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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 king’s palace on in chronological order
DT: symmetrical, hierarchical; naturalistic & symbolic—jijorga
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 n’kondi (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], mother’s 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 Huitzi’s 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 up—lot 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: Djoser’s 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 pharaoh’s soul, or Ka
C: placed in the pharaoh’s 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 king’s 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 time—break 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 Alexander’s 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, Virgil’s 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 Nero’s
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: Trajan’s Forums Rome’s 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 Diocletian’s 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 Constantines’s 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 mosque’s supposed origin, Muhammad’s 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, & cloisonné 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 cloisonné on a miniature scale.
DT: heraldic pose, insular art, cloisonné, 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. Michael’s, 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 Romanesque—structurally 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 victor’s 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 façade 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 façade is from the Early Gothic
period. Sculptures of the Royal Portal are of the life of Christ but with new emphasis on Mary-
cult 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 Avigrion—combined 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. One-
point 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 manner—line 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 friend’s 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
Savonarola’s 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: façade locks Roman temple front & triumphal arch, with equal horizontal & vertical
proportions-also relates to the small square in front. Interior inspired by Basilica Nova—arches
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: façade 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 l’oeil 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 concerns-
biblical 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 (12’tall). 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; 128’x45’
F: decorative, devotional
C: M basically ordered to paint this extensive project by Pope Julius; contains more than 300 Old
Testament figures in trompel’ie 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 setting—clustrates L’s 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 pope’s private residence
C: Completed for Julius II’s private apartment in the Vatican, shows the pope’s 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 unbelief—the 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 Bellini’s student Giorgione. The instrument is color, vs. drawing of High Ren.
Poetry, nature’s 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 Artist’s 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, patron’s 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, patron’s interest revealed, power &
authority
Baroque
25-3
N: Arrival of Marie de’Medici 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 didn’t 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 l’herbe (―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 Café
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, POST-POP, 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 d’Avignon
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 artist’s 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