NONE-WESTERN ART

AFRICA
15-12

N: Waist Pendant of Queen Mother D: ca. 1520 P/S: Benin, West Africa A: unknown M/T: Ivory & Iron, carved; wrought F: worn by the king at his waist; honors the Queen Mother-Matrileneal succession C: see above; time of prosperity w/ Portuguese sel. DT: sensitive naturalism, symbolic allusion to trade (Portuguese heads) and Okokun, god of the sea (Mudfish). I-15

N: Oba & his attendants D: ca. 1600 P/S: Benin, West Africa A: unknown M/T: cast bronze F: historical narrative C: hung on the kings palace on in chronological order DT: symmetrical, hierarchical; naturalistic & symbolicjijorga I: power and authority

34-4

N: Mbulu Ngulu (Kota reliquary figure) D: 19th-early 20th c. P/S: Kota, Gabon, West Africa A: unknown M/T: wood, copper, iron, brass; carved/ hammered F: guardian of ancestral bones C: gleaming surface repels evil, stylization indicates spirit world DT: simplified, geometric I: ancestor worship; abstraction = spiritual 34-8

N: nkisi nkondi (Kongo Power Figure) D: 1875-1900 P/S: Kongo, West Africa A: unknown M/T: wood, nails, blades, medicine, cowry shell; assemblage F: embody spirits; keeps promises C: spirit invoked by inserting nails, rubbing, chanting DT: simplified anatomy, emphasized body parts I: spirits can be good/bad; found materials used for new purposes

34-9

N: Seated Couple D: 1800-1850 P/S: Dogan, Mali, West Africa A: unknown M/T: wood, carred & polished F: hold spirits of deceased, Funerary ceremony/ Marriage ceremony C: documents gender roles in traditional African society DT: idealized, stylized, certain parts emphasized, marital pose I: family groupings, religious beliefs, fertility, marriage

34-18

N: Mende Mask D: 1900s ; 20th century P/S: West Africa, Sierra Leone A: unknown M/T: wood & pigment F: associated of adult-society-who oversee important social functions within the society; INITIATION of women C: place on female head, display quality of ideal women. Small mouth= not gossip, uniform hair= order, etc. DT: ideal female beauty; stylized I: Culture [transition life], mothers importance [women], stylized

MESOAMERICA
14-1

N: Lady Xoc D: 725 P/S: Mayan A: Cookie Cutter Master M/T: limestone relief carving F: decorative lintel C: shows the role elite women played in blood letting rituals DT: life from death; text with images; stylization & symbolism

14-12

N: Presentation of Captives to Lord Chan Muwan D: 790 P/S: Mayan A: unknown M/T: Mural-fresco & tempera F: Mural on public building C: shows new ruler performing ritual w/ captives DT: symmetric, hierarchic, naked = bad I: power & authority, propaganda, life through death; naturalism = lower class

14-12

N: El Castilo D: 800-900 P/S: Mayan, Mesoamerica, Chichen Itza, Mexico A: unknown M/T: stone incrayred F: Temple C: summer & water serpent DT: Authoritative (power) I: Deities, Beliefs & Practices, Symbolic, Relation to Site

32-4

N: Coyolxaugui D: 1469 P/S: Aztec A: unknown M/T: stone, carved relief F: used in temple rituals, base of temple (people thrown from top and fall into it make sense) C: shows Huitzis sister dismembered; Moon goddess; recreated in rituals DT: Mythological theme & political message; formal balance I: propaganda, life through death

32-5

N: Coatlique D: 1487-1520 P/S: Aztec A: unknown M/T: carved stone, high & low relief F: used in temple rituals, top of temple C: shows Coatlique beheaded, everything symbolizes sacrificial death; no head, snakes everywhere DT: symbolic, monumental, frontal, symmetric I: propaganda, life through death ??XX??

Mesopotamia
20

N: Eshnunna Statuettes P/S: Sumerian (1st period in Mesopotamia) A: unknown M/T: gypsum stone, carved inlaid w/ shell F: surrogate for donor offering constant prayer (perpetual stare) C: in temple waiting rooms facing altar or statue DT: frontal, simplified, symbolic I: anxiety over after life, religious beliefs & practices 2-8 & 2-9

N: Standard of Ur (standard ur peace one side & standard ur war other side) D: 2600 BCE P/S: Sumerian A: unknown M/T: wood inlaid w/ shell, lapis lazuli, red limestone F: unknown; found in a grave C: depicts a battle led by a king & a victory celebration DT: narrative, registers, hieratic scale, symmetry I: historical narrative, power & authority, depiction of war, daily life

2-13

N: Victory Stele of Naram-Sin D: 2254-2218 BCE P/S: Akkadian (2nd Mesopotamian) A: unknown M/T: carved sandstone, low relief F: commemorate victory C: god-like sovereignty of Akkadian king leading victorious army DT: stele, hieratic scale, natural = defeated, landscape setting I: power & authority, war & violence, narrative 2-15

N: Ziggurat at Ur D: 2100 BCE P/S: NeoSumerian (3rd Mesopotamian) A: unknown M/T: Mudbrick F: platform for temple C: used for worship & protection from floods; gods like work; lots of work & time (effort) put in = good; lot stair to go uplot of work [is good] DT: bent axis, gods above use, cardinal orientation I: religious beliefs & practices, relationship to site

2-1 & 2-17

N: Stele of Hammurabi D: 1780 BCE P/S: Babylonian (4th Mesopotamian) A: unknown M/T: basalt, high relief & inscribed F: display of law code C: king created comprehensive law code, oldest known shows law being given by a god DT: stele, formal combine stance, hieratic scale; foreshortening I: power & authority, divine power 2-23

N: Ashurbanipal hunting lions D: 645-640 BCE @ Nineveh palace P/S: Assyrian (5th Mesopotamian) A: unknown M/T: low relief stone F: decoration of palace walls C: Assyrian kings commissioned narrative exalting royal power; hunting = success in warfare DT: royal virtue in hunting, I: power & authority, violence, narrative

2-25 & 2-26

N: Citadel @ Persepolis D: 521-465 BCE P/S: Persian (last Mesopotamian) A: unknown M/T: stone; carved reliefs F: summer palace of Darius & Xerxes C: ceremonial & administrative complex used for tribute ceremonies & representing harmony in the Empire DT: apadana, monumental, Archaic influence I: power & authority, relationship to site

Egypt
3-3

N: Palette of King Narmer D: 3000-2920 BCE P/S: Predynastic Egypt A: unknown M/T: slate, relief carving F: formalized version of utilitarian object (prepare eye makeup) C: shows the unification of Upper & lower Egypt DT: blueprint for Egyptian art; hieratic scale, composite stance, hieroglyphs, anima/human gods, aerial view, registers I: power & authority, propaganda, narrative 3-5

N: Djosers Pyramid D: 2630-2611 BCE P/S: Early Dynastic Egypt A: Imhotep M/T: stone-stacked F: tomb for king Djoser; protection & symbol of power C: early version of great pyramids; expansion of Mastaba plan, part of Mortuary precinct DT: stepped pyramid, stacked Mastaba, necropolis I: eternity, cardinal orientation, aps. Authority of king

3-8

N: Great Pyramids of Gizeh D: 2551-2472 BCE P/S: Old Kingdom Egypt A: unknown M/T: stone, dressed & stacked F: tombs for pharaohs C: shape refers to sun god, represent power of kings, part of a complex, next to the Nile DT: ashlar Masony, Mortuary temples, Re, valley temple I: eternity, pharaohs as gods, propaganda, power & authority 3-13

N: Menkaure & Khamerernebty D: 2490-2472 BCE P/S: Old Kingdom Egypt A: unknown M/T: carved stone F: backup container for pharaohs soul, or Ka C: placed in the pharaohs valley temple DT: high relief (attached to stone), frontal, formal stance, Marital pose I: husband/ wife relationship, eternity, formality linked to authority

3-15

N: Ti and the Hippo Hunt D: 2450-2350 BCE P/S: Old Kingdom Egypt A: unknown M/T: painted limestone F: tomb decoration C: shows Ti performing daily activity & references triumph over evil (hippos) DT: hieratic scale; formal stance; natural, naked = lower; papyrus, cannon of proportions I: eternity 3-17

N: Fragmentary head of Senusret III D: 1860 BCE P/S: Middle Kingdom Egypt A: unknown M/T: Red quartzite F: Portrait of King C: portraits of Senusret III exhibit an unprecedented realism. The kings brooding expression reflects the dominant mood of the time and contrasts sharply with impassive faces of Old Kingdom pharaohs DT: unprecedented realism; artistic statement of mood of period; negative mood I: Challenge traditions, portrait, realism, ruler

3-20

N: Mortuary Temple of Hatshepsut D: 1473-1458 BCE P/S: New Kingdom Egypt; Thubes, Egypt A: unknown; (senmut?) M/T: stone, carved & stacked F: place to worship Hatshepsut; not a tomb C: provide place to honor queen & gods; reinforce authority & prevent tomb raiding; next to Nile DT: central axis plan, rhythm relates to cliffs I: power & authority, eternity, relationship to site 3-30 to 3-33

N: Akenaton, Nefertiti D: 1353-1335 BCE; Armana Period Pieces P/S: Armana Period Egypt A: Thutuose & others M/T: various F: represent the new, radically different, regime C: Akhenaton emphasized Monotheism, deliberate change in style (androgyny), sun disk worship DT: androgyny, stylization, unformal I: break with tradition, power & authority

3-36

N: Last Judgment of Hu-Nefer D: 1290-1280 BCE P/S: Post-Armana Egypt A: unknown M/T: painted papyrus scroll F: Book of the Dead containing instructions for the ka C: ritual of the cult of Osiris, placed in tombs; return to conservatism DT: continuous narrative, formal stance, human/ animal hybrids I: text & image, narrative, eternity

WESTERN ART: GREECE AND ROME

GREECE
5-2

N: Geometric krater from Dipylon D: 740 BCE P/S: Geometric Period, Greek A: unknown M/T: slip-covered clay, thrown F: grave marker C: shows the life of the deceased-soldier-as well as funerary rituals DT: krater, meander key pattern, abstract, narrative, symmetric I: narrative, daily life 5-10

N: Kroisos or Anavysos Kouros D: 530 BCE P/S: Archaic Greece A: unknown M/T: marble, carved F: grave marker C: a generic image with increased naturalism DT: Archaic smile, Egyptian sculptural stance, modeling, kouros I: religious beliefs, human body

5-34

N: Kritios Boy D: 480 BCE P/S: Early Classical/ Severe Style A: unknown M/T: marble, carved F: offering to gods C: one of the most important sculptures of all timebreak from traditional stance DT: contrapposto I: the human body, idealization 5-38

N: Zeus/ Poseidon D: 460-450 BCE P/S: High Classical A: unknown M/T: cast bronze F: offering/ representation of god C: example of original bronze sculptures; human form in motion, still in one plane DT: motion, human form, idealized realism I: human body, idealization

5-39

N: Discobolos D: 450 BCE P/S: High Classical A: Myron M/T: marble copy of bronze original F: decorative/ depict one specific moment C: study of motion, idealized realism, god=man DT: intersecting arcs, frontal, severe face I: human body, idealization 5-40

N: Doryphoros D: 450-440 BCE P/S: High Classical Greek A: Polykleitos M/T: marble copy of bronze original F: illustration of canon C: attempt to create a perfect statue based on an all-encompassing mathematical formula DT: proportion, symmetry, canon, contrapposto I: human body, idealization, canon of proportions

5-44 to 5-50

N: Parthenon D: 447-438 BCE P/S: High Classical Greek; Doric A: Iktinos & Kalikrates (A.), Phidias (sculpture) M/T: marble; carved, stacked F: house for Athena statue, center of city ceremonies C: part of the precinct of Pericles acropolis, celebrates Athemain-Victory over Persia DT: Doric, Metopes, frieze, pediment, peristyle, chryselephantine I: relationship to site, religious beliefs & practices 5-52 to 5-54

N: Erechtheion D: 421-406 BCE P/S: High Classical Greek; Ionic A: unknown M/T: marble; carved, stacked F: multiple shrine, housed wooden Athena, olive tree, & other shrines C: unique in irregular form; on the Acropolis DT: Athena vs. Poseidon, Ionic, caryatids I: religious beliefs & practices, relationship to site

5-56

N: Nike Adjusting her sandal D: 410 BCE P/S: High Classical Greek A: unknown M/T: marble, relief carving F: decorative relief on parapet C: on Temple of Athena Nike, Acropolis DT: wet drapery I: human body 5-62 & 5-63

N: Aphrodite of Knidos/ Hermes & Dionysos D: 350-330 BCE P/S: Late Classical Greek A: Praxiteles M/T: marble copies of marble original F: decorative C: a new canon based on slimmer proportions; nudity in women for the first time DT: sensuous, less idealized, S-Curve I: human body, political upheaval

5-81

N: Dying Gaul D: 230-220 BCE P/S: Hellenistic Greek A: Epigonos M/T: marble copy of bronze original F: element of the altar of Zeus at Pergamen C: Pergamon, Turkey, part of Alexanders empire; altar of Zeus built to commemorate King Attalos defeat of invading Gauls. Shows emotion & humanity in noble savage. DT: Pergamene barogue/ Hellenistic I: human body, war & violence 5-82

N: Nike of Samothrace D: 190 BCE P/S: Hellenistic Greek A: unknown M/T: carved marble F: public fountain C: Nike shown a lighting on the pow of a ship; sculpture interacting with the environment DT: theatrical, baroque/ Hellenistic, emotive I: the human body, depiction of women

5-85

N: Seated Boxer D: 100-50 BCE P/S: Hellenistic Greek A: unknown M/T: bronze, cast F: decorative C: Greek athlete unidealized; appeal to emotion DT: Hellenistic, realistic, cauliflower ear I: human body 5-88

N: Laocoon D: 1st century CE P/S: Hellenistic Greek A: Athanadoros, Hagesandros, & Polydoros M/T: marble, carved F: decorative C: Greek artwork under Roman authority; Aeneid story of Trojan priest killed by gods favoring the Greeks; emotion & extreme twisting action DT: Michelangelo, Virgils Aeneid I: human body, war & violence

9-5

N: Cerveteri Sarcophagus D: 520 BCE P/S: Etruscan A: unknown M/T: painted terracotta; cast in sections F: contained ashes, found in subterranean tomb C: a common medium for Etruscan art, shows animation & casualness; gures idea of daily life-banquets DT: terracotta, sarcophagus, necropolis I: daily life, family grouping, portrayal of women, religious beliefs & practices

Roman
10-25

(4th style) N: Portrait of a husband & wife D: 70-79 CE P/S: Roman 4th style wall painting A: unknown M/T: Fresco F: decorative, in a house C: a wedding portrait, typical Roman conventions of portrait head on conventional figure type & holding instruments of education DT: fresco, 4th style, Pompeii I: family grouping, daily life

10-29 to 10-31

N: Ara Pacis Augustae D: 13-9 BCE P/S: Early Empire Rome A: unknown M/T: marble, relief carving F: public sculpture C: celebration of Augustus most significant achievement-Pax Romana. Equates Rome to Athens under Pericles. Combines Mythology & political figures DT: altar, mythology, procession, frieze, moral exemplar I: propaganda, power & authority, family grouping

10-27

N: Augustus Primaporta D: 20 BCE P/S: Early Empire Roman A: unknown M/T: marble copy of bronze original F: public sculpture C: first emperor after Julius Caesar death, attempt to reinforce power by linking to Classical Greek imagery DT: Pax Augusta/ Pax Romana, Doryphoros & Aule Metale, cuirass, Cupid=Julians I: power & authority, propaganda 10-32

N: Mason Carree, Nimes, France D: 1-10 CE P/S: Early Empire Rome A: unknown M/T: cut stone F: temple C: example of Augustan building type, a combo of Greek & Etruscan temple styles. DT: pseudoperipteral, engaged columns, frontal orientation, corinthian I: religious beliefs & practices, relationship to site

10-1 to 10-36

N: Colosseum D: 70-80 CE P/S: Early Empire Rome A: unknown M/T: formed concrete, marble sheathed exterior F: amphitheater for gladiatorial combat & animal hunts C: one of Vespasians first undertaking meant to differentiate hum from Nero-built on Neros private property; complex engineering resembles Modern stadiums; decoration combines Greek orders & arches DT: Flavian amphitheater, concrete; Tuscan, Ionic, Corinthian, facade I: power & authority, relationship to site, form & function, public works 10-39 to 10-41

N: Arch of Titus D: after 81 CE P/S: Early Empire Rome A: unknown M/T: marble orer concrete core F: memorial for emperor Titus by brother Domitian C: arches built to commemorate a wide variety of events; depicts Titus as a god (typical) & historical/ allegorical scenes of Titus victory in the Jewish Wars DT: triumphal arch, composite engaged columns, relief panels, menorah I: power & authority, narrative, public works

10-44

N: Column of Trajan D: 112 CE P/S: High Empire Rome A: unknown M/T: stacked marble blocks F: glorify Trajan; base serves as tomb C: Trajans Forums Romes largest. The column stood between the Basilica & the Temple. A 128 ft high column with a continuous frieze narrating the Dacian Wars. DT: continuous spiral, narrative frieze, relief I: power & authority, public works, narrative 10-49 to 10-51

N: Pantheon D: 118-125 CE P/S: High Empire Rome A: unknown M/T: concrete, formed w/ marble veneer F: unknown; temple to all gods? C: best preserved & most influential architectural design fullest example of the potential of concrete. Built under (by?) Hadrian DT: Corinthian, portico, hemispherical dome, coffers, oculus I: power & authority, public works

10-59

N: Equestrian Statue of Marcus Aurelius D: 175 CE P/S: High Empire Rome A: unknown M/T: cast bronze F: public monument C: typical portrayal of a Roman emperor, but only surviving one. Emperor is much larger than reality but does show a new weariness DT: equestrian, verism, iconography I: power & authority, public works 10-73

N: The Four Tetrarchs D: 305 CE P/S: Late Empire Rome A: unknown M/T: Porphyry, carved F: public sculpture (?) C: in an attempt to restore the Roman Empire, Diocletian shared power in the tetrarchy, this piece shows them connected, identical, & dependent. Naturalism is gone. DT: tetrarchy, St. Marks, iconic I: power & authority, human body, propaganda

10-75

N: Arch of Constantine D: 312-315 CE P/S: Late Empire Rome A: unknown M/T: concrete & marble, appropriated F: commemorate defeat of Maxentius (a tetrarch) C: at Diocletians death, tetrarchs fought for power; Rome reconsolidated under Constantine. Largest arch in Rome, uses statues & reliefs from other monuments to associate Constantine with other good emperors DT: triple-passageway, rigid formality I: power & authority, public works, propaganda

10-77

N: Colossus of Constantine D: 315-330 CE P/S: Late Empire Rome A: unknown M/T: marble (head) F: public work in the apse of the basilica Nova C: official portrait shows no verism- absolute authority; intended to be in the Basilica Nova in Rome DT: colossal, abstracted, iconic I: power & authority, human body

10-78

N: Basilica Nova, Rome D: 306-312 CE P/S: Late Empire Rome A: unknown M/T: formed concrete, brick-faced F: public building-courts, documents, meetings, etc C: 300 ft x 215 ft. the inspiration for early Christian church DT: apse, coffered barrel vaults, groin vaults, fenestration (clerestory) I: power & authority, form & function, public works

WESTERN ART: CHRISTIANITY & CHURCH ARCHITECTURE

Early Christian
11-7

N: Sarcophagus of Junius Bassus D: 359 CE P/S: Early Christian A: unknown M/T: marble, carved F: for burial-bones, not ashes C: JB was city prefect of Rome, converted shortly before his death, one long side has 10 compartments both sce3nes from the bible. Christ shown typical of the times-young, beardless; also typical is no crucifixion scene DT: eclectic, Old & New Testament, conversion I: religious beliefs & practices, narrative art 11-9

N: Old St Peter, Rome D: 319 CE P/S: Early Christian A: unknown M/T: stone, wood, brick F: greatest of Constantiness Roman churches, on site where St. Peter was buried C: based on basilica plans rather than pagan temples; accommodated the needs of worship services DT: nave, aisles, apse, narthex, transept, atrium, ritual, communion I: religious belief & practices, form & function, sacred spaces

11-16

N: Christ as Good Shepherd Mosaic D: 425 CE P/S: Early Christian A: unknown M/T: Mosaic using glass-tesserae F: decoration on entrance wall of Mausoleum of Galla Placidia, Ravenna C: Most regal version of early good shepherd-halo, gold & purple robes; still somewhat naturalistic with landscape; Mosaic common in Early Christian churches DT: Mosaic, tesserae, good shepherd motif I: religious beliefs & practices, motifs from nature

Byzantine
12-1

N: Christ as Pantokrator D: 1090-1100 CE P/S: Byzantine A: unknown M/T: Mosaic using glass tesserae F: decorative on ceiling dome of Church of the Dormition, Daphni, Greece C: Christ as last judge of humankind floating dramatically in spae meant to inspire awe. Christ as bearded adult, no background; gold. DT: pantokrator= last judge, tesserae, I: religious beliefs & practices

12-2 to 12-4

N: Hagia Sophia , Constantinople D: 532-537 CE P/S: Byzantine A: Anthemus of Tralles & Isidorus of Miletus M/T: stone; quincunx plan, pendentive F: Christian church (original function) C: Most important monument of early Byzantine art, commissioned by Justinian. Typical plain exterior & elaborately decorated interior. floating dome set on pendentives allows large unobstructed interior space. DT: quincunx, central plan, pendentives I: religious beliefs & practices; form & function, innovation

12-10 to 12-11

N: Justinian & Theodora Mosaics, San Vitale, Ravenna D: 547 CE P/S: Byzantine A: unknown M/T: Mosaic w/ glass tesserae F: decorative; aid to worship C: Justinian, emperor of Rome & wife Theodora never visited Ravenna; these images perpetually serve as reminders of their rule over earth (Military) & heaven (Bishop & other religious leaders [have bread, color of robe purple]). They participate in the communion. Abstraction & lack of background typical Byzantine DT: frontal, symmetric, I: power & authority, religious beliefs & practices, the human body

12-29

N: Vladimir Virgin D: late 11th-early 12th century P/S: Byzantine A: unknown M/T: tempera on wood F: an icon-used in churches or for personal use C: Stylized abstraction resulting from centuries of working & reworking the conventional image; portrays the Virgin of compassion-Mother & child; damaged & frequently repainted. DT: Icon, conventional abstraction, konoclast/ Iconophile I: religious beliefs & practices

Isalmic
13-1

N: Court of the Lions, Alhambra, Grenada, Spain D: 1354-1391 CE P/S: Islamic A: unknown M/T: stone (carved), tiles (ceramic-fired) F: a courtyard in the palace-fortress of the Nasrids. C: later Islamic art of Spain, Nasrids the last Muslim leader in Spain before 1492 conquest. A huge palace-fortress complex for 40,000 people. An unusual instance of freestanding sculpture in Islam, showing this is not a sacred setting. DT: Alhambra, Nasrids, collonaded courtyard I: motifs from nature, residential spaces 13-2 to 13-3

N: Dome of the Rock, Jerusalem D: 687-692 CE P/S: Islamic A: unknown M/T: stone, tile F: Shrine & Mosque C: earliest great Islamic building, on the site of the Temple of Solomon & where Muhammed journeyed to Heaven. Form is borrowed from central-plan church with a larger dome. Tiles in non-objective patterns & calligraphy signify religious/ sacred space. DT: Mosque, shrine, central plan, Mosaic tile I: religious beliefs & practices, sacred spaces, relationship to site

13-11 to 13-13

N: Great Mosque of Cordoba, Spain D: 8th to 10th centuries P/S: Islamic A: unknown M/T: stone, mosaic tile, spolia F: Mosque C: Built by the Spanish Umayyad dynasty & expanded several times. Hypostyle prayer hall has doubled-tiered arches, horseshoe arches. The Maqsura (reserved for caliph) is experimental design with multi-lobed arches. The dome in front of the Mihrab is an octagonal base of squinches in front of the qibla wall (wall tell which direction to pray). Artisans were Byzantine. DT: Mosque, spolia, qibla wall, Mihrab, I: religious beliefs & practices, sacred spaces 13-8

N: Great Mosque, Kairouan, Tunisia D: 836- 875 ca. P/S: Islamic A: unknown M/T: stone F: Mosque C: Mosque reflects the mosques supposed origin, Muhammads house in Medina. One of the finest hypostyle mosques, Still house carved wooden minbar. Have sturdy butrressees, square in profile. Minaret and courtyard. The arcaded forecourt in front of the hypostyle hall of the AKairouan mosque resembles a Roman forum, but incorporates distinctive Islamic elements. DT: mihrab, mihrab dome, minibar, qibla wall, courtyard (altrium), and minaret. I: religious beliefs & practices, sacred spaces

Early Medieval
16-3

N: Sutton Hoo Purse Cover, Suffolk England D: 625 CE P/S: Early Medieval: Insular or Hiberno-Saxon A: unknown M/T: gold, glass, & cloisonn garnets F: lid of a purse, found in a ship burial C: in early Medieval tradition, lords were buried in treasure-laden ships. This piece is typical of Early Medieval precious objects: it is portable & for practical purposes; it has interlacing geometric designs & animals; it is cloisonn on a miniature scale. DT: heraldic pose, insular art, cloisonn, interlacing I: domestic practices, religious beliefs & practices, motifs from nature 16-1 & 16-7

N: Lindisfarne Gospels: Carpet Page & St. Matthew D: 698-721 CE P/S: Early Medieval: Insular or Hiberno-Saxon A: unknown M/T: tempra on vellum F: Bible used in Monastery services C: Marriage of Christian imagery & animal-interlace style. Produced in a Monastery, exemplifies Hiberno-Saxon art. Intricate pattern & regularity of design; author portrait of St. Matthew imitates Greek & Latin books but flattens the forms. DT: illuminated Manuscript, carpet page, I: religious beliefs & practices, motifs from nature, the human body

16-8

N: Book of Kells Chi-rho-iota page D: late 8th or early 9th century P/S: Early Medieval: Insular or Hiberno-Saxon A: unknown M/T: tempra on vellum F: Bible used in Monastery services C: greatest achievement of Hiberno-Saxon art, from an Irish Monastery. This page is the opening page of Matthew, with the letters XPI. Intricate lacework & animal & humans. DT: illuminated manuscript I: religious beliefs & practices, motifs from nature 16-22 & 16-23

N: St. Michaels, Hildesheim Germany D: 1001-1031 CE P/S: Early Medieval: Ottonian A: Bishop Bernward M/T: stone, double-transcept basilica plan F: abbey church C: Ottonian churches were basilica plans with towering spirest & imposing westworks. Innovations: double-transcepts & towering groupings w/ lateral entrances. Modular approach where crossing squares are the basic dimension. DT: transept, nave, aisle, apse, basilica I: religious beliefs & practices, sacked spaces, form & function

16-24

N: Doors of St. Michaels, Hildesheim Germany D: 1015 CE P/S: Early Medieval: Ottonian A: Bishop Bernward? M/T: cast bronze F: doors on entrance from cloister C: inspired by Early Christian Wooden doors & Carolingian small-scale bronze work. 16 panels, left depicting stories from Genesis, right the life of Christ: Original Sin & ultimate redemption; interesting & meaningful juxtapositions; compositions recall illuminated manuscripts & expressive pose & gesture DT: prefiguration, relief sculpture I: religious beliefs & practices, sacred spaces, human body 16-29

N: Otto III enthroned D: 997-1000 CE P/S: Early Medieval: Ottonian A: unknown M/T: tempera on vellum F: illuminated manuscript C: Otto III wanted to revived Christian Roman Empire, & theatrically used the symbols of Roman empirialism. Universal authority- scepter & orb. Clergy & barons- church & state. Otto III was the end of partial political unity in Europe DT: vellum, Christian Roman Empire I: power & authority, human body, religious belief &practices

Romanesque
17-12

N: Last Judgment, west tympanum of St Lazare, Antun France D: 1120-1135 CE P/S: Romanesque A: Gislebertus M/T: carved marble relief sculpture F: tympanum over entrance to church C: dramatic vision of last judgment, an example of sermon in stone-right side (entrance) shows the weighing of souls, left side (exit) shows angels & souls in heaven. Christ as judge. DT: tympanum, Mandorla I: religious beliefs & practices, narrative art 17-25

N: Cathedral, baptistery, & campanile, Pisa Italy D: 1063, 1153, 1174 CE P/S: Southern Italian Romanesque A: unknown M/T: stone F: cathedral complex C: typically Italian Romanesquestructurally close to basilica plans, with separate round baptistery & bell tower. Marble encrustation used spolia from Roman monuments. DT: encrustation, spolia I: sacred spaces, religious beliefs & practices

17-35

N: Bayeaux Tapestry D: 1070-1080 CE P/S: Romanesque A: unknown women M/T: embroidered wool on linen, 230 long. F: decorative display C: William the Conqueror defeated the Anglo-Saxons in 1066 to unite England & most of France. This piece is a narrative of the events surrounding that battle, from the victors point of view DT: wool, tapestry, I: recent historical narrative, continuous narrative, text in art

Gothic
18-2 & 18-3

N: St. Denis, St. Denis France D: 1140-1144 CE P/S: French (Early) Gothic A: Abbot Suger M/T: stone, stained glass F: abbey church C: the birthplace of Gothic architecture, esp. in the east end ambulatory & radiating chapels. Exceptionally light weight vaults with slender columns, made possible by pointed arches & ribbed vaults. The colored light was a metaphorical transportation device of the worshipper to heaven. DT: stained glass, pointed arches, radiating chapels I: sacred spaces, religious beliefs & practices

18-5 to 18-7

N: West faade of Chartres Cathedral D: 1145-1155 CE P/S: French (Early) Gothic A: unknown M/T: stone F: cathedral C: immediate follower of St. Denis innovations, only the west faade is from the Early Gothic period. Sculptures of the Royal Portal are of the life of Christ but with new emphasis on Marycult of Virgin Mary reaching its peak. Figures are still elongated & attached to columns. DT: tympanum, jamb sculpture I: sacred spaces, religious beliefs & practices, human body

18-11

N: Notre Dame, Paris France D: 1163-1225 CE P/S: French Gothic A: unknown M/T: stone, stained light F: cathedral C: built as Paris became the center of commercial activity. Walls are thin & tall, & flying buttresses are employed to counter the nave vaults outward thrust. This will allow increased height in churches. DT: flying buttresses, stained light I: sacred spaces, religious beliefs & practices, innovative materials & techniques

18-48

N: Death of the Virgin tympanum of Strasbourg Cathedral, Germany D: 1230 CE P/S: High (German) Gothic A: unknown M/T: high relief carved marble F: decorative over doorway C: shows the influence of High French Gothic sculpture; organized to fit the space, like Greek pediments; sculptor armed to imbue the sacred figures with human emotions & to stir emotional responses in observers. Evidence of Gothic art becoming more humanized & natural. Miniature Mary DT: high relief, High French Gothic I: religious beliefs & practices, human body 18-51

N: Rottgen Pieta D: 1300-1325 CE P/S: Late Gothic A: unknown M/T: painted wood (carved) F: religious devotion C: widespread troubles of the 14th c. (war, plague) brought on more acute awareness of suffering. Christ & Mary share human woes & suffering. An ceppalling icon that humanizes, almost to the point of heresy, the sacred personages. Continues the trend of humanizing religious themes & images. DT: carved wood I: religious beliefs & practices, human body

WESTERN ART: RENAISSANCE

Proto-Renaissance
19-7

N: Madonna Enthroned with Angels & Prophets D: 1280-1290 CE P/S: Proto-Renaissance or Late Gothic A: Cimabue M/T: tempera & gold leaf on wood F: decorative, devotional C: first to break away from the Italo-Byzantine style; pursuit of a new naturalism, close observation of the natural world. Relys on Byzantine models or composition & gold background. New: folds in cloth not just patterns, throne recedes into space, overlapping bodies & half-length prophets on the bottom. DT: gold leaf on wood I: religious beliefs & practices, human body

19-9

N: Lamentation, Arena Chapel, Padua Italy D: 1305 CE P/S: Proto-Renaissance or Late Gothic A: Giotto M/T: fresco F: decorative, devotional C: use of new devices for depicting spatial depth & body mass through management of light & shade. Innovations in perspective. Postures & gestures convey emotion. Landscape setting helps create the composition. DT: fresco; Last Judgement; Enrico Scrovegni Offering Model of Arena Chapel to Virgin I: religious beliefs & practices, motifs from nature, humanism

International Style
19-13

N: Annunciation Altarpiece D: 1333 CE P/S: International Style A: Simone Martini M/T: tempera & gold leaf on wood F: center panel of an altarpiece C: worked for papal court at Avigrioncombined patterns of French Gothic art & Sienese art. International Style: aristocratic, brilliant color, lavish costume, intricate ornamentation, themes involving splendid processions. DT: gold leaf on wood I: religious beliefs & practices, motifs from nature

Early Renaissance
19-18 & 21-30

N: Florence Cathedral, the Duomo D: 1296-1436 CE P/S: Early Renaissance A: unknown; Brunelleschi M/T: store. Ogival dome w/ thin double shell F: cathedral C: Florence the dominant city-state during the 14th c. Pride translated to landmark buildings. Late Italian Gothic style, left unfinished until Brunelleschi completed the dome based on the Pantheon. DT: ogival dome, double shell I: sacred spaces, form & function, innovation 21-5

N: St. Mark, Or San Michelle, Florence Italy D: 1411-1413 P/S: Early Renaissance A: Donatello M/T: carved marble F: decorative; monument to guild of linen drapers C: incorporation of Greco-Roman sculptural principles. A fundamental step toward depicting motion in the figure by using contrapposto. The garment hangs & folds naturally-accentuates the body rather than concealing. DT: carved marble, guild, Greco-Roman I: public sculpture, human body

21-10 & 21-11

N: Gates of Paradise, baptistery, Florence, Italy D: 1425-1452 P/S: Early Renaissance A: Ghiberti M/T: gilded bronze, cast F: decorative; doors to baptistery, east side C: won a contest against Brunelleschi for the commission. First to embrace a unified system for representing space; recalls ainting techniques in depiction of space & narrative treatment. Onepoint perspective, low to high relief, continuous narrative DT: cast, gilded bronze, doors to baptistery, low to high relief I: religious beliefs & practices, narrative, domestic spaces

21-12

N: David D: 1440-1460 P/S: Early Renaissance A: Donatello M/T: cast bronze F: decorative, private commission C: revival of the freestanding nude statue. For display in the courtyard of the Medici palace. David as symbol of independent Florence republic. Humanist revival of classical themes & style DT: cast bronze, private commission, freestanding nude I: human body, humanism, narrative

21-18 & 21-19

N: Broncacci Chapel, Florence Italy D: 1424-1427 P/S: Early Renaissance A: Masaccio M/T: fresco F: decorative, devotional C: epitomy of the innovative spirit of early 15th c Florence no other painter contributed so much in such a short time: new representational devices-specific light source, chiaroscuro, bodies revealed by clothing, spacious landscape, atmospheric perspective, figures in circular depth DT: fresco, atmospheric perspective, chiaroscuro, spacious landscape I: narrative art work, religious beliefs & practices, human body, Motifs from nature, innovation 21-21

N: Annunciation D: 1438-1447 P/S: Early Renaissance A: Fra Angelico M/T: fresco F: decorative, devotional C: commissioned by the Medici for the Dominican Monastery of San Marco. Appears at the top of the stairs leading to the Monks cells. Less humanist in style-sumple & serene, direct DT: fresco, less humanist, direct I: religious beliefs & practices, motifs from nature, domestic space

21-23

N: Madonna & Child with Angels D: 1455 P/S: Early Renaissance A: Fra Filippo Lippi M/T: Tempera on wood F: decorative C: a runaway monk saved by Medici patronage. Shows skill of line; subject interpreted in a very worldly mannerline models (lucretia clearly relished the charm of youth & beauty as he found it in the world. Landscape also real & recognizable. DT: tempera on wood, landscape & people are recognizable, youth & beauty I: humanism, motifs from nature 21-26

N: Battle of San Romano D: 1455 P/S: Early Renaissance A: Uccello M/T: Tempera on wood F: decorative, for Lorenzo de Medici bedroom C: example of secular Florentine art, commemorating Florentine victory over Sienese. Focuses on a friends military exploits but symbols relate to Medici (fruit). Obsessed with perspective-the rationalization of vision. Recalls international style with decorative patterns. DT: perspective, fruit (Medici), pattern (international style), Tempera on wood I: patrons, humanism, motifs from nature, war & violence

21-27

N: Primavera D: 1482 P/S: Early Renaissance A: Botticelli M/T: Tempera on wood F: decorative, Medici commission C: one of the great masters of line (student of Lippi). Precise meaning is unknown but classically inspired. With Chloris/Flora. Botticelli closely tied to Medici, burned many works at Savonarolas bonfire. *visual poetry DT: visual poetry, Chloris/Flora, line (student of Lippi) I: humanism, patrons, motifs from nature, allegory 21-40

N: Keys of the Kingdom, Sistine Chapel D: 1481-1483 P/S: Early Renaissance Papal States A: Perugino M/T: Fresco F: decorative, commission of Pope Sixtus IV C: example of the infallible & total authority of the papcy over the church. Shows Christ giving keys to Peter w/ 12 apostles & Renaissance contemporaries. Use of one point linear perspective. Anachronism Roman style triumphal arches tie St. Peter to Constantine DT: one point linear perspective, Roman style, Papal states (Pope Sixtus IV) I: religious authority, humanism, narrative, patrons

21-43 & 21-1

N: Flagellation of Christ D: 1455-1465 P/S: Early Renaissance A: Piero della Fancesca M/T: Oil & tempera on wood F: decorative, commission for Urbino patron C: small panel. Deep interest in light & color (put darkest tones in the centers of volumes, not one side). Spatial clarity, atmospheric envelope around each figure. Also into perspective & symmetric compositions. A mind cultivated by Mathematics. DT: darkest tone one side, I: narrative, innovations, human form, patronage 21-44 to 21-46

N: Sant Andrea, Mantua Italy D: 1470-1472 P/S: Early Renaissance A: Alberti M/T: stone, modified basilica church F: church C: faade locks Roman temple front & triumphal arch, with equal horizontal & vertical proportions-also relates to the small square in front. Interior inspired by Basilica Novaarches not with columns, so medieval columned arcade is gone. Vast interior space-Roman. No obstruction of columns in aisles. Extremely influential in Renaissance & Baroque church planning. DT: faade lock, stone, modified basilica church I: humanism, sacred spaces, form & function, innovation

21-48

N: ceiling of Camera degli Sposi, Ducal Palace, Mantua Italy D: 1465-1474 P/S: Early Renaissance A: Andrea Mantegna M/T: Fresco on ceiling, private commission F: decorative C: visual expression of ducal authority; the bedchamber part of an extensive fresco program. The first completely consistent illusionistic decoration of an entire room. Foreshadows Baroque & recalls Poempeii. Trompe loeil design with di sotto in su perspective. Climaxes a century of experimentation with perspective DT: Fresco on ceiling, degli sposi, di sotto perspective I: humanism, innovation, domestic space

Early Northern Renaissance

20-1

N: Arnolfini Wedding D: 1434 P/S: Early Northern Renaissance A: Jan van Eyck M/T: Oil on wood F: decorative, wedding certificate C: first Netherlandish painter to achieve international fame. A secular portrait with religious overtones, example of the growing bourgeois market for art objects. Northern Ren typical elements: details in particulars, full of symbolism, artist as celebrity. DT: full of symbolism, market for art object, secular portrait, religious overtone I: domestic space, family grouping, motifs from nature 20-4

N: Merode Altarpiece D: 1425-1428 P/S: Early Northern Renaissance A: Robert Campin, Mast4er of Flemalle M/T: Oil on wood F: private commission altarpiece C: one of the earliest masters of oil painting. Flemish lay patrons outnumbered clerical patrons & reform movements advocated personal devotion. Integration of religious & secular concernsbiblical scenes in a Flemish house & patron in the scene. Realism of particulars, full of symbolism. DT: full of symbolism, patron in scene, religious & secular concerns, biblical scenes I: religious beliefs & practices, domestic space, narrative

20-5 & 20-6

N: Ghent Altarpiece D: 1432 P/S: Early Northern Renaissance A: Jan van Eyck M/T: Oil on wood F: altarpiece commissioned by duke of Burgendy C: one of the largest (12tall). Patrons included, guisaille prophets, overall theme of salvation. No detail left out-Meticulous attention to recording the exact surface appearance of humans, animals, objects, & landscapes a hallmark of Flemish panel painting. DT: altarpiece I: religious beliefs& practices, landscape setting, innovation 20-8

N: Deposition D: 1435 P/S: Early Northern Renaissance A: Roger van der Wayden M/T: Oil on wood F: center panel of triptych commissioned by a guild for a church C: assistant of campin; concentrated on emotional Christian subjects-crucifixion. Shallow stage imitates sculptured shrines: maximum action in limited space. Compositional: lateral undulating movements, similar poses. depiction of agony among the most authentic. DT: triptych I: religious beliefs& practices, narrative,

International Style
20-15 & 20-16

N: Les Tres Riches Heures duDuc de Berry D: 1413-1416 P/S: International Style A: Limbourg Brothers M/T: Ink on vellum F: Book of Hours, illustrated calendar pages, private use C: expanded illusionistic capabilities of illumination. Images represent seasonal tastes, alternating nobility & peasantry. Growing artistic interest in naturalism. Reinforced image of duke as devout, cultured, sophisticated & powerful. DT: Book of Hours I: genre painting, religious beliefs & practices, patronage, landscape, domestic scenes

High Renaissance
22-1, 22-18, 22-19

N: Sistine Chapel ceiling, Vatican city Italy D: 1508-1512 P/S: High Renaissance A: Michelangelo M/T: Fresco; 128x45 F: decorative, devotional C: M basically ordered to paint this extensive project by Pope Julius; contains more than 300 Old Testament figures in trompelie architectural framework. Figures have heavy modeling, like sculptural forms. Nontraditional representation of Adam DT: Fresco on ceiling I: narrative artwork, patron relationship, human body, religious beliefs & practices

22-2

N: Madonna of the Rocks D: 1483+ P/S: High Renaissance A: Leonardo M/T: Oil on wood F: central panel of an altarpiece C: Leonardo was multi-talented &his primary career was as military engineer for the Duke of Milan. Gestures & pyramidal composition unite the Virgin, St. John the Baptist, Jesus, & angel in an atmospheric settingclustrates Ls idea that there was an invisible substance surrounding everything. L known for sfumato-smoky atmosphere DT: sfumato, pyramidal composition, atmospheric perspective, imaginary lines I: landscape, religious figures, innovation

22-8

N: Madonna in the Meadow D: 1505-1506 P/S: High Renaissance A: Raphael M/T: Oil on wood F: decorative C: After imitating Perugino in early works, Raphael moved to Florence & began using ideas from Leonardo, using pyramidal composition & figures in landscape, but used brighter lighting & color. DT: ideas from Leonardo, pyramidal composition, figures in landscape, brighter lighting & color I: landscape, religious belief & practices, religious figures 22-9

N: School of Athens, Stanza della Segnatura, Vatican Palace D: 1509-1511 P/S: High Renaissance A: Raphael M/T: Fresco F: decorative, in popes private residence C: Completed for Julius IIs private apartment in the Vatican, shows the popes interest in classical philosophy. Lateral symmetry, one-point perspective, portraits of contemporary artists as classical figures. DT: lateral symmetry, one-point perspective, Fresco I: humanism, religious beliefs & practices, portraits

22-12

N: Pieta D: 1498-1500 P/S: High Renaissance A: Michelangelo M/T: carved Marble F: memorial in Old St Peters C: completed for a French cardinal carved when M was in his early 20s. Imperfect proportions based on what appears correct rather than reality [optically proportions]Mary is actually much too large & young. The only piece M signed, due to disbelief by viewers. A traditionally Northern theme. DT: imperfect proportion [optically proportions], carved marble, idealized I: human body, family groups, depiction of women 22-21

N: Last Judgment, altar wall of the Sistine Chapel D: 1536-1541 P/S: High Renaissance A: Michelangelo M/T: Fresco F: decorative, devotional C: For Paul III, 48ft tall fresco on the altar wall. Example of counter-Reformation artwork emphasizing the consequences of unbeliefthe opening to hell is right behind the altar. Swirling movement & crowded figures foreshadow the Baroque. DT: altar wall, heavy shape body, counter-Reformation, Paul III I: propaganda, counter-reformation religious beliefs & practices, narrative art

Venetian Style Renaissance

22-34

N: Feast of the Gods D: 1529 P/S: Venetian Style A: Bellini & Titian M/T: Oil on canvas F: decorative C: Exmaple of Venetian style: poetic Arcadian reverie with clear colors & mythological figures. Learned from Bellinis student Giorgione. The instrument is color, vs. drawing of High Ren. Poetry, natures beauty, & pleasure of humanity, popular in the resort town. DT: poetic, Venetian style, mythological, classical I: landscape, narrative, symbolic/allegorical images 22-40

N: Venus of Urbino D: 1538 P/S: Venetian Style A: Titian M/T: Oil on canvas F: decorative C: establishment of the enduring image of the reclining female nude: diagonal balance, pendant figure, drapery creating foreground, figures & glimpse of landscape in background. Venetian color-red, gold, & green, subtitle color planning. DT: male glare, female nude, mythological I: depiction of women, human body, portraiture, domestic setting

Mannerist
22-42

N: Entombment of Christ D: 1525-1528 P/S: Mannerist A: Pontormo M/T: Oil on wood F: decorative, devotional C: DT: acidic color, no central focus, unreal proportions I: Religious beliefs & Practices, Challenge to conventions, use of color for effect, depiction of human body/ form, symbolic/allegorical image

Late Renaissance/ Mannerist

22-46

N: Portrait of the Artists Sister & Brother D: 1555 P/S: Late Renaissance/ Mannerist A: Anguissola M/T: Oil on panel F: decorative C: DT: I: family grouping, daily life, beliefs & Practices, use of color for effect, depiction of human body/ form 22-48

N: Christ in the house of Levi D: 1573 P/S: Late Renaissance, Counter-Reformation A: Veronese M/T: Oil on canvas, 18 x 42 F: decorative C: DT: I: beliefs & Practices, narrative, symbolic/allegorical images, social/political interpretation

Northern Renaissance
23-2

N: Isenheim Altarpiece D: 1510-1515 P/S: Northern Renaissance A: Grunewald M/T: Oil on wood; carved by Hagenauer in painted & gilt limewood F: altar for the chapel of the Hospital of St. Anthony C: DT: I: narrative, social interoperation [hospital], beliefs & Practices, symbolic/allegorical images, use of color for effect, depiction of human body/ form 23-6

N: Four Apostles D: 1526 P/S: Northern Renaissance A: Durer M/T: Oil on wood F: decorative C: DT: I: beliefs & Practices, social/political interpretation, symbolic/allegorical images

23-9

N: The French Ambassadors D: 1533 P/S: Northern Renaissance A: Hans Holbein M/T: Oil & tempera on wood F: decorative C: DT: I: power & authority, social/political interpretation, symbolic/allegorical images, beliefs & practices 23-13

N: Garden of Earthly Delights D: 1505-1510 P/S: Northern Renaissance A: Bosch M/T: Oil on wood F: secular commission for private use C: DT: I: social/political interpretation, symbolic/allegorical images, beliefs & practices, natural world, human form to convey spirituality

23-21

N: Hunters in the Snow D: 1565 P/S: Northern Renaissance A: Bruegel the Elder M/T: Oil on wood F: decorative, part of a series C: DT: I: depiction of daily life, natural world, narrative, beliefs & practices

French Renaissance
23-12

N: The Louvre D: 1546+ P/S: French Renaissance A: Lescot M/T: stone F: royal palace C: DT: I: depiction of daily life, natural world, narrative, beliefs & practices

Mannerist / Greco style

23-25

N: Burial of Count Orgaz D: 1586 P/S: Mannerist/ proto-mannerist A: El Greco M/T: Oil on canvas F: decorative, devotional C: DT: I: religious beliefs & practices, exploration of use of light, power/authority, narrative, symbolic/allegorical images

WESTERN ART: BAROQUE, NORTHERN BAROQUE, SOUTHERN BAROQUE, FRENCH BAROQEU; STYLE NOT DEFINE BY ONE MEAN VARIES!!!!!!! ALOT

Baroque
24-1 & 24-8

N: Ecstasy of St. Teresa, Cornaro Chapel D: 1645-1652 P/S: Baroque A: Bernini M/T: Marble F: devotional, memorial C: DT: I: artistic innovation (theatrical movement), belief and practices, relationship to site, exploration of light 24-0

N: Apollo and Daphne D: 1622-25 P/S: Baroque A: Bernini M/T: Marble F: decorative, mythological C: DT: I: narrative, artistic innovation (theatrical movement), belief and practices, attitude towards women, symbolic/allegorical images

24-7

N: David D: 1623 P/S: Baroque A: Bernini M/T: Marble F: decorative C: DT: I: artistic innovation (theatrical movement), belief and practices, relationship to site, symbolic/allegorical references 24-15

N: Flight into Egypt D: 1603-1604 P/S: Baroque A: Carracci M/T: Oil on canvas F: decorative C: DT: I: narrative, belief and practices, symbolic/allegorical images, color for effect

24-17

N: Conversion of St. Paul D: 1601 P/S: Baroque A: Caravaggio M/T: Oil on canvas F: decorative,, devotional C: DT: I: narrative, belief and practices, symbolic/allegorical images, color for effect, exploration of light, social interpretation [regular cloths dirty nails etc] 24-18

N: Calling of St. Matthew D: 1597-1601 P/S: Baroque A: Caravaggio M/T: Oil on canvas F: decorative, devotional for chapel C: DT: I: narrative, belief and practices, symbolic/allegorical images, color for effect, exploration of light, social interpretation [regular cloths dirty nails etc]

24-20

N: Judith Slaying Holofernes D: 1614-1625 P/S: Baroque A: Gentileschi M/T: Oil on canvas F: decorative C: DT: I: narrative, belief and practices, symbolic/allegorical images, color for effect, exploration of light, social/political interpretation [women role], allusions 24-26

N: St. Serapion D: 1628 P/S: Baroque A: Zurbaran M/T: Oil on canvas F: decorative, devotional C: DT: I: belief and practices, symbolic/allegorical images, exploration of light, social/political interpretation

24-29

N: Surrender of Breda D: 1634-1635 P/S: Baroque A: Velasquez M/T: Oil on canvas F: decorative, commemorative C: DT: I: social/political interpretation, power/authority, belief and practices, symbolic/allegorical images 24-30

N: Las Meninas D: 1656 P/S: Baroque A: Velasquez M/T: Oil on canvas 10 .5 x 9 F: decorative C: DT: I: artist & patron relation, social/political interpretation, power/authority, belief and practices, symbolic/allegorical images

Northern Baroque
25-1

N: Allegory of the Art of Painting D: 1670-1675 P/S: Northern (Dutch) Baroque A: Vermeer M/T: Oil on canvas F: decorative C: DT: I: artist & patron relation, social interpretation, , belief and practices, symbolic/allegorical images, domestic space (genre painting) 25-5

N: Charles I Dismounted D: 1635 P/S: Northern Baroque A: Van Dyck M/T: Oil on canvas F: decorative C: DT: I: political/social interpretation, power & authority, belief and practices, symbolic/allegorical images

25-12

N: Anatomy Lesson of Dr. Tulp D: 1632 P/S: Northern (Dutch) Baroque A: Rembrandt M/T: Oil on canvas F: decorative; commissioned by a guild C: DT: I: political/social interpretation, belief and practices, patrons interest revealed 25-13

N: Night Watch D: 1642 P/S: Northern (Dutch) Baroque A: Rembrandt M/T: Oil on canvas F: decorative C: DT: I: political/social interpretation, belief and practices, patrons interest revealed, power & authority

Baroque
25-3

N: Arrival of Marie deMedici at marseilles D: 1622-1625 P/S: Baroque A: Rubens M/T: Oil on canvas F: decorative C: DT: I: power & authority [divine], political/social interpretation, belief and practices, symbolic/allegorical images, natural world, attitude towards women 25-3

N: Consequences of War D: 1622-1625 P/S: Baroque A: Rubens M/T: Oil on canvas F: decorative C: DT: I: political/social interpretation, belief and practices, symbolic/allegorical images, natural world

French (Northern) Baroque

25-24

N: Et in Arcadia Ego D: 1655 P/S: Northern (French) Baroque A: Poussin M/T: Oil on canvas F: decorative C: DT: I: beliefs & practices, political/social interpretation, symbolic/allegorical images, natural world 25-32 & 25033

N: Versailles Palace D: begun 1669 P/S: French Baroque A: Le Brun & others M/T: symmetric, ornate; stone, glass, plant material F: royal residence of Louis XIV C: DT: I: power & authority, beliefs & practices, political/social interpretation, symbolic/allegorical images, natural world

WESTERN ART: ROCOCO, ENGLIGHTENMENT, NEOCLASSICAL,

Rococo
29-1

N: The Swing D: 1766 P/S: Rococo A: Fragonard M/T: Oil on canvas F: decorative C: DT: I: power & authority, idealization [of nature], beliefs & practices, political/social interpretation, symbolic/allegorical images, natural world, narrative

29-6

N: Pilgrimage to Cythera D: 1717 P/S: Rococo A: Watteau M/T: Oil on canvas F: decorative C: DT: I: power & authority, idealization [of nature], beliefs & practices, political/social interpretation, symbolic/allegorical images, natural world 29-7

N: Cupid a Captive D: 1754 P/S: Rococo A: Boucher M/T: Oil on canvas F: decorative C: DT: I: idealization [of nature], beliefs & practices, political/social interpretation, symbolic/allegorical images, natural world

Enlightenment
29-10

N: A Philosopher Giving a Lecture at the Orrery D: 1763-1765 P/S: Enlightenment A: Wright of Derby M/T: Oil on canvas F: decorative C: DT: I: beliefs & practices, political/social interpretation, symbolic/allegorical images, exploration of light, depiction of life [in age of reason] 29-13

N: Village Bride D: 1761 P/S: Enlightenment A: Grueze M/T: Oil on canvas F: decorative C: DT: I: beliefs & practices, political/social interpretation, symbolic/allegorical images, exploration of light, depiction of life poor life compared to rich[rococo]

29-14

N: Self-Portrait D: 1790 P/S: Enlightenment/ Neoclassical A: Vigee-Lebrun M/T: Oil on canvas F: decorative C: DT: I: beliefs & practices, political/social interpretation, symbolic/allegorical images, self-portrait of artist view of self, daily life, attitude towards women 29-15

N: Breakfast Scene from Marriage a la Mode D: 1745 P/S: Enlightenment A: Hogarth M/T: Oil on canvas F: decorative C: DT: I: beliefs & practices, political/social interpretation, symbolic/allegorical images, satirist [commentary on wealthy]

Neoclassical
29-18

N: Death of General Wolfe D: 1771 P/S: Neoclassical A: West M/T: Oil on canvas F: decorative C: DT: I: religious beliefs & practices, political/social interpretation, symbolic/allegorical images, narrative, idealization [of death general who didnt look like this at death] 29-23

N: Oath of the Horatii D: 1784 P/S: Neoclassical A: David M/T: Oil on canvas F: decorative C: DT: I: beliefs & practices, political/social interpretation, symbolic/allegorical images, narrative, attitude toward women

29-24

N: Death of Marat D: 1793 P/S: Neoclassical A: David M/T: Oil on canvas F: decorative C: DT: I: religious beliefs & practices, political/social interpretation, symbolic/allegorical images, propaganda!!!!!!!!!!!!!!!!, idealization of human form, pity 30-5

N: Napoleon at the Pesthouse at Jaffa D: 1804 P/S: Neoclassical A: Gros M/T: Oil on canvas F: decorative C: DT: I: beliefs & practices, political/social interpretation, symbolic/allegorical images, propaganda, narrative

30-8

N: Grande Odalisque D: 1814 P/S: Neoclassical A: Ingres M/T: Oil on canvas F: decorative C: DT: I: beliefs & practices, social interpretation [culture of women], symbolic/allegorical images, attitude of women [male gaze]

WESTERN ART: ROMANTICISM, REALISM, IMPRESSIONISM, POST-IMPRESSIONISM

Romantic
30-12

N: Family of Charles IV D: 1800 P/S: Goya; perhaps Romantic A: Goya M/T: Oil on canvas F: decorative C: DT: I: Family grouping, power/ authority, artist and patron, daily life or domestic space 30-13

N: Third of May, 1808 D: 1814-1815 P/S: Goya; perhaps Romantic A: Goya M/T: Oil on canvas F: decorative C: DT: I: Religious Belief & Practices, Social/Political interpretation, Depiction of hostility and violence, Exploration of the effect of light

30-15

N: Raft of the Medusa D: 1818-1819 P/S: Romantic A: Gericult M/T: Oil on canvas F: decorative C: DT: I: Religious Belief & Practices, Social/Political interpretation, Exploration of the effect of light, Contemporary political/social event, human form convey spirituality, use of color for effect, illusion of movement in 2-D work 30-18

N: Liberty Leading the People D: 1830 P/S: Romantic A: Delacroix M/T: Oil on canvas F: decorative C: DT: I: Religious Belief & Practices, Social/Political interpretation, Exploration of the effect of light, human form convey spirituality, use of color for effect, illusion of movement in 2-D work, propaganda

Abstract (English Landscape)

30-23

N: The Slave Ship D: 1840 P/S: English landscape A: JMW Turner M/T: Oil on canvas F: decorative C: DT: I: Social/Political interpretation, Exploration of the effect of light, use of color for effect, illusion of movement in 2-D work, propaganda, contemporary event, abstraction, symbolic/allegorical images, Narrative artwork, depiction of hostility and violence

Realism
30-28

N: Burial at Ornans D: 1849 P/S: Realism A: Courbet M/T: Oil on canvas F: decorative C: DT: I: use of color for effect, contemporary event, Narrative artwork, Challenge to artistic conventions of the time, depiction of daily life 30-29

N: The Gleaners D: 1857 P/S: Realism A: Millet M/T: Oil on canvas F: decorative C: DT: I: use of color for effect, Narrative artwork, depiction of daily life, cultural attitudes toward women, Belief & practices, Symbolic/allegorical images

30-30

N: Rue Transnonain D: 1834 P/S: Realism A: Daumier M/T: lithograph F: political cartoon C: DT: I: use of color for effect, Narrative artwork, Symbolic/allegorical images, contemporary political/social event 30-33

N: Le Dejeuner Sur lherbe (The Luncheon on the Grass) D: 1863 P/S: Realism/ Manet A: Manet M/T: Oil on canvas F: decorative C: DT: I: use of color for effect, , Symbolic/allegorical images, depiction of daily life, abstract

30-34

N: Olympia D: 1863 P/S: Realism/ Manet A: Manet M/T: Oil on canvas F: decorative C: DT: I: use of color for effect, Symbolic/allegorical images, depiction of daily life 30-37

N: Veteran in a New Field D: 1865 P/S: Realism A: Homer M/T: Oil on canvas F: decorative C: DT: I: use of color for effect, Symbolic/allegorical images, depiction of daily life, abstract

30-39

N: The Daughters of Edward Darley Boit D: 1882 P/S: Realism A: Sargent M/T: Oil on canvas F: decorative C: DT: I: use of color for effect, Symbolic/allegorical images, depiction of daily life, domestic space

Pre Raphaelite (nature nature nature)

30-42

N: Ophelia D: 1852 P/S: Pre Raphaelite A: Millais M/T: Oil on canvas F: decorative C: DT: I: use of color for effect, Symbolic/allegorical images, depiction of daily life, domestic space

Impressionist
31-2

N: Impressions: Sunrise D: 1872 P/S: Impressionist A: Monet M/T: Oil on canvas F: decorative C: DT: I: use of color for effect, Symbolic/allegorical images, depiction of daily life, abstract 31-5

N: Paris: a Rainy Day D: 1877 P/S: Impressionist A: Caillebatte M/T: Oil on canvas F: decorative C: DT: I: use of color for effect, depiction of daily life, abstract, challenge conventions

31-8

N: Le Moulin de la Galette D: 1876 P/S: Impressionism A: Renoir M/T: Oil on canvas F: decorative C: DT: I: use of color for effect, depiction of daily life, abstract, challenge conventions 31-11

N: The Tub D: 1876 P/S: Impressionism A: Degas M/T: Pastel F: decorative C: DT: I: use of color for effect, depiction of daily life, abstract, challenge conventions, domestic space, attitudes toward women

31-12

N: The Bath D: 1892 P/S: Impressionism A: Cassatt M/T: Oil on canvas F: decorative C: DT: I: use of color for effect, depiction of daily life, abstract, challenge conventions, domestic space, attitudes toward women 31-13

N: Nocturne in Black & Gold D: 1875 P/S: Impressionism A: Whistler M/T: Oil on canvas F: decorative C: DT: I: use of color for effect, very abstract, challenge conventions, Exploration of light

Post-Impressionist
31-14

N: At the Moulin Rouge D: 1892-1895 P/S: Post-Impressionism A: Toulouse-Lautrec M/T: Oil on canvas F: decorative C: DT: I: use of color for effect, abstract, challenge conventions, 31-15

N: A Sunday on La Grande Jatte D: 1884-1886 P/S: Post-Impressionism , Pointillism A: Seurat M/T: Oil on canvas F: decorative C: DT: I: use of color for effect, abstract, challenge conventions, depiction of daily life, contemporary event

31-16

N: Night Caf D: 1888 P/S: Post-Impressionism A: Van Gogh M/T: Oil on canvas F: decorative C: DT: I: use of color for effect, abstract, challenge conventions, depiction of daily life, contemporary event 31-19

N: Where do we come from? What are we? Where are we going? D: 1897 P/S: Post-Impressionism A: Gauguin M/T: Oil on canvas F: decorative C: DT: I: use of color for effect, abstract, depiction of daily life, cultural practice & beliefs, attitude toward women, symbolic/ allegorical images

31-20

N: Mont Sainte-Victoire D: 1902-1904 P/S: Post-Impressionism A: Cezanne M/T: Oil on canvas F: decorative C: DT: I: use of color for effect, abstract, attitude toward women, symbolic/ allegorical images, motifs from nature, relationship t site

Symbolism
31-27

N: The Scream D: 1902-1904 P/S: Symbolism A: Munch M/T: Tempera & pastels on cardboard F: decorative C: DT: I: use of color for effect, abstract, cultural practice & beliefs, symbolic/ allegorical images 31-28

N: The Kiss D: 1907-1908 P/S: Symbolism A: Klimt M/T: Oil on canvas F: decorative C: DT: I: use of color for effect, abstract, cultural practice & beliefs, symbolic/ allegorical images, human form to convey spirituality

31-33

N: Burghers of Calais D: 1884-1889 P/S: Post-Impressionism A: Rodin M/T: Cast bronze F: Monument memorializing event in 100 years war C: DT: I: cultural practice & beliefs, symbolic/ allegorical images, human form to convey spirituality, public sculpture specific meaning, challenge conventions, social/political interpretation of an event

WESTERN ART: ABSTRACT, POP, POSTPOP, SURREALISM, CUBISM

Cubist/Futurist
35-1

N: Nude Descending a Staircase D: 1912 P/S: Cubist/ Futurist A: Duchamp M/T: Oil on canvas F: decorative C: DT: I: cultural practice & beliefs, symbolic/ allegorical images, human form to convey spirituality, challenge conventions, color for effect, illusion of movement in 2-D work, culutrual human body, Abstraction as reflection of cultural/religious ideas,

Fauvism
35-2

N: Woman with the hat D: 1905 P/S: Fauvism A: Matisse M/T: Oil on canvas F: decorative C: DT: I: cultural practice & beliefs, symbolic/ allegorical images, human form to convey spirituality, challenge conventions, color for effect

German Expressionism
35-0

N: Composition VII D: 1913 P/S: German Expressionism A: Kandinsky M/T: Oil on canvas F: decorative C: DT: I: cultural practice & beliefs, symbolic/ allegorical images, challenge conventions, color for effect, abstract reflection of cultural/religious belief 35-2

N: Improvisation 28 D: 1912 P/S: German Expressionism A: Kandinsky M/T: Oil on canvas F: decorative C: DT: I: cultural practice & beliefs, symbolic/ allegorical images, challenge conventions, color for effect, abstract reflection of cultural/religious belief

Cubism
35-12

N: Les Demoselles dAvignon D: 1907 P/S: Cubism A: Picasso M/T: Oil on canvas F: decorative C: DT: I: cultural practice & beliefs, symbolic/ allegorical images, challenge conventions, color for effect, abstract reflection of cultural/religious belief, attitude toward women, human form 35-41

N: Guernica D: 1937 P/S: Cubism A: Picasso M/T: Oil on canvas F: decorative; political statement C: DT: I: cultural practice & beliefs, symbolic/ allegorical images, challenge conventions, color for effect, abstract reflection of cultural/religious belief, human form, social/ political interpretation of event, narrative, propaganda

Futurism
35-0

N: The City Rises D: 1910 P/S: Futurism A: Boccioni M/T: Oil on canvas F: decorative C: DT: I: social/political interpretation of piece, cultural practice & beliefs, symbolic/ allegorical images, challenge conventions, color for effect, illusion of movement in 2-D work, human form 35-23

N: Dynamism of a Dogo n a Leash D: 1912 P/S: Futurism A: Balla M/T: Oil on canvas F: decorative C: DT: I: social/political interpretation of piece, cultural practice & beliefs, symbolic/ allegorical images, challenge conventions, color for effect, illusion of movement in 2-D work, human form

35-24

N: Unique Forms of continuity in Space D: 1913 P/S: Futurism A: Boccioni M/T: cast bronze F: decorative C: DT: I: social/political interpretation of piece, cultural practice & beliefs, symbolic/ allegorical images, challenge conventions, color for effect, human form, accommodates belief & practices

Dada (silly)
35-27

N: Fountain D: 1917 P/S: Dada A: Duchamp M/T: Readymade, glazed sanitny china urinal F: decorative C: DT: I: social/political interpretation of piece, cultural practice & beliefs, symbolic/ allegorical images, challenge conventions

Surrealism
35-49

N: The Persistence of Memory D: 1931 P/S: Surrealism A: Dali M/T: Oil on canvas F: decorative C: DT: I: social interpretation of piece, cultural practice & beliefs, symbolic/ allegorical images 35-0

N: La Condition humaine D: 1933 P/S: Surrealism A: Rene Magritte M/T: Oil on canvas F: decorative C: DT: I: social interpretation of piece, cultural practice & beliefs, symbolic/ allegorical images

35-69

N: The Two Fridas D: 1939 P/S: Surrealism/ Frida style A: Kahlo M/T: Oil on canvas F: decorative C: DT: I: self-portraiture revealing an artists view of self or role in society , cultural practice & beliefs, symbolic/ allegorical images, human form to convey spirituality,

De Stijl
35-56

N: Composition with Red, Blue, & Yellow D: 1930 P/S: De Stijl A: Mondrian M/T: Oil on canvas F: decorative C: DT: I: social/political interpretation of piece, cultural practice & beliefs, symbolic image, challenge conventions

Abstract (unit one)

35-59

N: Reclining Figure D: 1939 P/S: unit one; abstract A: Moore M/T: carved elm wood F: decorative C: DT: I: cultural practice & beliefs, symbolic image, challenge conventions, abstraction (pos & neg), utilizing surroundings

Abstract Mobile
35-61

N: Lobster Trap & Fish Tail D: 1939 P/S: abstract mobile A: Calder M/T: painted sheet aluminum & steel wire; mobile F: commissioned by MOMA C: DT: I: cultural practice & beliefs, symbolic image, challenge conventions, abstraction, art enabled by technological development

American Regionalism
35-63

N: Nighthawks D: 1942 P/S: American regionalism A: Hopper M/T: Oil on canvas F: decorative C: DT: I: cultural practice & beliefs, symbolic image, depiction of daily life, human form to convey spirituality 35-64

N: No.49 from The Migration of the Negro D: 19940-1941 P/S: American regionalism A: Lawrence M/T: Tempera on Masenite F: decorative C: DT: I: cultural practice & beliefs, symbolic image, depiction of daily life, human form to convey spirituality, narrative, social/political interpretation

Mexican Expressionism
35-68

N: Ancient Mexico D: 1929-1935 P/S: Mexican expressionism A: Rivera M/T: Fresco F: decorative C: DT: I: cultural practice & beliefs, symbolic image, human form to convey spirituality, narrative, social/political interpretation

Abstract Expressionism / Action Painting

36-6

N: Lavender Mist; or Number 1 D: 1950 P/S: Abstract Expressionism-Action painting A: Pollock M/T: Oil on canvas F: decorative C: DT: I: abstraction reflection of cultural/religious beliefs, relationship between artist & patron, illusion of movement in 2-D work, use of color for effect, cultural practice & beliefs 36-7

N: Woman I D: 1950-1952 P/S: Abstract Expressionism-Action painting A: de kooning M/T: Oil on canvas F: decorative C: DT: I: abstraction reflection of cultural/religious beliefs, use of color for effect, cultural practice & beliefs, attitude toward women, symbolic/allegorical image

Abstract Expressionism / Color Field

36-7

N: No. 14 D: 1960 P/S: Abstract Expressionism-Color Field A: Rothko M/T: Oil on canvas F: decorative C: DT: I: use of color for effect, abstraction reflection of cultural/religious beliefs, cultural practice & beliefs, lost by work if removed from original setting!!!!, conveying the invisible

Pop Art
36-21

N: Flag D: 1954 P/S: Pop Art A: Johns M/T: Encaustic, oil, & collage on fabric mounted on plywood F: decorative C: DT: I: cultural practice & beliefs, nontraditional material used, influences 36-22

N: Canyon D: 1959 P/S: Pop Art A: Rauschenberg M/T: combine (pick up stuff) F: decorative C: DT: I: cultural practice & beliefs, nontraditional material used, influences, challenge to artistic conventions of time, representation of natural world

36-23

N: Hopeless D: 1963 P/S: Pop Art A: Lichtenstein M/T: Oil on canvas F: decorative C: DT: I: cultural practice & beliefs, influences, challenge to artistic conventions of time, narrative, symbolic/allegorical images, depiction of daily life, human form to convey spirituality 36-25

N: Marilyn Diptych D: 1962 P/S: Pop Art A: Warhol M/T: silkscreen, oil & acrylic on canvas F: decorative C: DT: I: art enabled by technological developments!!!, cultural practice & beliefs, influences, challenge to artistic conventions of time, symbolic/allegorical images, depiction of daily life, human form to convey spirituality

Feminist Art
36-33

N: The Dinner Party D: 1979 P/S: Feminist Art A: Chicago M/T: Mixed Media F: decorative; women appreciation historical C: DT: I: Attitude toward women, celebration of famous individual, social/political interpretation, loss meaning if removed from original placement aspect, cultural practice & beliefs, symbolic/allegorical images, human form to convey spirituality

36-35

N: Untitled Film Still #35 D: 1979 P/S: Feminist Art A: Sherman M/T: photography F: decorative C: DT: I: Attitude toward women, social/political interpretation, cultural practice & beliefs, symbolic/allegorical images, human form to convey spirituality 36-36

N: Your Gaze hits the side of My face D: 1981 P/S: Feminist Art A: Kruger M/T: photography F: decorative C: DT: I: Attitude toward women, social/political interpretation, cultural practice & beliefs, symbolic/allegorical images, human form to convey spirituality

Environmental/ Site-Specific Art, Earthwork

36-72

N: Spiral Jetty D: 1970 P/S: Environmental or Site-Specific Art A: Smithson M/T: rocks, dirt, water F: decorative; environmental bold statement C: DT: I: non-traditional material used, cultural significant material, accommodates beliefs & practices, social/political interpretation, relationship to site, impact of medium choice, Symbolic/Allegorical image 36-72

N: Surrounded Islands, Biscayne Bay Miami D: 1980-1983 P/S: Environmental or Site-Specific Art A: Christo & Jean-Claude M/T: islands, water, pink fabric F: decorative C: DT: I: non-traditional material used, cultural significant material, accommodates beliefs & practices, relationship to site, impact of medium choice