Mexican folk art serves as direct inspiration Her two hearts are twined together by veins that are cut by scissors at one end and lead to a portrait of her husband, artist Rivera, at other, painted at the time of their divorce Barrne landscape, two figures sit agsint wildly active sky Kahlo rejected the label of Surrealism for her artwork Vein acts as umbilical cord, symbolically associating Rivera as a husband and son Blood on her lap suggests many abortions/miscarriages also her surgeris related to her polio Dual nature of her being with and without Diego
The Two Fridas Frida Kahlo, 1939, Oil on Canvas Surrealism Juxtaposition of two self portraits Left: Kahlo as a Spanish lady in white lace Right: Kahlo dressed as a Mexican peasant, stiffness and provincial quality of Mexican folk art serves as direct inspiration Her two hearts are twined together by veins that are cut by scissors at one end and lead to a portrait of her husband, artist Rivera, at other, painted at the time of their divorce Barrne landscape, two figures sit agsint wildly active sky Kahlo rejected the label of Surrealism for her artwork Vein acts as umbilical cord, symbolically associating Rivera as a husband and son Blood on her lap suggests many abortions/miscarriages also her surgeris related to her polio Dual nature of her being with and without Diego
The Jungle Wifredo Lam,1943, Gouache on paper mounted on canvas Surrealism Cuban born artist whose career took him to Europe and the United States Interested in cuban culture, mix of hispanic and african Influenced by african sculpture, cubist works, surrealist paintings Intended to communicate a psychic state of mind Addresses the history of slavery in colonial cuba Crescent shaped faces suggest African masks Rounded backs thin arms/legs, pronounced hands/feet Meant to suggest sugarcane, which are grown in fields not jungles Different than most other cuban artwork which was catered to tourists Showed the reality of cuban life which many people thought was fun and joyful due to its location as a tourist place
The Jungle Wifredo Lam,1943, Gouache on paper mounted on canvas Surrealism Cuban born artist whose career took him to Europe and the United States Interested in cuban culture, mix of hispanic and african Influenced by african sculpture, cubist works, surrealist paintings Intended to communicate a psychic state of mind Addresses the history of slavery in colonial cuba Crescent shaped faces suggest African masks Rounded backs thin arms/legs, pronounced hands/feet Meant to suggest sugarcane, which are grown in fields not jungles Different than most other cuban artwork which was catered to tourists Showed the reality of cuban life which many people thought was fun and joyful due to its location as a tourist place
Fallingwater Frank Lloyd Wright, Pennsylvania,1936-1939, Reinforced concrete, sandstone, steel, glass Natural Architecture Cantelevered porches extend over waterfall Archiecture in harmony with site Living room has glass curtarin wall around 3 of the 4 sides Floor of living room made with stone from the area Fireplace is in the center of the house with a outcropping of natural stones around it Suppression of space devoted to hanging a painting Effort to have architecture dominate Irregular and complex design
Fallingwater Frank Lloyd Wright, Pennsylvania,1936-1939, Reinforced concrete, sandstone, steel, glass Natural Architecture Cantelevered porches extend over waterfall Archiecture in harmony with site Living room has glass curtarin wall around 3 of the 4 sides Floor of living room made with stone from the area Fireplace is in the center of the house with a outcropping of natural stones around it Suppression of space devoted to hanging a painting Effort to have architecture dominate Irregular and complex design
Falling water plan Frank Lloyd Wright, Pennsylvania,1936-1939, Reinforced concrete, sandstone, steel, glass Natural Architecture Cantelevered porches extend over waterfall Archiecture in harmony with site Horizontallity stressed showing influence from his previous prarie houses Living room has glass curtarin wall around 3 of the 4 sides Floor of living room made with stone from the area Fireplace is in the center of the house with a outcropping of natural stones around it Suppression of space devoted to hanging a painting Effort to have architecture dominate Irregular and complex design
Falling water plan Frank Lloyd Wright, Pennsylvania,1936-1939, Reinforced concrete, sandstone, steel, glass Natural Architecture Cantelevered porches extend over waterfall Archiecture in harmony with site Horizontallity stressed showing influence from his previous prarie houses Living room has glass curtarin wall around 3 of the 4 sides Floor of living room made with stone from the area Fireplace is in the center of the house with a outcropping of natural stones around it Suppression of space devoted to hanging a painting Effort to have architecture dominate Irregular and complex design
Migration of the Negro, Panel no. 49 Jacob Lawrence, 1940-1941, Casein tempera on hardboard Haarlem Renaissance Series of 60 paintings depicting the migration of African Americas from the rural south to urban north after WWI overall color unity in the series unites each piece Forms hover in large spaces Flat simple shapes Unmodulated colors Collective African American experience, not focused on an individual Unity achieved by painting one color across many panels before going on to the next color Angular forms This scene involves a public restaurant in the north, segregation emphasized by the yellow poles that zig zag down the center Tiltied table tops shows the surface of the table Narrative painting in an era where abstraction was common Whites look away and are preoccupied, trying not to acknowledge the AA's THe AA's are very isolated amongst each other and in the scene
Migration of the Negro, Panel no. 49 Jacob Lawrence, 1940-1941, Casein tempera on hardboard Haarlem Renaissance Series of 60 paintings depicting the migration of African Americas from the rural south to urban north after WWI overall color unity in the series unites each piece Forms hover in large spaces Flat simple shapes Unmodulated colors Collective African American experience, not focused on an individual Unity achieved by painting one color across many panels before going on to the next color Angular forms This scene involves a public restaurant in the north, segregation emphasized by the yellow poles that zig zag down the center Tiltied table tops shows the surface of the table Narrative painting in an era where abstraction was common Whites look away and are preoccupied, trying not to acknowledge the AA's THe AA's are very isolated amongst each other and in the scene
Dream of a Sunday Afternoon in Alameda Park Diego Rivero, 1947/1948, Fresco 50 foot long fresco, 13ft tall Originally in the lobby of the hotel Del Prado After 1985 earthquake destabalized thet hotel it was placed in Alameda Park (Mexico City's first park, on grounds of an Aztec marketplace) Three eras depicted: Conquest/Colonization by Spanish Porfirio Diaz dictatorship Revolution of 1910 Depicts a who's who of Mexican politics/culture Sor Juana Benito Juarez (5 time president) General Santa Ana holding the keys of Mexico to General Winfield Scott Emperor Maximillian and Empress Carlota Jose Marti (father of Mexican independence) General Diaz with medals asleep Francisco Madero (Martyred President) Artist in center at age 10 holidings hands with Caterina (death) dreaming of a perfect love (Kahlo who is behind him) Horro Vacvui Colorful painting Revival of fresco painting
Dream of a Sunday Afternoon in Alameda Park Diego Rivero, 1947/1948, Fresco 50 foot long fresco, 13ft tall Originally in the lobby of the hotel Del Prado After 1985 earthquake destabalized thet hotel it was placed in Alameda Park (Mexico City's first park, on grounds of an Aztec marketplace) Three eras depicted: Conquest/Colonization by Spanish Porfirio Diaz dictatorship Revolution of 1910 Depicts a who's who of Mexican politics/culture Sor Juana Benito Juarez (5 time president) General Santa Ana holding the keys of Mexico to General Winfield Scott Emperor Maximillian and Empress Carlota Jose Marti (father of Mexican independence) General Diaz with medals asleep Francisco Madero (Martyred President) Artist in center at age 10 holidings hands with Caterina (death) dreaming of a perfect love (Kahlo who is behind him) Horro Vacvui Colorful painting Revival of fresco painting
Fountain Marcel Duchamp, 1950 (2nd verision), China with black paint Dada Ready made sculpture, a found object Duchamp believed to be a work of art Entered in an unjuried show, work was refused SIgned by
Fountain Marcel Duchamp, 1950 (2nd verision), China with black paint Dada Ready made sculpture, a found object Duchamp believed to be a work of art Entered in an unjuried show, work was refused SIgned by "artist" R. Mutt as a pun after the Mutt and Jeff comic strip and Mott Iron Works Title fountaina pun, fountains spout liquid, urinal meant to collect it Added irony by placing it upside down
Woman I William de Kooning, 1950-1952, Oil on Canvas Abstract Expressionism Ferocious woman with great fierce teeth and huge eyes Large bulbous breasts are a satire on women who appear in magazine advertising, smile influenced by an ad of a woman selling Camel cigarettes Slashing of paint onto canvas, very energetic Jagged lines create overpowering image Blank stare, frozen grin Ambiguous environment, vagueness and sense of insecurity Combination of stereotypes, ironic comment on the banal and artificial world of advertising One of a series of 6 woman Thick and black lines dominate
Woman I William de Kooning, 1950-1952, Oil on Canvas Abstract Expressionism Ferocious woman with great fierce teeth and huge eyes Large bulbous breasts are a satire on women who appear in magazine advertising, smile influenced by an ad of a woman selling Camel cigarettes Slashing of paint onto canvas, very energetic Jagged lines create overpowering image Blank stare, frozen grin Ambiguous environment, vagueness and sense of insecurity Combination of stereotypes, ironic comment on the banal and artificial world of advertising One of a series of 6 woman Thick and black lines dominate
Seagram Building Mies van der Rohe, New York City,1954-1958, Steel frame with glass curtain wall and bronze International Style Reflection of minimalist movement going on
Seagram Building Mies van der Rohe, New York City,1954-1958, Steel frame with glass curtain wall and bronze International Style Reflection of minimalist movement going on "Less is more" seen on building with great simplicity, geometry of design and elegance of construction Set back from the street on a wide plaza balanced by reflecting pools Broze veneer gives the skyscraper a monolithic look INterplay of vertical and horizontal accents Steel/glass skyscraper became model building after WWII
Marilyn Diptych Andy Warhol, 1962, Oil, Acrylic, Silk screen enamel on Canvas Pop art Screen printing photographic images onto backgrounds of rectangular shapes Repeated imagery drains the image of Monroe of meaning 50 images from a film still from a Movie, Niagara Reproduction of many denies the concept of work of art Left in color, represents life, right in black/white represents death, Done 4 months after her death Marilyns public face appears highlight by bold, artificial colors Social characterisitics magnified, brilliance of blonde hiar, heavy applied lipstick, seductive expression Marilyn Diptych, Warhol, 1962- made shortly after her death, capatilzed on media frenzy that death prompted over her, selected iconic public image, unsual colores and flat application contribute to mask like quality, like coke bottles the repetition shows how important she was in consumer culture, right side of work references the movie that she got her fame with its poor pigment registration
Marilyn Diptych Andy Warhol, 1962, Oil, Acrylic, Silk screen enamel on Canvas Pop art Screen printing photographic images onto backgrounds of rectangular shapes Repeated imagery drains the image of Monroe of meaning 50 images from a film still from a Movie, Niagara Reproduction of many denies the concept of work of art Left in color, represents life, right in black/white represents death, Done 4 months after her death Marilyns public face appears highlight by bold, artificial colors Social characterisitics magnified, brilliance of blonde hiar, heavy applied lipstick, seductive expression Marilyn Diptych, Warhol, 1962- made shortly after her death, capatilzed on media frenzy that death prompted over her, selected iconic public image, unsual colores and flat application contribute to mask like quality, like coke bottles the repetition shows how important she was in consumer culture, right side of work references the movie that she got her fame with its poor pigment registration
Narcissus Garden Yayoi Kusama, 1966 (First time), installation of mirrored balls Happening/Installation Internationally renowned Japanese born artist Got her start by showing large owrks of art featuring polka dots Innovator of Happenings Works in wide variety of media Artist originally featured work as non-participant of Venice Biennale 1500 large mirrored, stainless steel balls placed on a lawn under a sign saying
Narcissus Garden Yayoi Kusama, 1966 (First time), installation of mirrored balls Happening/Installation Internationally renowned Japanese born artist Got her start by showing large owrks of art featuring polka dots Innovator of Happenings Works in wide variety of media Artist originally featured work as non-participant of Venice Biennale 1500 large mirrored, stainless steel balls placed on a lawn under a sign saying "Your Narcissism for Sale" Artist offered balls for sale $2 each, commentary on commercialism and vanity of current art world Narcissus refers to ancient myth of Narcissus yougn man who stares at his own image in water for years until he becomes a flower Installation later moved to water, floating ballas reflect natural environment, making stronger connection with the myth Balls made with currents of water and wind, reflecting organically made ever changing view points Installation has been to many places both in water and dry spaces
The Bay Helen Frankenthaler, 1963, Acrylic on Canvas Color field painting Painted directly on unprimed canvas Uses a run paint, sometimes thinned out Uses landscape as a starting point, basis for imagery in works Accentuates the 2-Dimensionality of a canvas Worked in avant garde New York School PPA, color-field painting diluted paint is poured onto unprimed canvas and soaks in, basic properties of art are emphasized, technique results in literal flatness unlike any other, appears spontaneous and accidental
The Bay Helen Frankenthaler, 1963, Acrylic on Canvas Color field painting Painted directly on unprimed canvas Uses a run paint, sometimes thinned out Uses landscape as a starting point, basis for imagery in works Accentuates the 2-Dimensionality of a canvas Worked in avant garde New York School PPA, color-field painting diluted paint is poured onto unprimed canvas and soaks in, basic properties of art are emphasized, technique results in literal flatness unlike any other, appears spontaneous and accidental
Lipstick on Caterpillar Tracks Claes Oldenburg, 1969-1974, Steel, aluminum, cast resin, painted with polyurethane enamel, Yale University, New Haven Connecticut Pop Art First installed on Beinecke Plaza New Haven, 1969 Intended as a platfor m for public speakers, rallying point for anti vietnam era protests Erected in secret Tank shaped base with lipstick ascending, anti-war symbolism Male/Female forms unite, themes of death,power,desire, and sensuality Sculpture made of inexpensive perishable materials Refurbished with steel, aluminum, fiberglass, reinstalled in 1974 at yale First monumental sculpture by Oldenburg Juxtaposition implied that the U.S. obsession with beauty and consumption both fueled and distracted from the ongoing violence in Vietnam.
Lipstick on Caterpillar Tracks Claes Oldenburg, 1969-1974, Steel, aluminum, cast resin, painted with polyurethane enamel, Yale University, New Haven Connecticut Pop Art First installed on Beinecke Plaza New Haven, 1969 Intended as a platfor m for public speakers, rallying point for anti vietnam era protests Erected in secret Tank shaped base with lipstick ascending, anti-war symbolism Male/Female forms unite, themes of death,power,desire, and sensuality Sculpture made of inexpensive perishable materials Refurbished with steel, aluminum, fiberglass, reinstalled in 1974 at yale First monumental sculpture by Oldenburg Juxtaposition implied that the U.S. obsession with beauty and consumption both fueled and distracted from the ongoing violence in Vietnam.
Spiral Jetty Robert Smithson, 1970, Great Salt Lake Utah, Mud, Salt, rocks, water coil Coil of rock in part of Great Salt Lake; located in extremely remote inaccessible area featuring abandoned mines/equipment When waking on Jetty, twisting path changes view of the landscape at every angle USed a tractor with native stone to create the jetty Jetty supposed to be a pier in the water, transformed into a curl of rocks sitting silently in a vast empty wilderness Coil is image common in North American earthworks such as Serpent Mound Ohio Artist like the blood red color of water due to presence of bacteria that live in high salt concentration
Spiral Jetty Robert Smithson, 1970, Great Salt Lake Utah, Mud, Salt, rocks, water coil Coil of rock in part of Great Salt Lake; located in extremely remote inaccessible area featuring abandoned mines/equipment When waking on Jetty, twisting path changes view of the landscape at every angle USed a tractor with native stone to create the jetty Jetty supposed to be a pier in the water, transformed into a curl of rocks sitting silently in a vast empty wilderness Coil is image common in North American earthworks such as Serpent Mound Ohio Artist like the blood red color of water due to presence of bacteria that live in high salt concentration
House in Newcastle County Robert Venturi, John Rauch, Denise Brown, 1978-1983, Delaware Postmodern Architecture House designed for family of three Wife musician hence music room with many instruments Husband bird watcher henve large windows facing the woods Post modern mix of historical styles Venturi's comment on International style
House in Newcastle County Robert Venturi, John Rauch, Denise Brown, 1978-1983, Delaware Postmodern Architecture House designed for family of three Wife musician hence music room with many instruments Husband bird watcher henve large windows facing the woods Post modern mix of historical styles Venturi's comment on International style "Less is bore" Amusingly cut out asymmetrical parody of a Neoclassical portico Asserted against form should follow function and that a structure should have decorative forms of everyday life that enwrap its core
Interior view too
Chavin de Huantar Plan 900-200 B.C.E. Peru Religious capital of the Chavin temple was 60 meters tall adorned by a jaguar sculpture, a symbol of power/strength Hidden entrance to the temple led to stone corridors
Chavin de Huantar Plan 900-200 B.C.E. Peru Religious capital of the Chavin temple was 60 meters tall adorned by a jaguar sculpture, a symbol of power/strength Hidden entrance to the temple led to stone corridors
Chavin de Hunatar 900-200 B.C.E. Peru Religious capital of the Chavin temple was 60 meters tall adorned by a jaguar sculpture, a symbol of power/strength Hidden entrance to the temple led to stone corridors Located o the ruins of a stairway at Chavin Shows jaguars in a shallow relief
Chavin de Hunatar 900-200 B.C.E. Peru Religious capital of the Chavin temple was 60 meters tall adorned by a jaguar sculpture, a symbol of power/strength Hidden entrance to the temple led to stone corridors Located o the ruins of a stairway at Chavin Shows jaguars in a shallow relief
Chavin de Huantar Lanzon Stela Granite insdie the Old temple of Chavin, large maze-like system of hallways Center underground in the Lanzon 15 ft tall, blade shape Depicts powerful figure part human (body) and part animal (claws/fangs) Head of snakes and face of a jaguar Eyebrows terminate in snakes Flat relief, designs in a curvilinear patter Served as a cult figure Center of pilgrimage, few had access to this sacred stone Modern scholars believe the stone acted as an oracle hence its importance in the pilgrimage
Chavin de Huantar Lanzon Stela Granite insdie the Old temple of Chavin, large maze-like system of hallways Center underground in the Lanzon 15 ft tall, blade shape Depicts powerful figure part human (body) and part animal (claws/fangs) Head of snakes and face of a jaguar Eyebrows terminate in snakes Flat relief, designs in a curvilinear patter Served as a cult figure Center of pilgrimage, few had access to this sacred stone Modern scholars believe the stone acted as an oracle hence its importance in the pilgrimage
Chavin de Huantar Worn by males and females under the nose held in place by the semi-circular section at the top two snake heads extend on either side makes the wearer into a supernatural being during ceremonies/rituals Symbolized power and wealth of wearer as well as adherence to religion
Chavin de Huantar Worn by males and females under the nose held in place by the semi-circular section at the top two snake heads extend on either side makes the wearer into a supernatural being during ceremonies/rituals Symbolized power and wealth of wearer as well as adherence to religion
Mesa Verde Cliff Dwelling Montezuma County, Colorado, Anasazi, 450-1300 C.E., Sandstone Pueblos built into the side of cliffs, housed about 250 people Clans moved together for mutual support and defense Top-ledge stores all supplies, cool/dry area out of way only accessible by ladder Plaza in front of abode structure; kivas face the plaza each family recevied one room in the dwelling Farming done on plateau above the pueblo everything had to be imported into the structure including water.
Mesa Verde Cliff Dwelling Montezuma County, Colorado, Anasazi, 450-1300 C.E., Sandstone Pueblos built into the side of cliffs, housed about 250 people Clans moved together for mutual support and defense Top-ledge stores all supplies, cool/dry area out of way only accessible by ladder Plaza in front of abode structure; kivas face the plaza each family recevied one room in the dwelling Farming done on plateau above the pueblo everything had to be imported into the structure including water.
Yaxchilan Stucture 40 City set on a high terrace, the plaza was surrounded by important buildings, flourished 300-800 C.E. Built by Bird Jaguar IV, possibly his son who dedicated the structure to his father Overlooks the main plaza of the town Three doors lead to a central room decorated with stucco Roof remains intact, large roof comb or ornamented stone tops of roofs Corbel arch interior
Yaxchilan Stucture 40 City set on a high terrace, the plaza was surrounded by important buildings, flourished 300-800 C.E. Built by Bird Jaguar IV, possibly his son who dedicated the structure to his father Overlooks the main plaza of the town Three doors lead to a central room decorated with stucco Roof remains intact, large roof comb or ornamented stone tops of roofs Corbel arch interior
Yaxchilan Lintel 25 Structure 23 Lintel originally set above the central doorway of structure 23 Building dedicated to Lady Xoc Lady Xoc at the bottom right invokes the vision serpent to commemorate her husbands rise to the throne She holds a bowl with bloodletting ceremonial items, stinging spine and bloodstained paper Vision serpent has two heads, one has warrior coming from mouth, other has Tlaloc, a war god Inscription written as mirror image, extemely unusual in Mayan script, uncertain meaing, possibly indicating she has a vision from the other side of existence, and she is acting as a shaman
Yaxchilan Lintel 25 Structure 23 Lintel originally set above the central doorway of structure 23 Building dedicated to Lady Xoc Lady Xoc at the bottom right invokes the vision serpent to commemorate her husbands rise to the throne She holds a bowl with bloodletting ceremonial items, stinging spine and bloodstained paper Vision serpent has two heads, one has warrior coming from mouth, other has Tlaloc, a war god Inscription written as mirror image, extemely unusual in Mayan script, uncertain meaing, possibly indicating she has a vision from the other side of existence, and she is acting as a shaman
Structure 33 Yaxchilan Restored temple structure Remains of roof comb with perforations 3 central doorways lead to single large room Corbel arch interior
Structure 33 Yaxchilan Restored temple structure Remains of roof comb with perforations 3 central doorways lead to single large room Corbel arch interior
Great Serpent Mound Southern Ohio, 1070, earthwork mound Many mounds were enlarged/changed over years, not built at one moment Effigy (model of a person) mounds popular in Mississpian culture Influenced by comets, astrological phenomena, head pointed to summer solstice sunset Rattlesnake as a symbol in Mississippian iconography, play a role interpreting this mound Snakes associated with crop fertility No burials or temples associated with the mound Possible representation of Hailey's Comet
Great Serpent Mound Southern Ohio, 1070, earthwork mound Many mounds were enlarged/changed over years, not built at one moment Effigy (model of a person) mounds popular in Mississpian culture Influenced by comets, astrological phenomena, head pointed to summer solstice sunset Rattlesnake as a symbol in Mississippian iconography, play a role interpreting this mound Snakes associated with crop fertility No burials or temples associated with the mound Possible representation of Hailey's Comet
Temple Mayor Tenochtitlan laid on grid, city seen as center of world Two temples on pyramid each with separate staircase Left dedicated to Tlaloc god of rain, agriculture Right dedicated to Huitzilpochtli, god of sun/war Spring and autumn equinoxes: sun rises between the two large braziers put on top where sacred fires burned Began in 1375, rebuilt 6 times, destroyed by Spanish in 1520
Temple Mayor Tenochtitlan laid on grid, city seen as center of world Two temples on pyramid each with separate staircase Left dedicated to Tlaloc god of rain, agriculture Right dedicated to Huitzilpochtli, god of sun/war Spring and autumn equinoxes: sun rises between the two large braziers put on top where sacred fires burned Began in 1375, rebuilt 6 times, destroyed by Spanish in 1520
Coyolxauhqui Stone
Coyolxauhqui Stone
Calendar Stone Basalt Circular shape reflects the cyclic nature of time palce where rituals took place on certain days Aztecs felt they needed to feed the sun god human hearts/blood regularly Tonge in center of stone coming from gods mouth used as sacrificial flint knife used to slash open enemies Used as an altar to murder victims, then thrown down steps to Coyolxauhqui
Calendar Stone Basalt Circular shape reflects the cyclic nature of time palce where rituals took place on certain days Aztecs felt they needed to feed the sun god human hearts/blood regularly Tonge in center of stone coming from gods mouth used as sacrificial flint knife used to slash open enemies Used as an altar to murder victims, then thrown down steps to Coyolxauhqui
Olmec Style Mask Jadeite Found on site,actually much older work executed by Olmecs Olmec works have characteristic frown on face, pugnacious visage, heavy lidded eyes, headgear suggested Shows Aztecs collected/embraced art of other culture
Olmec Style Mask Jadeite Found on site,actually much older work executed by Olmecs Olmec works have characteristic frown on face, pugnacious visage, heavy lidded eyes, headgear suggested Shows Aztecs collected/embraced art of other culture
Ruler's headdress of Motecuhzoma II Aztec, 1428-1520, Feathers and gold 400 long green feathers are tails of sacred quetzal birds, male birds produce only two such feathers each 400 symbolizes eternity Only known feather headdress worldwide Probably part of collection of artifacts given by montezuma to Cortez for Charles V the Holy Roman Emperor
Ruler's headdress of Motecuhzoma II Aztec, 1428-1520, Feathers and gold 400 long green feathers are tails of sacred quetzal birds, male birds produce only two such feathers each 400 symbolizes eternity Only known feather headdress worldwide Probably part of collection of artifacts given by montezuma to Cortez for Charles V the Holy Roman Emperor
City of Cusco plan, Peru Historic capital of the Incas Shape of Puma, royal animal Modern plaza where Pumas belly would be Head a fortress, heart a central square
City of Cusco plan, Peru Historic capital of the Incas Shape of Puma, royal animal Modern plaza where Pumas belly would be Head a fortress, heart a central square
Qorikancha, Santo Domingo Peru Remains of the Incan temple of the Sun form the base of the newly built temple on top Original exterior walls of temple decorated with gold to symbolize sunshine Ashlar mansonry used, carefully cut/grooved beveled edges to fit perfectly together as if poored with concrete Qorikancha means the golden enclosure and it was at one time the most important temple in the Incan Empire Once was an observatory for priests to chart the skies interior courtyard siad to be entirely covered in gold Walls taper upward, example of Incan trapezoidal architecture
Qorikancha, Santo Domingo Peru Remains of the Incan temple of the Sun form the base of the newly built temple on top Original exterior walls of temple decorated with gold to symbolize sunshine Ashlar mansonry used, carefully cut/grooved beveled edges to fit perfectly together as if poored with concrete Qorikancha means the golden enclosure and it was at one time the most important temple in the Incan Empire Once was an observatory for priests to chart the skies interior courtyard siad to be entirely covered in gold Walls taper upward, example of Incan trapezoidal architecture
Walls at Saqsa Waman Complex outside the city of Cusco, peru at head of the Puma shaped plan of the city Ashlar Masonry Ramparts contain stones weighing up to 70 tons, brought from quarry 2 miles away
Walls at Saqsa Waman Complex outside the city of Cusco, peru at head of the Puma shaped plan of the city Ashlar Masonry Ramparts contain stones weighing up to 70 tons, brought from quarry 2 miles away
Machu Picchu 1450-1540 granite, Peru Original function as royal retreat for Inca Used as an estate of the 15th century Incan rulers So remote that it couldnt be used as administrative center buildings built of stone and meant to fit in seamlessly with the surroundings 200 buildings most houses some temples, palaces, baths in trapezoidal shape Large windows in houses for astronomical purposes terrace farming
Machu Picchu 1450-1540 granite, Peru Original function as royal retreat for Inca Used as an estate of the 15th century Incan rulers So remote that it couldnt be used as administrative center buildings built of stone and meant to fit in seamlessly with the surroundings 200 buildings most houses some temples, palaces, baths in trapezoidal shape Large windows in houses for astronomical purposes terrace farming
look at obersavatory used for astronomy and had ashlar mansonry
Intihuatana Stone Machu Picchu Peru granite 1450/1550 Intihuatana means
Intihuatana Stone Machu Picchu Peru granite 1450/1550 Intihuatana means "hitching post of the sun" aligns with the sun at the spring/autumn equinoxes when sun directly over pillar making no shadows, during this time a ceremony would be held
All To'qapu Inca 1450/1550 Camelid fiber, cotton Rectangular shape, slit in center for head then tunic is folded in half and sides sewn for arms Compistion of small geometric shapes called t'oqapu each individual t'oqapu symbolic of a certain thing Many many t'oqapu depicted wearing this garment indicates status in society possibly worn by incan ruler shows incan preference for abstract designs that are standardized and express unity/order
All To'qapu Inca 1450/1550 Camelid fiber, cotton Rectangular shape, slit in center for head then tunic is folded in half and sides sewn for arms Compistion of small geometric shapes called t'oqapu each individual t'oqapu symbolic of a certain thing Many many t'oqapu depicted wearing this garment indicates status in society possibly worn by incan ruler shows incan preference for abstract designs that are standardized and express unity/order
Maize Cobs Inca 1400-1533 Metal alloys Maize was principal food source in the andes Celebrated by having sculptures made out of sheet metal Black maize common in Peru, oxidized silver reflects that May have been par t of a garden of full sized metal sculptures May used to ensure success in the harvest Repousse technique used
Maize Cobs Inca 1400-1533 Metal alloys Maize was principal food source in the andes Celebrated by having sculptures made out of sheet metal Black maize common in Peru, oxidized silver reflects that May have been par t of a garden of full sized metal sculptures May used to ensure success in the harvest Repousse technique used
Bandolier Bag 1850, Lenape, Delaware Bandolier bag large heavily beaded pouch with slit at top bag held at hip level with strap across the chest constructed of trade cloth, cotton, wool, velvet, or leather beadwork not done in the americas before european influence beads imported from Europe Prestige object for women Native american and european motifs functional and beautiful
Bandolier Bag 1850, Lenape, Delaware Bandolier bag large heavily beaded pouch with slit at top bag held at hip level with strap across the chest constructed of trade cloth, cotton, wool, velvet, or leather beadwork not done in the americas before european influence beads imported from Europe Prestige object for women Native american and european motifs functional and beautiful
Transformation mask, Kwakiutl Northern Canada, Late 19th century Ritual mask worn by native tribes in the northwest Worn over the head as a part of a full body suit Wearer uses strings to open/close mask during ritual Bird exterior opens up to human face on interior During the moment where the mask opens the viewer turns his back to the audience to heighten the mystery Transformation theme central aspect of art/religion of the Americas
Transformation mask, Kwakiutl Northern Canada, Late 19th century Ritual mask worn by native tribes in the northwest Worn over the head as a part of a full body suit Wearer uses strings to open/close mask during ritual Bird exterior opens up to human face on interior During the moment where the mask opens the viewer turns his back to the audience to heighten the mystery Transformation theme central aspect of art/religion of the Americas
Paint Elk Hide Cotsiogo, Wyoming, 1890-1900 Worn as a rove over the shoulders of a warrior Warrior's deeds celebrated on the hide Conveyed biographical details, personal accomplishments, heroism in battle Men painted hides to narrate their events Eventually painted hides for European/ American markets Depicted traditional aspects of teh Plains people culture that were nostalgic rather that practical, bison hunt with the bow and arrow, nomadic hunting almost gone, bison nearly extinct Bison seen as gifts from the Creator, god Horses commonly used at time, liberated the Plains people Sun dance done around a bison head, but outlawed by US as threat to order shown Sun dance is where men dance, others sing, prepare feast, drum, construct a teepee, a house made of hide stretched over poles Exterior poles reach the spirit world or sky
Paint Elk Hide Cotsiogo, Wyoming, 1890-1900 Worn as a rove over the shoulders of a warrior Warrior's deeds celebrated on the hide Conveyed biographical details, personal accomplishments, heroism in battle Men painted hides to narrate their events Eventually painted hides for European/ American markets Depicted traditional aspects of teh Plains people culture that were nostalgic rather that practical, bison hunt with the bow and arrow, nomadic hunting almost gone, bison nearly extinct Bison seen as gifts from the Creator, god Horses commonly used at time, liberated the Plains people Sun dance done around a bison head, but outlawed by US as threat to order shown Sun dance is where men dance, others sing, prepare feast, drum, construct a teepee, a house made of hide stretched over poles Exterior poles reach the spirit world or sky
Black on black ceramic vessel Maria Montoya Martinez and husband Julian, San Ildelfonso Pueblo, New Mexico, 20th century, Blackware ceramic Black on black features with highly polished geometric designs on a matte background; Achieved by using extensive polishing special firing in an oxygen-poor atmosphere Comes from 100 year old tradition of pottery At time production declining in pueblos as modern life taking hold Maria made the pots and revived old techniques to produce forms of striking shape, proportion, and texture, while Julian painted them Decorative, abstract motifs symbolizing the forces of nature Very symmetrical with even thickness throughout
Black on black ceramic vessel Maria Montoya Martinez and husband Julian, San Ildelfonso Pueblo, New Mexico, 20th century, Blackware ceramic Black on black features with highly polished geometric designs on a matte background; Achieved by using extensive polishing special firing in an oxygen-poor atmosphere Comes from 100 year old tradition of pottery At time production declining in pueblos as modern life taking hold Maria made the pots and revived old techniques to produce forms of striking shape, proportion, and texture, while Julian painted them Decorative, abstract motifs symbolizing the forces of nature Very symmetrical with even thickness throughout
Concial tower and circular wall of Great Zimbabwe South Zimbabwe, Shona Peoples, 1000-1400, Granite blocks Zimbabwe derives from Shona term meaning venerated house or house of stone Prosperous trading center and royal complex Stone enclosure, probly royal residence Walls 800ft long, 32 ft tall, 17 ft thick at the base Conical tower modeled on traditional shapes of grain silos, control over food symbolized wealth/power Wall slope inwards at the top Passageways very narrow/long so single file line necessary Tower resembles granery representing good harvest
Concial tower and circular wall of Great Zimbabwe South Zimbabwe, Shona Peoples, 1000-1400, Granite blocks Zimbabwe derives from Shona term meaning venerated house or house of stone Prosperous trading center and royal complex Stone enclosure, probly royal residence Walls 800ft long, 32 ft tall, 17 ft thick at the base Conical tower modeled on traditional shapes of grain silos, control over food symbolized wealth/power Wall slope inwards at the top Passageways very narrow/long so single file line necessary Tower resembles granery representing good harvest
Great Mosque of Djenne Mali, 1200, Rebuilt in 1906/1907 Three tall towers, central one is a mihrab Crowning ornaments have ostrich eggs, symbols of fertility and purity Has many torons, wood beams sticking out from wall Made of adobe, a baked mixture of clay/straw Torons act as ladders for maintenance of the building Vertical fluting drains water of surfaces quickly Largest mud brick mosque in the world
Great Mosque of Djenne Mali, 1200, Rebuilt in 1906/1907 Three tall towers, central one is a mihrab Crowning ornaments have ostrich eggs, symbols of fertility and purity Has many torons, wood beams sticking out from wall Made of adobe, a baked mixture of clay/straw Torons act as ladders for maintenance of the building Vertical fluting drains water of surfaces quickly Largest mud brick mosque in the world
Wall plaque of Oba Palace Edo Peoples, Benin (Nigeria), 16th century, cast brass 900 brass plaques similar to this one, 16-18 inches Decorated walls of the royal palace of Benin Part of palace complex where these plaques would be placed on top of wooden pillars Demonstrate the court life in Benin culture. Oba
Wall plaque of Oba Palace Edo Peoples, Benin (Nigeria), 16th century, cast brass 900 brass plaques similar to this one, 16-18 inches Decorated walls of the royal palace of Benin Part of palace complex where these plaques would be placed on top of wooden pillars Demonstrate the court life in Benin culture. Oba "King" believed to direct descendant from Oranmiyan (supreme god) and legendary founder of the dynasty Oba was only one allowed to be shielded in the way depicted Symbols of high rank are emphasized Stepping on a fallen leader's head Ceremonial scene at court high relief
Photograph of Oba Benin?
Sika Dwa Kofi Ashanti Peoples, Ghana, 17th century, gold over wood Symbol of the Ashanti nation held in Ghana Contains the stool of the nation Never actually used as a stool, as it was nver allowed to touch the ground New king is coronated over the stool Carried to king on a pillow, he alone is allowed to touch it Taken out on special occassions Entire surface inlaid with gold Bells hang from the sides to warn the king of danger Replicas often used in ceremonies but each replica is different British representative tried to sit on the stool in causing rebellion, (War of the Golden Stool)
Sika Dwa Kofi Ashanti Peoples, Ghana, 17th century, gold over wood Symbol of the Ashanti nation held in Ghana Contains the stool of the nation Never actually used as a stool, as it was nver allowed to touch the ground New king is coronated over the stool Carried to king on a pillow, he alone is allowed to touch it Taken out on special occassions Entire surface inlaid with gold Bells hang from the sides to warn the king of danger Replicas often used in ceremonies but each replica is different British representative tried to sit on the stool in causing rebellion, (War of the Golden Stool)
Photograph of it?
Ndop of King Mishe Kuba Peoples (Democratic Republic of the Congo), 1760-1780, Wood Ndop figures are commemorative portraits of Kuba rulers, presented in an idealized manner Not acutaly representation of deceased king, but his spirit made after the death of the king Each king is commemorated with symbols on the base of this figure, this king has a sword in left hand with nonagressive stance and handle out One of the earliest existing African wood sculptures, oldest Ndop in existence Rubbed with oil to protect them from insects Acted as surrogate for the king in his absence Characterized by: Cross-legged pose, seat on base, face uninvolved, peace knife in left hand Kept in kings shrine with other works as a set of royal charms
Ndop of King Mishe Kuba Peoples (Democratic Republic of the Congo), 1760-1780, Wood Ndop figures are commemorative portraits of Kuba rulers, presented in an idealized manner Not acutaly representation of deceased king, but his spirit made after the death of the king Each king is commemorated with symbols on the base of this figure, this king has a sword in left hand with nonagressive stance and handle out One of the earliest existing African wood sculptures, oldest Ndop in existence Rubbed with oil to protect them from insects Acted as surrogate for the king in his absence Characterized by: Cross-legged pose, seat on base, face uninvolved, peace knife in left hand Kept in kings shrine with other works as a set of royal charms
photograph
Power Figure Kongo Peoples, 19th century, Wood/metal Spirits are embedded in the images Spirits can be called upon to bless or harm others, cause death, or give life Nails/blades inserted into work in times of distress or need of protection Medical properties are inserted inot the body cavity thought to be a person's life or soul Alert pose ready to take on what is coming Often destroyed when in contact with Europeans Influenced Voodoo dolls in America
Power Figure Kongo Peoples, 19th century, Wood/metal Spirits are embedded in the images Spirits can be called upon to bless or harm others, cause death, or give life Nails/blades inserted into work in times of distress or need of protection Medical properties are inserted inot the body cavity thought to be a person's life or soul Alert pose ready to take on what is coming Often destroyed when in contact with Europeans Influenced Voodoo dolls in America
Female Pwo Mask Chokwe Peoples, Late 19th century, wood fiber pigment, metal Female masks used by men in ritual dances Male dancers are covered with their identities masked, dressed as women and had hair braided Men also move like women in the ritual Chokwe a matriarchal society showing importance of women Depicts female ancestors Mask usually buried with user Characterized by: Large eye sockets, pushed in chin, slender nose, high forehead, balanced features, almost closed eyes
Female Pwo Mask Chokwe Peoples, Late 19th century, wood fiber pigment, metal Female masks used by men in ritual dances Male dancers are covered with their identities masked, dressed as women and had hair braided Men also move like women in the ritual Chokwe a matriarchal society showing importance of women Depicts female ancestors Mask usually buried with user Characterized by: Large eye sockets, pushed in chin, slender nose, high forehead, balanced features, almost closed eyes
Portrait Mask Mblo Baule Peoples (Ivory Coast), 20th century, wood/pigment Presented at Mblo performances in which an individual is honored by having ritual dances and tributes performed for them Honoree receives mask as gift that reflects as artistic double meant to look like them Masks comissioned by groups of admirers Idealized representation of a real person Portraits rare in African art Broad foreheads, large eye sockets, slender, vertical nose Quiet faces with introspective looks
Portrait Mask Mblo Baule Peoples (Ivory Coast), 20th century, wood/pigment Presented at Mblo performances in which an individual is honored by having ritual dances and tributes performed for them Honoree receives mask as gift that reflects as artistic double meant to look like them Masks comissioned by groups of admirers Idealized representation of a real person Portraits rare in African art Broad foreheads, large eye sockets, slender, vertical nose Quiet faces with introspective looks
Bundu Mask Sande Society (Mende Peoples), 19-20th century, wood, cloth, fiber Only African wooden mask worn by women Idealized the female beauty Elaborate hairstyle symbolizes wealth, worn by women as symbol of status Large forehead Small eyes in shape of slits Tight lipped mouth symbolizing secrets that are never revealed Sande society was group of women who prepare girls for adulthood and role in society Women wearing mask would also wear a black gown meant to cover the body (Raffia) Mask rests on her head, head not placed inside the mask Mask coated with palm oil to increase the lustrous effects Black color symbol of water, coolnes, and humanity Individuality in mask is highlighted
Bundu Mask Sande Society (Mende Peoples), 19-20th century, wood, cloth, fiber Only African wooden mask worn by women Idealized the female beauty Elaborate hairstyle symbolizes wealth, worn by women as symbol of status Large forehead Small eyes in shape of slits Tight lipped mouth symbolizing secrets that are never revealed Sande society was group of women who prepare girls for adulthood and role in society Women wearing mask would also wear a black gown meant to cover the body (Raffia) Mask rests on her head, head not placed inside the mask Mask coated with palm oil to increase the lustrous effects Black color symbol of water, coolnes, and humanity Individuality in mask is highlighted
Ikenga Igbo Peoples,Nigeria, 19-20th century, wood Ikenga means strong right arm indicating physical prowess Honors the right hand which holds tools or weapons, makes sacrifices, conducts rituals, and alerts to speack at public forums Traditional masculine associations of strength/potency Carved from hardwoods considered as masculine Tells of the owners prosperity, and social rank Personal god of achievement and success Requires blessings before use, consecrated with offerings Horns symbolize power Maintained in the males home until he dies where it is destroyed with him
Ikenga Igbo Peoples,Nigeria, 19-20th century, wood Ikenga means strong right arm indicating physical prowess Honors the right hand which holds tools or weapons, makes sacrifices, conducts rituals, and alerts to speack at public forums Traditional masculine associations of strength/potency Carved from hardwoods considered as masculine Tells of the owners prosperity, and social rank Personal god of achievement and success Requires blessings before use, consecrated with offerings Horns symbolize power Maintained in the males home until he dies where it is destroyed with him
Lukasa Mbudye Society, Congo, 19-20th century, wood/beads/metal Memory board used to help user remember key moments in ones life such as: court cases, migrations, heroes, kinship, list of kings Carved from wood in hourglass shape, adorned with shells/beads/metal Reader holds lukasa in left hand and traces design with right index finger Ability to read board limited to few people Backs resembles a tortoise Each boards design is unique and represents the divine revelations of a spirit medium expresed in sculptural form Memory boards controlled by a council of men/women (Mbudye) who interpret events that have occurred thus far in ones life Zoomorphic elements like crocodile living on land/water, society at time had two rulers
Lukasa Mbudye Society, Congo, 19-20th century, wood/beads/metal Memory board used to help user remember key moments in ones life such as: court cases, migrations, heroes, kinship, list of kings Carved from wood in hourglass shape, adorned with shells/beads/metal Reader holds lukasa in left hand and traces design with right index finger Ability to read board limited to few people Backs resembles a tortoise Each boards design is unique and represents the divine revelations of a spirit medium expresed in sculptural form Memory boards controlled by a council of men/women (Mbudye) who interpret events that have occurred thus far in ones life Zoomorphic elements like crocodile living on land/water, society at time had two rulers
Aka Elephant Mask Bamileke, 19-20h century, wood/raffia/cloth/beads Important people in society owned/wore an aka or elephant mask; used at royal court Worn on important ceremonial occassions Beadwork symbol of power Symbolizes features of elephant with long trunk/ears symbolizing strength/power mask over head and two folds hang down in front Performance art as masked dancers danced barefoot to a drug Human face reprsents dual nature (human/animal)
Aka Elephant Mask Bamileke, 19-20h century, wood/raffia/cloth/beads Important people in society owned/wore an aka or elephant mask; used at royal court Worn on important ceremonial occassions Beadwork symbol of power Symbolizes features of elephant with long trunk/ears symbolizing strength/power mask over head and two folds hang down in front Performance art as masked dancers danced barefoot to a drug Human face reprsents dual nature (human/animal)
Reliquary Figure (byeri) Fang, Cameroon, 19-20th century, wood Figures placed at top of cylinder-like containers made of bark that hold skulls and other bones of important leaders Feet dangling over rim in gesture of protecting its contents Reliquary fiure guards the head box against the gaze of women/boys Bieri figures composed of characteristics the Fang people place high value on: tranquility, vitality, introspection Surfaces were rubbed with oil to add luser and protect from insects Prominent belly buton/genitals emphasize life; prayerful gesture/somber expression are of death Balance of life/death in same piece Abstraction of body influenced by European artists of the 21st century
Reliquary Figure (byeri) Fang, Cameroon, 19-20th century, wood Figures placed at top of cylinder-like containers made of bark that hold skulls and other bones of important leaders Feet dangling over rim in gesture of protecting its contents Reliquary fiure guards the head box against the gaze of women/boys Bieri figures composed of characteristics the Fang people place high value on: tranquility, vitality, introspection Surfaces were rubbed with oil to add luser and protect from insects Prominent belly buton/genitals emphasize life; prayerful gesture/somber expression are of death Balance of life/death in same piece Abstraction of body influenced by European artists of the 21st century
Veranda post of enthroned king and senior wife Yoruba People, 1910, Wood/pigment Yoruba peoples carved posts for ruler of their kingdom in Nigeria One of 4 posts made for the palace at Ikere Negative space creates an openness in composition King is focal point in relationship between his wife and others represented on post Behind him his large scale senior wife supports the throne She crows the king during the coronation, protects him during his reign
Veranda post of enthroned king and senior wife Yoruba People, 1910, Wood/pigment Yoruba peoples carved posts for ruler of their kingdom in Nigeria One of 4 posts made for the palace at Ikere Negative space creates an openness in composition King is focal point in relationship between his wife and others represented on post Behind him his large scale senior wife supports the throne She crows the king during the coronation, protects him during his reign
Great Stupa at Sanchi Madhya Pradesh India, Buddhist, Maurya, 300 B.C.E.-100 C.E. Buddhist shrine, mound shaped and faced with dressed stone 3 umbrellas at top represent Buddha, Buddha's Law, and the monastic orders Railing at crest of mound surrounds the umbrellas symbolically a sacred tree Double stairway at south end leads from base to drum where there is a walkway for circumambulation Originally painted white Hemispherical dome, replication of the dome of heaven Four toranas at entrances, at cardinal points of the compass Torana is a carved scene on architraves where Buddha not shown but symbolized by empty throne or tree where he would have meditated, some reliefs also represent sacred sites where the Buddha visited Horror vacui composition, high relief 600 donors have inscriptions carved into the stupa showing project was funded by both women and men, common people and monks
Great Stupa at Sanchi Madhya Pradesh India, Buddhist, Maurya, 300 B.C.E.-100 C.E. Buddhist shrine, mound shaped and faced with dressed stone 3 umbrellas at top represent Buddha, Buddha's Law, and the monastic orders Railing at crest of mound surrounds the umbrellas symbolically a sacred tree Double stairway at south end leads from base to drum where there is a walkway for circumambulation Originally painted white Hemispherical dome, replication of the dome of heaven Four toranas at entrances, at cardinal points of the compass Torana is a carved scene on architraves where Buddha not shown but symbolized by empty throne or tree where he would have meditated, some reliefs also represent sacred sites where the Buddha visited Horror vacui composition, high relief 600 donors have inscriptions carved into the stupa showing project was funded by both women and men, common people and monks
Borobudur Temple Central Java, Indonesia, Saliendra Dynasty, 750-842 C.E., Stone masonry Massive buddhist monument containing 504 life size buddhas, 1460 relief sculptures, 1300 panels, 8200 ft long, 1500 stupas and 1 million carved blocks of stone Iconographically complex and intricate, many levels a meaning, reflects Buddhist cosmology Meant to walked around on each terrace, 6 square terraces with 3 circular tiers with a great stupa at summit Pyramidial form aligned with the 4 cardinal points Lower stories represent desire /negative influeneces Middle areas represent world of forms and control of negative influences Top is world of forumlas where physical world and desire are left behind place of pilgrimage rubble faced with carved volcanic rock, Detail is a densely packed scene, horror vacui Queen is majestic and at rest before giving birth to Siddhartha Gautama, the Buddha brought to the city in a great ceremonial procession Three umbrellas at top represent the sacred tree where buddha achieved enlightenment; also Buddha, Buddhas Law and buddhist community
Borobudur Temple Central Java, Indonesia, Saliendra Dynasty, 750-842 C.E., Stone masonry Massive buddhist monument containing 504 life size buddhas, 1460 relief sculptures, 1300 panels, 8200 ft long, 1500 stupas and 1 million carved blocks of stone Iconographically complex and intricate, many levels a meaning, reflects Buddhist cosmology Meant to walked around on each terrace, 6 square terraces with 3 circular tiers with a great stupa at summit Pyramidial form aligned with the 4 cardinal points Lower stories represent desire /negative influeneces Middle areas represent world of forms and control of negative influences Top is world of forumlas where physical world and desire are left behind place of pilgrimage rubble faced with carved volcanic rock, Detail is a densely packed scene, horror vacui Queen is majestic and at rest before giving birth to Siddhartha Gautama, the Buddha brought to the city in a great ceremonial procession Three umbrellas at top represent the sacred tree where buddha achieved enlightenment; also Buddha, Buddhas Law and buddhist community
Shiva as Lord of Dance Hindu, India, Chola Dynasty, 11th century, Cast bronze Vigorously dancing with one foot on dwarf, Demon of Ignorance, often depicted in a flaming nimbus flying locks of hair terminate in rearing cobra hands one hand sounds the drum that he dances to another has a flame Ring of fire surrounding him is the encapsulated universe with endless cycle of periodically destroying the universe so it can be reborn again, moves in tune with the dance Lower right hand in gesture saying not to be afraid unfolds universe out of the drum held in one of his right hands, Shiva has a third vertical eye suggested between his two other eyes Face stays tranquil despite scene of chaos
Shiva as Lord of Dance Hindu, India, Chola Dynasty, 11th century, Cast bronze Vigorously dancing with one foot on dwarf, Demon of Ignorance, often depicted in a flaming nimbus flying locks of hair terminate in rearing cobra hands one hand sounds the drum that he dances to another has a flame Ring of fire surrounding him is the encapsulated universe with endless cycle of periodically destroying the universe so it can be reborn again, moves in tune with the dance Lower right hand in gesture saying not to be afraid unfolds universe out of the drum held in one of his right hands, Shiva has a third vertical eye suggested between his two other eyes Face stays tranquil despite scene of chaos
Lakshmana Temple Khajuraho India, Hindu, 930-950, Sandstone placed on high pedestal, series of shapes that build to become a large tower
Lakshmana Temple Khajuraho India, Hindu, 930-950, Sandstone placed on high pedestal, series of shapes that build to become a large tower "embryo" room in center containing a small shrine ambulatory circles around the inner chamber corbel led roofs have beehive quality Hindu temple made grouped with series of other temples Ashlar Masonry Bands of horizontal molding unite the building East/west axis receives direct sunlight Sculpture harmonious integration with architecture Sensuous figures with revealing clothing Erotic poses symbolize regeneration
Lakshmana Temple Khajuraho India, Hindu, 930-950, Sandstone placed on high pedestal, series of shapes that build to become a large tower
Lakshmana Temple Khajuraho India, Hindu, 930-950, Sandstone placed on high pedestal, series of shapes that build to become a large tower "embryo" room in center containing a small shrine ambulatory circles around the inner chamber corbel led roofs have beehive quality Hindu temple made grouped with series of other temples Ashlar Masonry Bands of horizontal molding unite the building East/west axis receives direct sunlight Sculpture harmonious integration with architecture Sensuous figures with revealing clothing Erotic poses symbolize regeneration
Lakshmana Temple Khajuraho India, Hindu, 930-950, Sandstone placed on high pedestal, series of shapes that build to become a large tower
Lakshmana Temple Khajuraho India, Hindu, 930-950, Sandstone placed on high pedestal, series of shapes that build to become a large tower "embryo" room in center containing a small shrine ambulatory circles around the inner chamber corbel led roofs have beehive quality Hindu temple made grouped with series of other temples Ashlar Masonry Bands of horizontal molding unite the building East/west axis receives direct sunlight Sculpture harmonious integration with architecture Sensuous figures with revealing clothing Erotic poses symbolize regeneration
Angkor Thom and Temple Angkor Wat Angkor Dynasty, 800-1400, Hindu, Stone Masonry, Sandstone Capital of medieval Cambodia, main pyramid is surrounded by four corner towers, temple-mountain, corbelled gallery roofs, with corbell vaulting dedicated to Vishnu most sculptures represent Vishnu's incarnations horror vaccui of sculptural reliefs, sculpture in rhythmic dance poses caused by repition of shapes Mixed character of Buddhism and Hinduism Built by several successive kings Mountain like towers sybmolize the five peaks of Mt. Meru, the sacred moutain that is the center of the spiritual and physical universe in both Buddhism and Hinduism Churning of the Ocean of Milk: Hindu story, churning to obtain Amrita, nectar of immortal life Gods and devils churn to receive immortality Serpent king Vasuki used to churn the ocean Vishnu wraps the serpent around Mt. mandara with rotates around the ocean to churn it Jayavarman VII as Buddha: Most famous Khmer king,patron of Angkor Thom, Devoted to buddhism but has mixture of Buddhist and Hindu inconography
Angkor Thom and Temple Angkor Wat Angkor Dynasty, 800-1400, Hindu, Stone Masonry, Sandstone Capital of medieval Cambodia, main pyramid is surrounded by four corner towers, temple-mountain, corbelled gallery roofs, with corbell vaulting dedicated to Vishnu most sculptures represent Vishnu's incarnations horror vaccui of sculptural reliefs, sculpture in rhythmic dance poses caused by repition of shapes Mixed character of Buddhism and Hinduism Built by several successive kings Mountain like towers sybmolize the five peaks of Mt. Meru, the sacred moutain that is the center of the spiritual and physical universe in both Buddhism and Hinduism Churning of the Ocean of Milk: Hindu story, churning to obtain Amrita, nectar of immortal life Gods and devils churn to receive immortality Serpent king Vasuki used to churn the ocean Vishnu wraps the serpent around Mt. mandara with rotates around the ocean to churn it Jayavarman VII as Buddha: Most famous Khmer king,patron of Angkor Thom, Devoted to buddhism but has mixture of Buddhist and Hindu inconography
Jahangir Preferring a Sufi Shaikh to Kings Bichitr, 1620, watercolor, gold/ink on paper Mughal EmperorJahangir had many artists follow him where he went as he wanted everything recorded Sought to unify things from distant lands Seated on hourglass throne, sands of time run out, Jahangir near the end Surrounded by a halo of the sun/moon, Jahangir is source of all light and center of universe Sits on a renaissance like carpet with small cherubs copied from European painting, they inscribe on the hourglass his wish to live 1000 years Artist in lower left corner symbolically signs his name on footstool beneath Jahangir Bichitr lowest in the social hierarchy at the bottom holds a miniature with two horses and elephant, a gift from his patron Inscribes his name on the footstool showing his inferior status James I of England in lower left corner too Ottoman sultan present Holy man handed book by Jahangir/other way around, Jahangir put the Holy men in higher status that those around him
Jahangir Preferring a Sufi Shaikh to Kings Bichitr, 1620, watercolor, gold/ink on paper Mughal EmperorJahangir had many artists follow him where he went as he wanted everything recorded Sought to unify things from distant lands Seated on hourglass throne, sands of time run out, Jahangir near the end Surrounded by a halo of the sun/moon, Jahangir is source of all light and center of universe Sits on a renaissance like carpet with small cherubs copied from European painting, they inscribe on the hourglass his wish to live 1000 years Artist in lower left corner symbolically signs his name on footstool beneath Jahangir Bichitr lowest in the social hierarchy at the bottom holds a miniature with two horses and elephant, a gift from his patron Inscribes his name on the footstool showing his inferior status James I of England in lower left corner too Ottoman sultan present Holy man handed book by Jahangir/other way around, Jahangir put the Holy men in higher status that those around him
Terra Cotta Warriors from Mausoleum of first Qin Emperor of China 800 terra cotta warriors, 100 wooden chariots, 2 bronze chariots, 30,000 weapons buried in the tomb of Emperor Qin Shi Huangdi Soldiers are 6 ft tall, very powerful with varying expressions, taller than average at the time Representation of Chinese army marching into the new world to protect their emperor Originally colorfully painted Discovered in 1974
Terra Cotta Warriors from Mausoleum of first Qin Emperor of China 800 terra cotta warriors, 100 wooden chariots, 2 bronze chariots, 30,000 weapons buried in the tomb of Emperor Qin Shi Huangdi Soldiers are 6 ft tall, very powerful with varying expressions, taller than average at the time Representation of Chinese army marching into the new world to protect their emperor Originally colorfully painted Discovered in 1974
Funeral Banner of lady Dai Han Dynasty, China, 180 B.C.E., Painted Silk Lady Dai died in 168 B.C.E. in Hunan province tomb found with over 100 objects in 1972 T-shaped silk banner covering inner coffin of intact body probably carried in procession to the tomb then placed over body to quicken journey to the afterlife Yin symbols at left, yang symbols at right, center mixes the two Painted in 3 distinct regions Top: heaaven with crescent moon at left, legend of the ten suns at right, center two seated officers guard entrance to heaven Middle: Earth with lady Dai in center of white platform about to make journey to heaven with walking stick found in her tomb Bottom: underworld, symbolic low creatures frame the underworld scene like fish, turtles dragon tails
Funeral Banner of lady Dai Han Dynasty, China, 180 B.C.E., Painted Silk Lady Dai died in 168 B.C.E. in Hunan province tomb found with over 100 objects in 1972 T-shaped silk banner covering inner coffin of intact body probably carried in procession to the tomb then placed over body to quicken journey to the afterlife Yin symbols at left, yang symbols at right, center mixes the two Painted in 3 distinct regions Top: heaaven with crescent moon at left, legend of the ten suns at right, center two seated officers guard entrance to heaven Middle: Earth with lady Dai in center of white platform about to make journey to heaven with walking stick found in her tomb Bottom: underworld, symbolic low creatures frame the underworld scene like fish, turtles dragon tails
Longmen Caves Louyang China, Tang Dynasty, 493-1127 C.E., Limestone Caves on the bank of the Yi River Sculptures and reliefs carved from existing rock, vary in size Documents attest that 800k people worked on site 110k Buddhist stone statues in total 60+ stupas, 2800 inscriptions on steles Buddha arranged as if on altar of a temple, deeply sent in to the rock face Inscription states the Empress Wu was patroness of site, used her private funds to pay for project Vairocana Buddha has monk attendants, bodhistavas, and guardians, mandorla surrounds him Elongated legs and exaggerated poses of the figures Supreme buddha who presides all other buddhas of the universe, reflects how emperor dominates China, supported by subordinate officials, this case bodhisttavas
Longmen Caves Louyang China, Tang Dynasty, 493-1127 C.E., Limestone Caves on the bank of the Yi River Sculptures and reliefs carved from existing rock, vary in size Documents attest that 800k people worked on site 110k Buddhist stone statues in total 60+ stupas, 2800 inscriptions on steles Buddha arranged as if on altar of a temple, deeply sent in to the rock face Inscription states the Empress Wu was patroness of site, used her private funds to pay for project Vairocana Buddha has monk attendants, bodhistavas, and guardians, mandorla surrounds him Elongated legs and exaggerated poses of the figures Supreme buddha who presides all other buddhas of the universe, reflects how emperor dominates China, supported by subordinate officials, this case bodhisttavas
Gold and Jade Crown Three kingdoms period, Silla Kingdom, Korea, 5-6th century, metalwork Uncovered in Gyeongju, Korea from a royal tomb Symbolizes geometric trees Antler forms influenced by Shamanistic practices in Siberia Light weight, portable, used for ceremonial occasions, possibly for burial
Gold and Jade Crown Three kingdoms period, Silla Kingdom, Korea, 5-6th century, metalwork Uncovered in Gyeongju, Korea from a royal tomb Symbolizes geometric trees Antler forms influenced by Shamanistic practices in Siberia Light weight, portable, used for ceremonial occasions, possibly for burial
Travelers among Mountains and Streams Fan Kuan, 1000 C.E., ink/color on silk Artist isolated himself away from civilization to be with nature and study it, follower of Daoist philosophy Very complex landscapes, reached height during the Song period Different brushstrokes describe different kinds of trees as they have different textures Long waterfall on right balanced by mountain on left, waterfall accents the height of the mountain Not a pure landscape: donkeys laden with firewood driven by two men, small temple appears in forest, man seen as small/insignificant in vast natural world Mist created by ink washes, silhouette the roofs of the temple Signature hidden in bushes in lower right Hanging scroll to be admired
Travelers among Mountains and Streams Fan Kuan, 1000 C.E., ink/color on silk Artist isolated himself away from civilization to be with nature and study it, follower of Daoist philosophy Very complex landscapes, reached height during the Song period Different brushstrokes describe different kinds of trees as they have different textures Long waterfall on right balanced by mountain on left, waterfall accents the height of the mountain Not a pure landscape: donkeys laden with firewood driven by two men, small temple appears in forest, man seen as small/insignificant in vast natural world Mist created by ink washes, silhouette the roofs of the temple Signature hidden in bushes in lower right Hanging scroll to be admired
Portrait of Sin Sukju Imperial Bureau of Painting. c. 15th century C.E. Hanging scroll (ink and color on silk) Korean prime minister (1461-1464 and from 1471-1475) and soldier Portrait made when he was a second grade civil officer: insignia designed with clouds and a wild goose. Korean protraits emphasize how the subject made a great contribution to he country and how the spirit of loyalty to king and country was valued by Confucian philosophy Repainted over the years, especially in 1475, when he died. Great scholar Hanging scroll
Portrait of Sin Sukju Imperial Bureau of Painting. c. 15th century C.E. Hanging scroll (ink and color on silk) Korean prime minister (1461-1464 and from 1471-1475) and soldier Portrait made when he was a second grade civil officer: insignia designed with clouds and a wild goose. Korean protraits emphasize how the subject made a great contribution to he country and how the spirit of loyalty to king and country was valued by Confucian philosophy Repainted over the years, especially in 1475, when he died. Great scholar Hanging scroll
The David Vases Yuan Dynasty, 1351, White porcelain/cobalt blue under glaze One of the most important examples of blue and white porcelain in existence Made for the altar of a Daoist temple, along with an incense burner which has not been found; a typical alter set. Dedication on the side of the neck of the vessels; believed to be earliest known blue and white porcelain dedication. Inscription on one of the cases:
The David Vases Yuan Dynasty, 1351, White porcelain/cobalt blue under glaze One of the most important examples of blue and white porcelain in existence Made for the altar of a Daoist temple, along with an incense burner which has not been found; a typical alter set. Dedication on the side of the neck of the vessels; believed to be earliest known blue and white porcelain dedication. Inscription on one of the cases: "Zhang wenjin, a disciple of the Holy Gods, is pleased to offer a set of one incense burner and a pair of flower vases to a General at the Original Palace as prayer for the protection/blessing of the family and for the peace of his sons and daughters. Carefully offered on an auspicious day in the fourth month Eleventh year of the Zhizheng reign. Blue color imported from Iran; Chinese expansion into western Asia makes the cobalt blue available. Vases were modeled after bronzes Elephant-head-shaped handles Neck and foot of vases: leaves and flowers Central section: Chinese dragons with traditional long bodies and beards; dragons have scales and claws and are set in a sea of clouds. Named after Sir Percival David, a collector of Chinese art.
Forbidden City Beijing, China, Ming Dynasty,15th century C.E Stone masonry, marble, brick, wood, and ceramic tile. Largest and most complete Chinese architectural ensemble in existence, 9000 rooms Walls 30 feet high to keep people out and those inside in Forbidden City so named because only the royal court could enter Each corner of the rectangular place has a tower representing the four corners of the world Focus is the Hall of Supreme Harmony, the throne room and seat of power; wood structure made with elaboratiely painted beams: meant for grand ceremonies Yellow tile roofs and red painted wooden beams placed on marble foundations unity the stuctures in the Forbidden City into an artistic whole Hall of Superme Harmony ceremonies: new year, the winter solstice, emperor's birthday. Surrounding wall of the Forbidden City characteristic of a Chinese city: privacy within provides protection: containg ment part of chinese culture.
Forbidden City Beijing, China, Ming Dynasty,15th century C.E Stone masonry, marble, brick, wood, and ceramic tile. Largest and most complete Chinese architectural ensemble in existence, 9000 rooms Walls 30 feet high to keep people out and those inside in Forbidden City so named because only the royal court could enter Each corner of the rectangular place has a tower representing the four corners of the world Focus is the Hall of Supreme Harmony, the throne room and seat of power; wood structure made with elaboratiely painted beams: meant for grand ceremonies Yellow tile roofs and red painted wooden beams placed on marble foundations unity the stuctures in the Forbidden City into an artistic whole Hall of Superme Harmony ceremonies: new year, the winter solstice, emperor's birthday. Surrounding wall of the Forbidden City characteristic of a Chinese city: privacy within provides protection: containg ment part of chinese culture.
Palace of Tranquility and Longevity too
Forbidden City, Front Gate Beijing, China, Ming Dynasty,15th century C.E Stone masonry, marble, brick, wood, and ceramic tile. Mao Zedong's portrait there today, portraits of rulers were hung there Largest and most complete Chinese architectural ensemble in existence, 9000 rooms Walls 30 feet high to keep people out and those inside in Forbidden City so named because only the royal court could enter Each corner of the rectangular place has a tower representing the four corners of the world Focus is the Hall of Supreme Harmony, the throne room and seat of power; wood structure made with elaboratiely painted beams: meant for grand ceremonies Yellow tile roofs and red painted wooden beams placed on marble foundations unify the structures in the Forbidden City into an artistic whole Hall of Supreme Harmony ceremonies: new year, the winter solstice, emperor's birthday. Surrounding wall of the Forbidden City characteristic of a Chinese city: privacy within provides protection: containment part of chinese culture.
Forbidden City, Front Gate Beijing, China, Ming Dynasty,15th century C.E Stone masonry, marble, brick, wood, and ceramic tile. Mao Zedong's portrait there today, portraits of rulers were hung there Largest and most complete Chinese architectural ensemble in existence, 9000 rooms Walls 30 feet high to keep people out and those inside in Forbidden City so named because only the royal court could enter Each corner of the rectangular place has a tower representing the four corners of the world Focus is the Hall of Supreme Harmony, the throne room and seat of power; wood structure made with elaboratiely painted beams: meant for grand ceremonies Yellow tile roofs and red painted wooden beams placed on marble foundations unify the structures in the Forbidden City into an artistic whole Hall of Supreme Harmony ceremonies: new year, the winter solstice, emperor's birthday. Surrounding wall of the Forbidden City characteristic of a Chinese city: privacy within provides protection: containment part of chinese culture.
Palace of Tranquility and Longevity too
Forbidden City, Hall of Supreme harmony Beijing, China, Ming Dynasty,15th century C.E Stone masonry, marble, brick, wood, and ceramic tile. Largest and most complete Chinese architectural ensemble in existence, 9000 rooms Walls 30 feet high to keep people out and those inside in Forbidden City so named because only the royal court could enter Each corner of the rectangular place has a tower representing the four corners of the world Focus is the Hall of Supreme Harmony, the throne room and seat of power; wood structure made with elaboratiely painted beams: meant for grand ceremonies Yellow tile roofs and red painted wooden beams placed on marble foundations unity the stuctures in the Forbidden City into an artistic whole Hall of Superme Harmony ceremonies: new year, the winter solstice, emperor's birthday. Surrounding wall of the Forbidden City characteristic of a Chinese city: privacy within provides protection: containg ment part of chinese culture.
Forbidden City, Hall of Supreme harmony Beijing, China, Ming Dynasty,15th century C.E Stone masonry, marble, brick, wood, and ceramic tile. Largest and most complete Chinese architectural ensemble in existence, 9000 rooms Walls 30 feet high to keep people out and those inside in Forbidden City so named because only the royal court could enter Each corner of the rectangular place has a tower representing the four corners of the world Focus is the Hall of Supreme Harmony, the throne room and seat of power; wood structure made with elaboratiely painted beams: meant for grand ceremonies Yellow tile roofs and red painted wooden beams placed on marble foundations unity the stuctures in the Forbidden City into an artistic whole Hall of Superme Harmony ceremonies: new year, the winter solstice, emperor's birthday. Surrounding wall of the Forbidden City characteristic of a Chinese city: privacy within provides protection: containg ment part of chinese culture.
Palace of Tranquility and Longevity too
Forbidden City, Plan Beijing, China, Ming Dynasty,15th century C.E Stone masonry, marble, brick, wood, and ceramic tile. Largest and most complete Chinese architectural ensemble in existence, 9000 rooms Walls 30 feet high to keep people out and those inside in Forbidden City so named because only the royal court could enter Each corner of the rectangular place has a tower representing the four corners of the world Focus is the Hall of Supreme Harmony, the throne room and seat of power; wood structure made with elaboratiely painted beams: meant for grand ceremonies Yellow tile roofs and red painted wooden beams placed on marble foundations unity the stuctures in the Forbidden City into an artistic whole Hall of Superme Harmony ceremonies: new year, the winter solstice, emperor's birthday. Surrounding wall of the Forbidden City characteristic of a Chinese city: privacy within provides protection: containg ment part of chinese culture.
Forbidden City, Plan Beijing, China, Ming Dynasty,15th century C.E Stone masonry, marble, brick, wood, and ceramic tile. Largest and most complete Chinese architectural ensemble in existence, 9000 rooms Walls 30 feet high to keep people out and those inside in Forbidden City so named because only the royal court could enter Each corner of the rectangular place has a tower representing the four corners of the world Focus is the Hall of Supreme Harmony, the throne room and seat of power; wood structure made with elaboratiely painted beams: meant for grand ceremonies Yellow tile roofs and red painted wooden beams placed on marble foundations unity the stuctures in the Forbidden City into an artistic whole Hall of Superme Harmony ceremonies: new year, the winter solstice, emperor's birthday. Surrounding wall of the Forbidden City characteristic of a Chinese city: privacy within provides protection: containg ment part of chinese culture.
Palace of Tranquility and Longevity too
Todai-Ji Nara, Japan, 743, rebuilt 1700, Wood with ceramic tile roofing Served as admin center for a branch of temples Great Eastern Temple, refres to its location on the eastern edge of the city of Nara, Japan Noted for its colossal sculpture o seated image of the Vairocana Buddha. Temple and Buddha have been razed several times during militray unrest. Seven external bays on facade Influenced by monumental Chinese sculptures. like Longmen Largest wooden building in the world.
Todai-Ji Nara, Japan, 743, rebuilt 1700, Wood with ceramic tile roofing Served as admin center for a branch of temples Great Eastern Temple, refres to its location on the eastern edge of the city of Nara, Japan Noted for its colossal sculpture o seated image of the Vairocana Buddha. Temple and Buddha have been razed several times during militray unrest. Seven external bays on facade Influenced by monumental Chinese sculptures. like Longmen Largest wooden building in the world.
Todai Ji Great Buddha Nara, Japan, Kei School,743 C.E. Bronze/wood Monumental casted sculpture Emperor Shomu embraced Buddhism and built sculpture to stabilize the population during an economic crisis Largest metal statue of buddha in the world Mudra right hand showing dont fear, left hand means welcome
Todai Ji Great Buddha Nara, Japan, Kei School,743 C.E. Bronze/wood Monumental casted sculpture Emperor Shomu embraced Buddhism and built sculpture to stabilize the population during an economic crisis Largest metal statue of buddha in the world Mudra right hand showing dont fear, left hand means welcome
Todai Ji, Nio Guardian Figures Nara, Japan, Kei School,743 C.E. Bronze/wood Either side of the entrance of the temple intricate swirling drapery Fierce forbidding look/gesture, very powerful masculine frightening figures meant to protect the Buddha
Todai Ji, Nio Guardian Figures Nara, Japan, Kei School,743 C.E. Bronze/wood Either side of the entrance of the temple intricate swirling drapery Fierce forbidding look/gesture, very powerful masculine frightening figures meant to protect the Buddha
Ryon-ji Kyoto, Muromachi period, 1480, redesigned in 18th century, rock garden Microcosm of nature, (miniature representation) Dry Garden: Gravel acts as water, gravel racked in wavy patterns Rocks are mountain ranges Meant to be viewed from a veranda of nearby building 15 rocks in 3 groups Interpreted as islands in floating sea, mountain peaks above clouds, constellations in the sky Impossible to view the entire garden from one view point Focus for meditation Assymetrical arrangement, showing the world is not perfect Wet Garden: Contains a tea house Seemingly random in placement, but plants placed in organized structure symbolizing the natural world water symbolizes purification, used for rituals
Ryon-ji Kyoto, Muromachi period, 1480, redesigned in 18th century, rock garden Microcosm of nature, (miniature representation) Dry Garden: Gravel acts as water, gravel racked in wavy patterns Rocks are mountain ranges Meant to be viewed from a veranda of nearby building 15 rocks in 3 groups Interpreted as islands in floating sea, mountain peaks above clouds, constellations in the sky Impossible to view the entire garden from one view point Focus for meditation Assymetrical arrangement, showing the world is not perfect Wet Garden: Contains a tea house Seemingly random in placement, but plants placed in organized structure symbolizing the natural world water symbolizes purification, used for rituals
Night Attack on the Sanjo Palace Kamakura Period, Japan, 1250-1300 C.E., Handscroll Painted 100 years after the civil war during the end of the Heian period depicted in the scene Elevated viewpoint Strong diagonals emphasizing movement and action Swift active brushstrokes Narratives read from right to left as the scroll is unrolled Depersonalized figures, many with only one stroke for the eyes, ears, and mouth Tangled mass of forms accentuated by Japanese armor Lone archer leads the escape from the burning palace wit equestrian Japanese commander behind him Military rule in Japan from 1185 on had an interest in the code of the warrior; reflected in the large quantity of war-related literature and paintings Unrolls like a film sequence; as one unroll:, time advances Burning of the imperial palace at Sanjo in Kyoto as rebel forces try to sieze power by capturing the emperor. Coup staged 1159 as Emperor Go-Shirakawa is taken prisoner Imperial palace in flames; rebels force the emperor to board a cart waiting to take him into captivity. Rebels kill those opposed and place their heads on stick and parade them as trophies.
Night Attack on the Sanjo Palace Kamakura Period, Japan, 1250-1300 C.E., Handscroll Painted 100 years after the civil war during the end of the Heian period depicted in the scene Elevated viewpoint Strong diagonals emphasizing movement and action Swift active brushstrokes Narratives read from right to left as the scroll is unrolled Depersonalized figures, many with only one stroke for the eyes, ears, and mouth Tangled mass of forms accentuated by Japanese armor Lone archer leads the escape from the burning palace wit equestrian Japanese commander behind him Military rule in Japan from 1185 on had an interest in the code of the warrior; reflected in the large quantity of war-related literature and paintings Unrolls like a film sequence; as one unroll:, time advances Burning of the imperial palace at Sanjo in Kyoto as rebel forces try to sieze power by capturing the emperor. Coup staged 1159 as Emperor Go-Shirakawa is taken prisoner Imperial palace in flames; rebels force the emperor to board a cart waiting to take him into captivity. Rebels kill those opposed and place their heads on stick and parade them as trophies.
White and Red Plum Blossoms Ogata Korin, 1710-1716 C.E., Ink, watercolor, and gold leaf on paper Japanese rinpa styled named for Ogata Influenced by the yamato e-style of painting Stream cuts rythmically through the scene, swirling the paint surface, indicating a water current White plum blossoms on left, red on right Tarashikomi technique where paint applied to surface that hasnt dried from previous application, creating dripping effect used especially for streams/flowers
White and Red Plum Blossoms Ogata Korin, 1710-1716 C.E., Ink, watercolor, and gold leaf on paper Japanese rinpa styled named for Ogata Influenced by the yamato e-style of painting Stream cuts rythmically through the scene, swirling the paint surface, indicating a water current White plum blossoms on left, red on right Tarashikomi technique where paint applied to surface that hasnt dried from previous application, creating dripping effect used especially for streams/flowers
Under the Wave of Kanagawa Hokusai, 1833, Woodblock print, ink/color on paper First time landscape is major theme in Japanese prints Last of series of prints (36 views of Mt. Fuji) Personification of nature, seems intent of drowning figures in boats Mt. Fuji sacred mountain of Japanese appears to be one of the waves Striking design contrasts water/sky with large areas of negative space Took aspects of western art like a low horizon line
Under the Wave of Kanagawa Hokusai, 1833, Woodblock print, ink/color on paper First time landscape is major theme in Japanese prints Last of series of prints (36 views of Mt. Fuji) Personification of nature, seems intent of drowning figures in boats Mt. Fuji sacred mountain of Japanese appears to be one of the waves Striking design contrasts water/sky with large areas of negative space Took aspects of western art like a low horizon line
Chairman Mao en Route to Anyuan Unknown artist, based off an oil painting by Chunhua, Color lithograph, 1969 Socialist Realism Painted during the Cultural Revolution of 1966-1976, high art dismissed as feudal/ for the bourgeoisie Poster like with vivid colors, dramatic/obvious political message Art was done anonymously to avoid persecution for going against the cultural revolution Movement in 1920's where Mao was going to Anyuan to lead a miner's strike Supported miners (peasantry) and advocated for better living conditions Move reproduced image in history with over 900 million made Mao emerges from a mountain above the clouds as if superhuman and immortal Idealized view of Mao as he goes to help the common people This event was a defining moment of the CCP
Chairman Mao en Route to Anyuan Unknown artist, based off an oil painting by Chunhua, Color lithograph, 1969 Socialist Realism Painted during the Cultural Revolution of 1966-1976, high art dismissed as feudal/ for the bourgeoisie Poster like with vivid colors, dramatic/obvious political message Art was done anonymously to avoid persecution for going against the cultural revolution Movement in 1920's where Mao was going to Anyuan to lead a miner's strike Supported miners (peasantry) and advocated for better living conditions Move reproduced image in history with over 900 million made Mao emerges from a mountain above the clouds as if superhuman and immortal Idealized view of Mao as he goes to help the common people This event was a defining moment of the CCP
Nan Madol Anciety city that acted as the capital of the Saudeleur Dynastoy of Micronesia 92 small artificial islands connected by canals, about 170 acres total Built out into the water on a lagoon Seawalls act as breakwaters, 15 feet high, 35 feet thick Canals flushed clean with ties Islands arranged SW toNE to take advantage of trade winds City built to separate upper/lower classes King arranged for upper classes to live close to him, keep eye on them Curved outer walls point upward at edges giving complex symbolic boat like appearance
Nan Madol Anciety city that acted as the capital of the Saudeleur Dynastoy of Micronesia 92 small artificial islands connected by canals, about 170 acres total Built out into the water on a lagoon Seawalls act as breakwaters, 15 feet high, 35 feet thick Canals flushed clean with ties Islands arranged SW toNE to take advantage of trade winds City built to separate upper/lower classes King arranged for upper classes to live close to him, keep eye on them Curved outer walls point upward at edges giving complex symbolic boat like appearance
Moai on platform Easter Island 1100-1600, Volcanic tuff figures on basalt base. Statues of tribal chiefs on the island, meant to mediate b/w chiefs and gods About 900 statues, mostly male, all facing inland, 50 tons/statue Erected on large platforms of stone mixed with ashes from cremations; the platforms are as sacred as the statues on them Images represent personalities deified after death prominent foreheads, large broad noes, thin pouting lips, ears that reach to the top of their heads short thin arms falling straight down; hands across lower abdomen below navel chests and navels delineated topknots added to some statues white coral placed in eyes to
Moai on platform Easter Island 1100-1600, Volcanic tuff figures on basalt base. Statues of tribal chiefs on the island, meant to mediate b/w chiefs and gods About 900 statues, mostly male, all facing inland, 50 tons/statue Erected on large platforms of stone mixed with ashes from cremations; the platforms are as sacred as the statues on them Images represent personalities deified after death prominent foreheads, large broad noes, thin pouting lips, ears that reach to the top of their heads short thin arms falling straight down; hands across lower abdomen below navel chests and navels delineated topknots added to some statues white coral placed in eyes to "open" them pokao or red hats on some of their heads
'Ahu 'ula (feather cape) Hawaiian. Late 18th century, Feathers/fiber The Hawaiian male nobility wore feather cloaks and capes for ceremonies/battle 500k feathers, average bird had 7 feathers Across Polynesia the color red was associated with both gods and chiefs. Coconut fiber sed as a base with the feathers tied to it Protected wearer from harm
'Ahu 'ula (feather cape) Hawaiian. Late 18th century, Feathers/fiber The Hawaiian male nobility wore feather cloaks and capes for ceremonies/battle 500k feathers, average bird had 7 feathers Across Polynesia the color red was associated with both gods and chiefs. Coconut fiber sed as a base with the feathers tied to it Protected wearer from harm
Staff god Cook Islands,Late 18th to early 19th century, Wood, tapa, fiber, and feathers large column-like wooden shaft placed upright in a village common Large head on top, several smaller heads below Shaft is an elongated body, roll of tapa placed around it Soul of god represented by polished pearls/red feathers inside the tapa Representations of deities worshipped by Cook Islanders before their conversion to Christianity included wooden images in human form, slab carvings and staffs such as this, known as
Staff god Cook Islands,Late 18th to early 19th century, Wood, tapa, fiber, and feathers large column-like wooden shaft placed upright in a village common Large head on top, several smaller heads below Shaft is an elongated body, roll of tapa placed around it Soul of god represented by polished pearls/red feathers inside the tapa Representations of deities worshipped by Cook Islanders before their conversion to Christianity included wooden images in human form, slab carvings and staffs such as this, known as "god sticks" Represent Tangaroa the creator god This staff god is a potent combination of male and female elements
Female Diety Nukuoro, Micronesia. 18th to 19th century, Wood. Outlier as most other works were much different. Western influence led to a destruction of their culture Used in religious buildings and belongings of a community Represent individual deities were associated with animals, stones, or wood figurines like this one Simple geometric form Erect pose with large/broad chest and flat long arms No facial features besides pointed chin Horizontal lines indicate knees, navel, and waistline
Female Diety Nukuoro, Micronesia. 18th to 19th century, Wood. Outlier as most other works were much different. Western influence led to a destruction of their culture Used in religious buildings and belongings of a community Represent individual deities were associated with animals, stones, or wood figurines like this one Simple geometric form Erect pose with large/broad chest and flat long arms No facial features besides pointed chin Horizontal lines indicate knees, navel, and waistline
Buk Mask Torres Strait, 19th century, Turtle shell, wood, fiber, feathers, Turtle shell masks unqiue to this region b/w Australia/New Guinea Used with grass costumes in ceremonies for death, fertility, and male initiation divided into three registers of a human face with hair, a friget bird, and its feathers part of an elaborate costume. ceremonial item could be a hero, ancestor, or something associated with the bird
Buk Mask Torres Strait, 19th century, Turtle shell, wood, fiber, feathers, Turtle shell masks unqiue to this region b/w Australia/New Guinea Used with grass costumes in ceremonies for death, fertility, and male initiation divided into three registers of a human face with hair, a friget bird, and its feathers part of an elaborate costume. ceremonial item could be a hero, ancestor, or something associated with the bird
Hiapo Niue, 1850-1900, Tapa (bark cloth), Hiapo is the word for tapa in Niue Tapa made from tree bark beaten/pasted together Stencils used to dye exposed parts of tapa with paint Meant to commemorate a specific event like honoring a chief or ancestors Designs meant to be interpreted symbolically as the geometric patterns contain a rich history
Hiapo Niue, 1850-1900, Tapa (bark cloth), Hiapo is the word for tapa in Niue Tapa made from tree bark beaten/pasted together Stencils used to dye exposed parts of tapa with paint Meant to commemorate a specific event like honoring a chief or ancestors Designs meant to be interpreted symbolically as the geometric patterns contain a rich history
Tamati Waka Nene Lindauer, 1890, Oil on canvas New Zealand painter, famous for portraits of Maori chieftains journeyman painter-tradesmen who worked on commission subject is Tamati Waka Nene, chief and convert to the Wesleyan faith Painting was done after the chiefs death, based on a photograph by John Crombie Emphasis placed on symbols of rank; elaborate tattooing, staff with an eye in the center, feathers dangling from the staff
Tamati Waka Nene Lindauer, 1890, Oil on canvas New Zealand painter, famous for portraits of Maori chieftains journeyman painter-tradesmen who worked on commission subject is Tamati Waka Nene, chief and convert to the Wesleyan faith Painting was done after the chiefs death, based on a photograph by John Crombie Emphasis placed on symbols of rank; elaborate tattooing, staff with an eye in the center, feathers dangling from the staff
Navigation chart Marshall Islands, Micronesia. 19th/20th century Wood and fiber navigation was important in micronesia, and these charts were memorized Charts used to navigate the numerous islands of the area diagonal lines are the water currents. Shells indicate position of islands Chart is wood, therefore waterproof and boyant
Navigation chart Marshall Islands, Micronesia. 19th/20th century Wood and fiber navigation was important in micronesia, and these charts were memorized Charts used to navigate the numerous islands of the area diagonal lines are the water currents. Shells indicate position of islands Chart is wood, therefore waterproof and boyant
Malagan mask. New Ireland, Papua New Guinea, 20th century, Wood, pigment, fiber, and shell. Malagan ceremonies send the souls of the dead to the next world Sculptures were commisioned to represent the persons soul/life, not physical appearance made for a cycle of rituals: honoring and dismissing the dead, but they also act as affirmation of the identity of clan groups, and negotiate the transmission of rights to land. used once then destroyed very symbolic and include many notifiers including identity, age, clan, status, etc. painted black, yellow, red: denoting violence, war, and magic
Malagan mask. New Ireland, Papua New Guinea, 20th century, Wood, pigment, fiber, and shell. Malagan ceremonies send the souls of the dead to the next world Sculptures were commisioned to represent the persons soul/life, not physical appearance made for a cycle of rituals: honoring and dismissing the dead, but they also act as affirmation of the identity of clan groups, and negotiate the transmission of rights to land. used once then destroyed very symbolic and include many notifiers including identity, age, clan, status, etc. painted black, yellow, red: denoting violence, war, and magic
Presentation of Fijian mats/tapa cloth to Queen Elizabeth II 1953 C.E. Multimedia performance, photographic documentation. Presented as gift to the newly coronated Queen Elizabeth in visit to Fiji Imagery of royal crowns, geometric patterns and floral motifs fill the mats - showed the culture of the people of Fiji and also the superiority that was placed on the Queen Male job to oversee growth of mulberry tree which provided bark for tapa Bark taken from tree put in water to become pliable After being beaten into a cloth, smaller pieces are glued together
Presentation of Fijian mats/tapa cloth to Queen Elizabeth II 1953 C.E. Multimedia performance, photographic documentation. Presented as gift to the newly coronated Queen Elizabeth in visit to Fiji Imagery of royal crowns, geometric patterns and floral motifs fill the mats - showed the culture of the people of Fiji and also the superiority that was placed on the Queen Male job to oversee growth of mulberry tree which provided bark for tapa Bark taken from tree put in water to become pliable After being beaten into a cloth, smaller pieces are glued together
The Gates New York City, Christo/Jeanne Claude Christo is bulgarian born; claude is of french descent born in mexico 7503 gates of free hanging saffron colored fabric panels Framed all the pathways of Central Park 16 ft tall gates formed continuous river of color Covered total of 23 miles Temporary installation left for 16 days After exhibition closed, materials were recycled
The Gates New York City, Christo/Jeanne Claude Christo is bulgarian born; claude is of french descent born in mexico 7503 gates of free hanging saffron colored fabric panels Framed all the pathways of Central Park 16 ft tall gates formed continuous river of color Covered total of 23 miles Temporary installation left for 16 days After exhibition closed, materials were recycled
Vietnam Veterans Memorial Maya Lin, 1982, granite - Granite - Washington, DC - Maya Lin was an Ohio-born chinese american - v-shaped monument - 60,000 casualties listed in order of when they were killed or missing - one end points to Lincoln Memorial, other to Washington monument - black granite (reflective) allows viewers see themselves in the names of the veterans - black=somber color - influenced by mimalist movement very dramatic, wall is set into landscape increases drama/emotion, very simple, celebrates people who served in war, didn't want static object but made it so people went on a journey that brought heavy emotion and everyone to a different conclusion, effort to work with land not dominate, controversial in that it was black while all the other monuments were white and that black represents sadness and death
Vietnam Veterans Memorial Maya Lin, 1982, granite - Granite - Washington, DC - Maya Lin was an Ohio-born chinese american - v-shaped monument - 60,000 casualties listed in order of when they were killed or missing - one end points to Lincoln Memorial, other to Washington monument - black granite (reflective) allows viewers see themselves in the names of the veterans - black=somber color - influenced by mimalist movement very dramatic, wall is set into landscape increases drama/emotion, very simple, celebrates people who served in war, didn't want static object but made it so people went on a journey that brought heavy emotion and everyone to a different conclusion, effort to work with land not dominate, controversial in that it was black while all the other monuments were white and that black represents sadness and death
Horn Players Basquiat, 1983, Acrylic/Oil - Neoexpressionist - triptych - artist rebelled against middle class upbringing - influence of graffiti art - darkened background, flat patches of color, thick lines - salute to Charlie Parker and Dizzy Gillespie (jazz musicians) - heads float over outlined bodies - contrast and juxtaposition are the focus - ornithology is a reference to Charlie
Horn Players Basquiat, 1983, Acrylic/Oil - Neoexpressionist - triptych - artist rebelled against middle class upbringing - influence of graffiti art - darkened background, flat patches of color, thick lines - salute to Charlie Parker and Dizzy Gillespie (jazz musicians) - heads float over outlined bodies - contrast and juxtaposition are the focus - ornithology is a reference to Charlie "the bird" Parker
Summer Trees Song Su-Nam, 1983, Ink on paper - korean artist, similar to abstract expressionists - vertical lines ranging in thickness - subtle tones of ink wash - ink painting was a traditional form of artist expression in Korea Name meant to recall past master works of art
Summer Trees Song Su-Nam, 1983, Ink on paper - korean artist, similar to abstract expressionists - vertical lines ranging in thickness - subtle tones of ink wash - ink painting was a traditional form of artist expression in Korea Name meant to recall past master works of art
Androgyne III, by Magdalena Abakanowicz Burlap, resin, wood, nails, and string, 1985 - Polish artist - makes figures without heads or arms either in groups or alone - figure sits on low stretcher of wooden legs (human legs?) - hollowed out and the hardened fiber casts are made from plaster molds, looking like crinkled human skin - complete back with a hollow front
Androgyne III, by Magdalena Abakanowicz Burlap, resin, wood, nails, and string, 1985 - Polish artist - makes figures without heads or arms either in groups or alone - figure sits on low stretcher of wooden legs (human legs?) - hollowed out and the hardened fiber casts are made from plaster molds, looking like crinkled human skin - complete back with a hollow front
A Book from the Sky Xu Bing, 1987-1991, Mixed Media installation originally in national museum in Beijing reflects on the end of the 20th century - power of language - 400 handmade books placed in rows on ground - 50 printed scrolls hang from ceiling - traditional Asian wood block techniques are used - many of the chinese characters are made up w/ no meaning - Xu Bing lost support from the Communist gov. because of this work Said to be
A Book from the Sky Xu Bing, 1987-1991, Mixed Media installation originally in national museum in Beijing reflects on the end of the 20th century - power of language - 400 handmade books placed in rows on ground - 50 printed scrolls hang from ceiling - traditional Asian wood block techniques are used - many of the chinese characters are made up w/ no meaning - Xu Bing lost support from the Communist gov. because of this work Said to be "bourgeoisie liberation" and that its meaninglessness hid secret subversions
Pink Panther Jeff Koons, 1988, Glazed Porcelain Commentary on celebrity romance, sexulatiy, commercialism, pop culture - Jeff Koons does not make his own art he makes other people make it - artificially idealized ( yellow hair, bright red lips, fake look) and life size - kitsch - woman is supposed to be Jayne Mansfield who is a popular screen star - Pink Panther is a cartoon character from a series of American movies - panthers gesture has tender delicacy - part of series called
Pink Panther Jeff Koons, 1988, Glazed Porcelain Commentary on celebrity romance, sexulatiy, commercialism, pop culture - Jeff Koons does not make his own art he makes other people make it - artificially idealized ( yellow hair, bright red lips, fake look) and life size - kitsch - woman is supposed to be Jayne Mansfield who is a popular screen star - Pink Panther is a cartoon character from a series of American movies - panthers gesture has tender delicacy - part of series called "The Banality"
Untitled #228 Cindy Sherman, 1990, Photograph - Cindy Sherman is the photographer, subject, costumer, hairdresser, and makeup artist is every work - comments on gender, identity, society, and class distinction - uses old master paintings as starting point - shows theme of Salome decapitating Saint John the Baptist - richness in costuming and setting (decorative drapes) - Salome lacks any emotional attachment to the murder - Saint John the Baptist looks mask-like and bloodless
Untitled #228 Cindy Sherman, 1990, Photograph - Cindy Sherman is the photographer, subject, costumer, hairdresser, and makeup artist is every work - comments on gender, identity, society, and class distinction - uses old master paintings as starting point - shows theme of Salome decapitating Saint John the Baptist - richness in costuming and setting (decorative drapes) - Salome lacks any emotional attachment to the murder - Saint John the Baptist looks mask-like and bloodless
Trade, Gifts for Trading land with White People Quick to See Smith, 1992, Oil/mixed media - provokes the audience - artist was a member of the Salish and Kootenal American indian tribes of the Flathead nation - red paint= shedding of American indian blood - newspaper clippings with images of conquest placed over the large canoe - a response to the 500th anniversary of Christopher Columbus' arrival in North America - meant as the
Trade, Gifts for Trading land with White People Quick to See Smith, 1992, Oil/mixed media - provokes the audience - artist was a member of the Salish and Kootenal American indian tribes of the Flathead nation - red paint= shedding of American indian blood - newspaper clippings with images of conquest placed over the large canoe - a response to the 500th anniversary of Christopher Columbus' arrival in North America - meant as the "The Quincentenary Non-Celebration" - American indian social issues shown such as poverty, unemployment, disease, and alcoholism - many stereotypical objects hanging above that represent indian culture (sports teams, toy tomahawks, dolls, arrows)
Dancing at the Louvre Faith Ringgold, 1991, Acrylic on canvas, pieced fabric border - more of a craft - art about art - writes the story on the quilt (narrative element) - quilting= traditionally female art form - works of applied art - use oil paint and quilting technique together - these aren't meant to be placed on beds - feminist issues dominate references her struggle as an artist in a male dominated european world - artist created character named Willia Marie Simone who takes her friend and 3 daughters to the Louvre and dances in front of 3 paintings by Leonardo DaVinci
Dancing at the Louvre Faith Ringgold, 1991, Acrylic on canvas, pieced fabric border - more of a craft - art about art - writes the story on the quilt (narrative element) - quilting= traditionally female art form - works of applied art - use oil paint and quilting technique together - these aren't meant to be placed on beds - feminist issues dominate references her struggle as an artist in a male dominated european world - artist created character named Willia Marie Simone who takes her friend and 3 daughters to the Louvre and dances in front of 3 paintings by Leonardo DaVinci
Earth's Creation Kngwarreye, 1994, Synthetic polymer paint on canvas - didn't start painting untill she was 80 - australian aborigine artist - color and lushness of the
Earth's Creation Kngwarreye, 1994, Synthetic polymer paint on canvas - didn't start painting untill she was 80 - australian aborigine artist - color and lushness of the "green time" in australia after it rains and then outback flourishes - dump dot technique, creating layers of color and movement similar to how jackson polluck constructed his compostions - 4 panels and 11 meters wide
Rebellious Silence Cynthia Preston, Ink on Photograph, 1994 - Iranian-born artist - black and white photograph - woman is wearing a chador (like a cloak) that only allows the face and hands of iranian women to be seen - chadors avoids women's bodies being seen as sexual objects - poem on face written in Farsi expressed piety - iranian woman who wrote the poem writes on gender issues - gun divides body into dark and light side - gun=ominous tension - westerners view the work as female oppression - work could be viewed as woman who is ready to die defending her faith and customs
Rebellious Silence Cynthia Preston, Ink on Photograph, 1994 - Iranian-born artist - black and white photograph - woman is wearing a chador (like a cloak) that only allows the face and hands of iranian women to be seen - chadors avoids women's bodies being seen as sexual objects - poem on face written in Farsi expressed piety - iranian woman who wrote the poem writes on gender issues - gun divides body into dark and light side - gun=ominous tension - westerners view the work as female oppression - work could be viewed as woman who is ready to die defending her faith and customs
No Crying allowed in the Barber Shop Osorio, 1994, Mixed Media Installation - recreating center of latino male culture: barbershop - video of a man crying - art imbeded in the everyday - masculinity (no crying is a masculine attribute) - photos of latino men on the walls - tacky and grimy setting - kitsch items - questions issues of identity, masculinity, culture, and attitudes
No Crying allowed in the Barber Shop Osorio, 1994, Mixed Media Installation - recreating center of latino male culture: barbershop - video of a man crying - art imbeded in the everyday - masculinity (no crying is a masculine attribute) - photos of latino men on the walls - tacky and grimy setting - kitsch items - questions issues of identity, masculinity, culture, and attitudes
Corned Beef 2000 Tuffery, 1994, Mixed Media - collonialism -Intrest in Polynesian heritage -Life sized bull made of flattened cans -Canned beef is the favorite food in Polynesia -exported from New Zealand -Canned meat causes obesity in Polynesia -canned meat ruined tradition agriculture, fishing and cooking -Small wheels concealed at the feet for movement -Recycling emphasized by reuse of cans
Corned Beef 2000 Tuffery, 1994, Mixed Media - collonialism -Intrest in Polynesian heritage -Life sized bull made of flattened cans -Canned beef is the favorite food in Polynesia -exported from New Zealand -Canned meat causes obesity in Polynesia -canned meat ruined tradition agriculture, fishing and cooking -Small wheels concealed at the feet for movement -Recycling emphasized by reuse of cans
Electronic Superhighway Nam June Paik, 1995, Mixed Media installation - Neon Lighting outlines the fifty states and D.C. - Each state has a separate video feed w/ a feed based of state traditions (313 monitors) -a camera faces the viewer and displays them in the New York feed, so they can place the audience within the artwork -Paik was fascinated with maps and travel Neon symbol of motel and restaurant signs
Electronic Superhighway Nam June Paik, 1995, Mixed Media installation - Neon Lighting outlines the fifty states and D.C. - Each state has a separate video feed w/ a feed based of state traditions (313 monitors) -a camera faces the viewer and displays them in the New York feed, so they can place the audience within the artwork -Paik was fascinated with maps and travel Neon symbol of motel and restaurant signs
The Crossing Bill Viola, Installation, 1996 - Promoted video as an art form - Installations were total environments Two channels of color projections from opposite sides of gallery cast onto 2 large screens with speakers surroundiung the scene - Fire: flames consume the figure of a man and once complete, disappears - water: man walks and water falls from above first lightly, then torrent and once complete it goes away and figure no longer present figures walk in extreme slow motion - interested in sense perceptions - imploed cycle of purification and destruction - evokes eastern and western spiritual traditions
The Crossing Bill Viola, Installation, 1996 - Promoted video as an art form - Installations were total environments Two channels of color projections from opposite sides of gallery cast onto 2 large screens with speakers surroundiung the scene - Fire: flames consume the figure of a man and once complete, disappears - water: man walks and water falls from above first lightly, then torrent and once complete it goes away and figure no longer present figures walk in extreme slow motion - interested in sense perceptions - imploed cycle of purification and destruction - evokes eastern and western spiritual traditions
Guggenheim Museo Bilbao Gehry,, 1997, Titanium, glass/limestone -Canadian-American Architect - Swirling forms and shapes mark a contract with the industrial landscape of Bilbao -Building resembles a boat, Bilbao's past as a shipping and commercial center -Fixing clips make a shallow dent in titanium, makes a shimmering surface -
Guggenheim Museo Bilbao Gehry,, 1997, Titanium, glass/limestone -Canadian-American Architect - Swirling forms and shapes mark a contract with the industrial landscape of Bilbao -Building resembles a boat, Bilbao's past as a shipping and commercial center -Fixing clips make a shallow dent in titanium, makes a shimmering surface - "Bilbao Effect" refers to the impact of the museum on the economy - Asymmetrical exterior, with no interior revealed - Massive titanium walls - Deconstructivist Architecture - seemingly unstable environment, unusual spatial arrangements
Pure Land Mori, 1998, Color Photograph on glass - scent sprayed at the end - Japanese Artist - Creative interpretation of traditional Japanese forms -Romanticized views of popular culture - Mori appears as if in a vision in the guise of the Heian deity Kichijoten (essence of beauty and harbinger of prosperity and happiness) -She holds a wish granting jewel (buddha's universal mind) - Merges consumer fantasies w/ Japanese traditions
Pure Land Mori, 1998, Color Photograph on glass - scent sprayed at the end - Japanese Artist - Creative interpretation of traditional Japanese forms -Romanticized views of popular culture - Mori appears as if in a vision in the guise of the Heian deity Kichijoten (essence of beauty and harbinger of prosperity and happiness) -She holds a wish granting jewel (buddha's universal mind) - Merges consumer fantasies w/ Japanese traditions
Lying With Wolf Kiki Smith, 2001, Ink on paper -Nude female figure Theme: human body -Large wrinkled drawing pinned to a wall -Female strength is emphasized in the woman lying down with the wild beast -Wolf is tamed by the woman's embrace -Wolf is typically seen as dangerous, but not here
Lying With Wolf Kiki Smith, 2001, Ink on paper -Nude female figure Theme: human body -Large wrinkled drawing pinned to a wall -Female strength is emphasized in the woman lying down with the wild beast -Wolf is tamed by the woman's embrace -Wolf is typically seen as dangerous, but not here
Darkytown Rebellion Walker, 2001, Paper/projection on wall - instalation art - become a part of the art when you walk in -Exploration of an african-american into the south -teen holds a flag that resembles a colonial ship flag -viewer interacts with the work walking around it engaging in elements of it, we are part of its history Technique: -draws image with greasy white pencil or pastel, adhered to wall with wax -Traditional silhouettes -overhead projector throws color on the work -Cast shadows of the viewers body to place them within the art
Darkytown Rebellion Walker, 2001, Paper/projection on wall - instalation art - become a part of the art when you walk in -Exploration of an african-american into the south -teen holds a flag that resembles a colonial ship flag -viewer interacts with the work walking around it engaging in elements of it, we are part of its history Technique: -draws image with greasy white pencil or pastel, adhered to wall with wax -Traditional silhouettes -overhead projector throws color on the work -Cast shadows of the viewers body to place them within the art
The Swing Shonibare, 2001, Installation -inspired by Fragonard's
The Swing Shonibare, 2001, Installation -inspired by Fragonard's "The Swing" -Life sized headless mannequin -Dress made of african fabric -Flowering vines cast onto the floor -The two men from Fragonard's original aren't included, but the audience t`akes their place (erotic voyeurism) -headless because guillotined by the French Rev.
Old Man's Cloth El Anatusi, 2003, Aluminum/copper wire -1000 drink tops joined by wire to form a cloth-like hanging -bottle caps came from a distillery in Nigeria -Used power tools like chainsaws and welding torches -converts found materials into a new media between painting and sculpture -recycling found objects -Relates to west african textiles -Combines traditions of Ghana, Nigeria, and abstract art movement
Old Man's Cloth El Anatusi, 2003, Aluminum/copper wire -1000 drink tops joined by wire to form a cloth-like hanging -bottle caps came from a distillery in Nigeria -Used power tools like chainsaws and welding torches -converts found materials into a new media between painting and sculpture -recycling found objects -Relates to west african textiles -Combines traditions of Ghana, Nigeria, and abstract art movement
Stadia II Mehretu, 2004, Ink/Acrylic on Canvas - Abstract elements, but tiles elude meaning - stylized renderings of a stadium - forms suggest the excitement in circular space surrounded by international viewers - uses multi-layered lines to create animation in the work - sweeping lines create depth, focus attention to center where color, flags, icons, all originate
Stadia II Mehretu, 2004, Ink/Acrylic on Canvas - Abstract elements, but tiles elude meaning - stylized renderings of a stadium - forms suggest the excitement in circular space surrounded by international viewers - uses multi-layered lines to create animation in the work - sweeping lines create depth, focus attention to center where color, flags, icons, all originate
Preying Mantra Mutu, 2006, Mixed Media on Mylar Collaged female figures composed of human, animal, object and machine parts - Commentary on the female persona in art history - Blotched skin green snakes combine to make fingers, bird feathers in back of head, left ear has chicken feet,/insect legs - ironic twist on the praying mantis - Reclines in a relaxed position
Preying Mantra Mutu, 2006, Mixed Media on Mylar Collaged female figures composed of human, animal, object and machine parts - Commentary on the female persona in art history - Blotched skin green snakes combine to make fingers, bird feathers in back of head, left ear has chicken feet,/insect legs - ironic twist on the praying mantis - Reclines in a relaxed position
Shibboleth Salcedo, 2007-2008 Installation Colombian sculptor - features a large crack growing from a small crack - Stresses the interaction between scuplture and space Shibboleth: word used to identify foreigners or people from a different class - meant to exclude people from joining a certain group - emphasizes the gap in relationships; reminder of the disruption in spaces - references racism and colonialism Crack now sealed and exists as a scar, commemorates the life of the underclass
Shibboleth Salcedo, 2007-2008 Installation Colombian sculptor - features a large crack growing from a small crack - Stresses the interaction between scuplture and space Shibboleth: word used to identify foreigners or people from a different class - meant to exclude people from joining a certain group - emphasizes the gap in relationships; reminder of the disruption in spaces - references racism and colonialism Crack now sealed and exists as a scar, commemorates the life of the underclass
MAXXI National Museum of XXI Century Arts Rome, Hadid, 2009, Glass, Steel, cement - Internal spaces covered by a glass roof; natural light admitted into the interior, filtered by louvered blinds - walls flow and melt into one another - constantly changing interior and exterior views - transparent roof - staircase is iranian architecture inspried by a minaret reminiscent of the international style as solid mass of concrete seems to float above minor columns Combination of linear and curvilinear forms
MAXXI National Museum of XXI Century Arts Rome, Hadid, 2009, Glass, Steel, cement - Internal spaces covered by a glass roof; natural light admitted into the interior, filtered by louvered blinds - walls flow and melt into one another - constantly changing interior and exterior views - transparent roof - staircase is iranian architecture inspried by a minaret reminiscent of the international style as solid mass of concrete seems to float above minor columns Combination of linear and curvilinear forms
Sunflower Seeds Weiwei, 2010-2011, Sculpted/Painted - Chinese artists - millions of individually handcrafted ceramic sunflower seeds - symbolically represent an ocean of fathomless depth - 600 workers worked for two year to make it, each seed hand painted - Ideology of Chairman Mao: he was the sun, his followers were the seeds - Sunflower seeds were eaten during the famine era under Mao Zedong originally able to walk on the installation but caused dust/damage and now limited to sidelines Rejects the negative connotation of being made in China Symbolic of how China has formed into its role in global economy
Sunflower Seeds Weiwei, 2010-2011, Sculpted/Painted - Chinese artists - millions of individually handcrafted ceramic sunflower seeds - symbolically represent an ocean of fathomless depth - 600 workers worked for two year to make it, each seed hand painted - Ideology of Chairman Mao: he was the sun, his followers were the seeds - Sunflower seeds were eaten during the famine era under Mao Zedong originally able to walk on the installation but caused dust/damage and now limited to sidelines Rejects the negative connotation of being made in China Symbolic of how China has formed into its role in global economy