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| - | ====== | + | ============= |
| + | * Credit, SimpleStudies.org, | ||
| + | * This study guide is super long, probably our longest so it might be slightly buggy to jump across until u have the entire thing loaded in. | ||
| + | ====== Unit 1: Prehistoric Arts ====== | ||
| + | |||
| + | - Apollo 11 Stone (Namibia. 25000 B.C.E Charcoal on stone) | ||
| + | - Context: | ||
| + | {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Found in the Hun's mountains of Namibia | ||
| + | - It was founded along with 7 other tablets that contained animal figures | ||
| + | - Founded during the Apollo 11 moon landings hence the name | ||
| + | - Content: | ||
| + | - Cave stones with animal-like figures with human legs | ||
| + | - Thought to be a Therianthrope. Animals resembles a feline body and human hind legs | ||
| + | - Form: | ||
| + | - Made out of charcoal on cave stone | ||
| + | - Maybe used mineral based pigment bc they found ostrich egg painted | ||
| + | - Function: | ||
| + | - Unknown but it is small enough to be carried in one’s hand | ||
| + | |||
| + | - Great Hall of the Bulls (Lascaux, France. Paleolithic Europe. 15000-13000 B.C.E. Rock painting) | ||
| + | - Context | ||
| + | - Stone Age | ||
| + | - Dordogne, France , Cave- 250 meters long, Hunter and gatherer lifestyle | ||
| + | - In 1963 original was closed but a replica was built to preserve the artwork {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Content | ||
| + | - Animals that were of importance (bulls, horses, cattle, deer) | ||
| + | - Human vs animals | ||
| + | - Form | ||
| + | - Charcoal and ochre on nonporous rock | ||
| + | - Hierarchical scale | ||
| + | - Patterns were prominent (could tell us about our past) | ||
| + | - Only one human painting | ||
| + | - Function | ||
| + | - Shows the importance of survival | ||
| + | - Used for religious rituals, storytelling and preserving the history | ||
| + | |||
| + | - Camelid Sacrum in the Shape of a Canine (Tequixquiac, | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Prehistoric-no written record | ||
| + | - Lost to scholars for about 60 years. It was privately owned | ||
| + | - Spiritual significance of sacrum. Pelvic bone is the fulcrum of the body & central to internal organs. | ||
| + | - Could be a symbol of fertility or connection to ancestry and posterity | ||
| + | - Content: | ||
| + | - Head of Canine, natural shape of sacrum bone probably suggested image of canine to the carver | ||
| + | - Nostrils, mouth | ||
| + | - Form: | ||
| + | - Made from the now fossilized remains of the sacrum-triangular pelvic bone of a camelid (now extinct) | ||
| + | - Function: | ||
| + | - Unknown but prehistoric artisans drew/ | ||
| + | |||
| + | - Running Horned Woman (Tassili n’Ajjer, Algeria. 6000-4000 B.C.E. Pigment on Rock) | ||
| + | - Context: | ||
| + | - Found in an area with high elevation & unique topography {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Hunter & gatherer society | ||
| + | - Thousands of paintings were found in the area | ||
| + | - Found in Algeria, Africa | ||
| + | - Content: | ||
| + | - White dots- body paint | ||
| + | - A horned woman running with arm and shin guards | ||
| + | - People running along with the horned woman | ||
| + | - Form: | ||
| + | - Hierarchical scale | ||
| + | - Pigment on rock | ||
| + | - Illusion of movement | ||
| + | - Profile perspective | ||
| + | - Function: | ||
| + | - Emphasized importance of survival | ||
| + | - Recognition of the importance animal and human relationship | ||
| + | |||
| + | - Beaker with Ibex Motifs (Susa, Iran. 4200-3500 B.C.E. Painted terra cotta) | ||
| + | - Context: | ||
| + | - Found in Iran {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Belong to the susa people | ||
| + | - Content: | ||
| + | - Central ibex (mountain goat) | ||
| + | - Running greyhound like animals | ||
| + | - Diamond shapes at the top of the beaker | ||
| + | - Birds encircling the top of the beaker | ||
| + | - Form: | ||
| + | - Painted terra cotta | ||
| + | - Geometric lines & shapes | ||
| + | - Function: | ||
| + | - For funerary practices | ||
| + | |||
| + | - Anthropomorphic Steele (Arabian Peninsula. 4th millennium B.C.E. Sandstone) | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Pre-Islamic Northern Saudi Arabia | ||
| + | - Found with 60 other steeles | ||
| + | - Fertile ground and area | ||
| + | - Content: | ||
| + | - Represent a human | ||
| + | - Trapezoid head with a horizontal necklace along with an awl | ||
| + | - The waist has a belt with two daggers | ||
| + | - Form: | ||
| + | - Made from sandstone | ||
| + | - Carvings are not intricate | ||
| + | - Bas-relief carving | ||
| + | - Function: | ||
| + | - Steele - a vertical stone monument or marker often inscribed text or relief carving | ||
| + | - Shows the importance of human figure | ||
| + | |||
| + | - Jade Cong (Liangzhu, China. 3300-2200 B.C.E. Carved Jade) | ||
| + | - Context: | ||
| + | - Developed in Yangzi delta (Neolithic era) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Farming society | ||
| + | - Content: | ||
| + | - Square hollow tube | ||
| + | - Represents dead ancestors | ||
| + | - Lines and circles = animals, humans, and monsters | ||
| + | - Form: | ||
| + | - Made from jade | ||
| + | - Precise engravings (created from sanding the jade) | ||
| + | - Bas relief | ||
| + | - Function: | ||
| + | - Show power and wealth | ||
| + | - Protect in afterlife, Found in graves, Connections to nature, rectangle= earth, circle= heavens of the sky | ||
| + | |||
| + | - Stonehenge (Wiltshire, UK. Neolithic Europe. 2500-1600 B.C.E. Sandstone) | ||
| + | - Context: | ||
| + | - Founded in Salisbury Plain England | ||
| + | - 1st phrase started around 3100 B.C.E. (this would be be concurrent w/ first dynasties of ancient Egypt) | ||
| + | - Construction continued the next 500 years. Building the structure would require precise planning and massive amount of labor | ||
| + | - Used machinery to get the lintel stones on top of the post stones | ||
| + | - Long term communal effort, shows that they are sophisticated | ||
| + | - Content: | ||
| + | - 3 Phases (Constructions), | ||
| + | - Concentric circles of huge stones- lintel stones are carved to create the curved lines of a circle {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Huge pits dugged which allows stones to stay upright | ||
| + | - Form: | ||
| + | - Made mainly of bluestone which is very durable | ||
| + | - Post and lintel construction | ||
| + | - Monolithic Stones | ||
| + | - Function: | ||
| + | - Evident that the 2nd stage of construction, | ||
| + | - Horseshoes of trilithons frames mark both mid-summer solstice and midwinter sunset (longest/ | ||
| + | |||
| + | - The Ambum Stone (Ambum Valley, Enga Province, Papua New Guinea. 1500 B.C.E. Greywacke) | ||
| + | - Context: | ||
| + | - Neolithic {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Settled communities which allowed more time for sculpture | ||
| + | - Greywacke: Really hard to carve long lasting and durable; valuable | ||
| + | - Content: | ||
| + | - Most likely a depiction of an Echidna, which is an egg-laying mammal that’s native to the New Guinea region | ||
| + | - The Ambum stone’s rounded belly provides balance and allows it to be a freestanding sculpture | ||
| + | - Form: | ||
| + | - Used substances carving techniques which means they subtracted a certain amount of greywacke stone to create they floaty neck | ||
| + | - Function: | ||
| + | - Unknown. But easy to pass around. Perhaps some religious purpose, buried w/ dead people | ||
| + | |||
| + | - Tlatilco Female Figurine (Central Mexico, sites of Tlatilco. 1200-900 B.C.E. Ceramic) | ||
| + | - Context: | ||
| + | - Founded with many others by brick makers who were getting clay {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Appears to have come from graves | ||
| + | - Content: | ||
| + | - Figure of female form | ||
| + | - Elaborate style hair and lively expression | ||
| + | - Deformities: | ||
| + | - Form: | ||
| + | - Balanced through symmetry textured hair, heavy bottom | ||
| + | - Rarely depicted males but when they are they are often wearing masks/ | ||
| + | - Function: | ||
| + | - May have been part of a burial process | ||
| + | |||
| + | - Terra Cotta Fragments (Lapita. Solomon Islands, Reef Islands. 1000 B.C.E. incised) | ||
| + | - Context: | ||
| + | - Created by the artisans in the Lapita culture {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Was discovered in New Caledonia islands ~about 85,000 indigenous people lived on these islands | ||
| + | - Content: | ||
| + | - Clear anthropomorphic figure depicted | ||
| + | - faces=highly geometric, large, | ||
| + | - Different groups have specific designs in their pottery. | ||
| + | - Form: | ||
| + | - Made from molded terra cotta , a reddish, brown, unglazed type of clay | ||
| + | - Used method called dentate stamping involves carving designs into existing natural materials | ||
| + | - Function: | ||
| + | - Fragments are from a pot used to store food | ||
| + | - Could have been a form of reverence for ritualistic/ | ||
| + | - Pottery was exchanged within this group: this shows trade and communication | ||
| + | |||
| + | ====== Unit 2: Ancient Mediterranean ====== | ||
| + | |||
| + | - White Temple and its Ziggurat (Uruk [modern Warka, Iraq]. Sumerians. 3500-3000 B.C.E. Mud Brick) | ||
| + | - Context: | ||
| + | - Located in Iraq {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Content: | ||
| + | - 40 feet tall | ||
| + | - Tripartite plan | ||
| + | - Rectangular central hall | ||
| + | - Three entrances | ||
| + | - White temple | ||
| + | - North, west and east entrances | ||
| + | - Chambers with northeast with wood shelves | ||
| + | - North end contained a podium and altar | ||
| + | - Found lion & leopard bones | ||
| + | - Ziggurat | ||
| + | - Raised platform with sloping sides | ||
| + | - Has a stairway and has | ||
| + | - Form: | ||
| + | - Made out of mudrock and asphalt top | ||
| + | - Whitewashed | ||
| + | - Function : | ||
| + | - For government and religious purpose | ||
| + | - Rituals & sacrifices ( dedicated to Anu) | ||
| + | |||
| + | - Palette of King Narmer (Predynastic Egypt. 3000-2920 B.C.E. Greywacke.) | ||
| + | - Context: | ||
| + | - Found in the temple of Horus | ||
| + | - Made during the unification of lower and upper Egypt | ||
| + | - For King Narmer | ||
| + | - Content: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Contains The head of goddess Bat | ||
| + | - King Narmer with a bull tail and a lower Egpytian custom (kilt) | ||
| + | - Enemies decapitated and castrated | ||
| + | - Bull (King Narmer) knocking down walls | ||
| + | - Form: | ||
| + | - Carved from a grayish siltstone | ||
| + | - 2 feet long | ||
| + | - Function: | ||
| + | - Used for grinding up makeup (ex: Eye makeup and lipstick) | ||
| + | - Ceremonial; dedicated to a god | ||
| + | - Was also an object placed in graves | ||
| + | |||
| + | - Statues of Votive Figures, from the Square Temple at Eshnunna (modern Tell Asmar, Iraq) (Sumerians. 2900-2600 B.C.E. Gypsum inlaid with shell and black limestone) | ||
| + | - Context: | ||
| + | - Aspects of Mesopotamia religion is the votive figures | ||
| + | - Worshippers set up statues so that the statues would worship in place of the owners when owners leave the shrine | ||
| + | - Content: | ||
| + | - Figure of male and female donors | ||
| + | - Eyes are larger than hands (hierarchical scale) | ||
| + | - Inscription - wish to be granted and/or ask a god to look upon worshipers favorably {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Form: | ||
| + | - Alabaster | ||
| + | - Pedestal | ||
| + | - 1 feet 3 inches | ||
| + | - Individualistic characteristics | ||
| + | - Eyes made of lapis lazuli- | ||
| + | - V-shaped bodies | ||
| + | - Brows - dark shells, limestone, | ||
| + | - Function: | ||
| + | - Portable | ||
| + | - Stand- in worshipper | ||
| + | |||
| + | - Seated Scribe (Saqqara, Egypt. Old Kingdom, Fourth Dynasty 2620-2500 B.C.E. Painted Limestones) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | |||
| + | i. | ||
| + | |||
| + | ii. iii. | ||
| + | |||
| + | i. | ||
| + | |||
| + | ii. iii. | ||
| + | |||
| + | iv. | ||
| + | |||
| + | - Context: | ||
| + | |||
| + | > Depicts a seated scribe Scribes were the one of the few people that could write and read Egyptian Scribes were used to write down history and records | ||
| + | |||
| + | - Content: | ||
| + | |||
| + | > Scribe holds a papyrus scroll Tranquil face = wisdom Scribe at work Sitting = position of royalty or respect | ||
| + | |||
| + | - Form: | ||
| + | |||
| + | - Body is limestone | ||
| + | |||
| + | - Nipples are made of wood | ||
| + | |||
| + | - Individualistic features | ||
| + | |||
| + | - The scribe would have been placed on a description | ||
| + | - Function: | ||
| + | - For funerals | ||
| + | - Created due to the respect the scribe had in society | ||
| + | |||
| + | - Standard of Ur from the Royal Tombs at UR (modern Tell el-Muqayyar, | ||
| + | - Context: | ||
| + | - Found in south Iraq | ||
| + | - Prosperous and fertile grounds | ||
| + | - Found in the graves of Ur (one grave contained 74 sacrifices) | ||
| + | - Content: | ||
| + | - One side shows men bringing crops and fish {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Another side is the war | ||
| + | - Enemies of war- naked and bleeding given to the king | ||
| + | - Divided into 3 registers | ||
| + | - Hierarchical scale King is larger than others to show importance | ||
| + | - Talons folding an arrow- symbol of war | ||
| + | - Olive branch - symbol of peace | ||
| + | - Form: | ||
| + | - Mosaic tiles made from shells (from Persia), red limestone (from India), blue lapis lazuli (from Afghanistan) | ||
| + | - Small; portable | ||
| + | - Function: | ||
| + | - Mostly unknown | ||
| + | - Possibilities | ||
| + | - Music box | ||
| + | - Commemoration art | ||
| + | - A wallet (something to hold currency) | ||
| + | - Standard was a flag brought into battle (maybe held a flag in the past) | ||
| + | |||
| + | - Great Pyramids of Giza (Menkaura, Khafre, Khufu) and Great Sphinx (Giza, Egypt. Old Kingdom, Fourth Dynasty. 2550-2490 B.C.E. Cut Limestone) | ||
| + | - Context: | ||
| + | - Tallest things for over 4000 years | ||
| + | - People were buried with all the things they need in life | ||
| + | - Cosway=elevated road led to nile-river | ||
| + | - When dead=boat arrive up cosway funeral temple taken to pyramid | ||
| + | - Pyramid of Khufu: | ||
| + | - Tallest of the 3 (481ft), 2300000 blocks over 50 tons | ||
| + | - king/queen chamber | ||
| + | - Pyramid of Khafre: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - 2nds tallest but looks tallest because it’s on higher grounds | ||
| + | - Contains a Sphinx: carved into the bedrock, symbol of royal power. | ||
| + | |||
| + | > Lion with the head of Khafre | ||
| + | |||
| + | - Pyramid of Menkaure: | ||
| + | - Smallest (213 ft) | ||
| + | - Most complex chambers of the 3 | ||
| + | - Held Menkaure’s black stones | ||
| + | - Held many statues of the king | ||
| + | |||
| + | - Content: | ||
| + | - 3 major pyramids for 3 rulers over 3 generations | ||
| + | - Representations of the passages of the dead | ||
| + | - Pyramids = close to cities | ||
| + | |||
| + | - Form: | ||
| + | - Bedrocks, corestones, Tura limestone, casing red granite, mortar, edges = aligned with cardinal points | ||
| + | |||
| + | - Function: | ||
| + | - Burial sites for kings | ||
| + | - Royal mortuary complex | ||
| + | - Social structure | ||
| + | - Reflect solar cycle | ||
| + | |||
| + | - King Menkaura and Queen (Old Kingdom, Fourth Dynasty. 2490-2472 B.C.E. Greywacke) | ||
| + | - Context: | ||
| + | - During the old kingdom during fourth dynasty | ||
| + | - Menkaure was the son of Khafre | ||
| + | - Content: | ||
| + | |||
| + | - Depicts Egyptian king Menkaure and his wife(unsure who it is) | ||
| + | |||
| + | - Wears traditional fake beard and headdress | ||
| + | |||
| + | - Both are stepping forward with left foot shows stepping into the afterlife | ||
| + | |||
| + | - Individualized & young facial and body characteristics | ||
| + | |||
| + | - Menkaura is slightly taller than his wife | ||
| + | |||
| + | - Both have nude upper bodies and wearing a skirt | ||
| + | - Form: | ||
| + | |||
| + | - No inscription | ||
| + | |||
| + | - Made out old greywacke (hard to carve) | ||
| + | |||
| + | - Rigid postures | ||
| + | - Function: | ||
| + | |||
| + | - Communicates the divinity of the pharaoh | ||
| + | |||
| + | - Memorial structure | ||
| + | |||
| + | - Used to make sure the pharaoh would reach the afterlife | ||
| + | |||
| + | - The Code of Stele of Hammurabi (Babylon [modern Iran]. Susian. 1792-1750 B.C.E. Basalt) | ||
| + | - Context: | ||
| + | - Babyloain kingdom | ||
| + | - King Hammurabi came into power | ||
| + | - Content: | ||
| + | - King Hammurabi receiving the code from the god of justice (Shamash) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Laws written in cuneiform | ||
| + | - small register (showing right to be king) | ||
| + | - Over 300 laws that governed Babyloian society | ||
| + | - Law and punishments were severe | ||
| + | - Form: | ||
| + | - High relief | ||
| + | - 7.4 ft tall | ||
| + | - Basalt rock | ||
| + | - Function: | ||
| + | - To show the laws and punishments that will be enforced by Hammurbi | ||
| + | |||
| + | - Temple of Amun-Re and Hypostyle Hall (Karnak, near Luxor, Egypt. New Kingdom, 18th and 19th Dynasties. Temple: 1550 B.C.E.; Hall: 1250 B.C.E. Cut sandstone and mudbrick) | ||
| + | - Context: | ||
| + | - Heavily used New Kingdom | ||
| + | - Temple: 1550 B.C.E. | ||
| + | - Hall: 1250 B.C.E. | ||
| + | - Certain areas = restrictive and only able to be accessed by elite | ||
| + | - Currently in poor state due to lack of preservation | ||
| + | - Content: | ||
| + | - Pharaohs continued to add to it overtime | ||
| + | - Clerestory lighting = natural and coming from opening above | ||
| + | - Creates a sort of heavenly godly feeling {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Existed in Karnak, near Luxor. | ||
| + | |||
| + | Egypt | ||
| + | |||
| + | - Obelisk and sphinx make it Egyptian | ||
| + | |||
| + | - Form: | ||
| + | - Made of cut sandstone and mudbrick | ||
| + | - Axis designed and created on the 4 cardinal direction points, had a both a north/south and an east/west axes | ||
| + | - Hypostyle = columns hence the name one of the largest temple construction | ||
| + | - Axial temple: longitudinal split symmetry | ||
| + | - Pylon-long gate way/ | ||
| + | |||
| + | - Function: | ||
| + | - Center of god Amun-Re | ||
| + | - Also honors several Egyptain gods and goddess | ||
| + | - Also known as the most select of places | ||
| + | |||
| + | - Mortuary Temple of Hatshepsut (Near Luxor, Egypt. New Kingdom, 18th Dynasty. 1473-1458 B.C.E. Sandstone, partially carved into a rock cliff, and red granite) | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Hatshepsut = woman pharaoh | ||
| + | - New kingdom | ||
| + | - Hatshepsut wanted to prove that she was chosen to be Pharaoh | ||
| + | - Content: | ||
| + | - Kneeling statue of Hatshepsut - shows the masculine features of past Pharaohs (fake beard, deemphasized breast, and headdress) - 9 ft tall | ||
| + | - Temple had a relief carvings and statues of the Pharaoh with the gods | ||
| + | - Form: | ||
| + | - Temple cut from a cliff side | ||
| + | - Kneeling statue - made from granite | ||
| + | - Temple had a colonnade terrace (aligned with the winter solstice ) | ||
| + | - Function: | ||
| + | - Funerary temple to Pharaoh Hatshepsut | ||
| + | |||
| + | - Akhenaton, Nefertiti, and Three Daughters (New Kingdom [Amarna], 18th Dynasty 1353-1335 B.C.E. Limestone). | ||
| + | - Context: | ||
| + | - Akhenaton changed the kingdom to only worshipping one god (Aten, the sun god ) | ||
| + | - Akhenaton and Nefertiti made themselves the representative of Aten iii. | ||
| + | - Content: | ||
| + | - Depicts Akhenaton, Nefertiti and his three daughters sitting on a throne {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Aten is represented by a sun in the center | ||
| + | - Ankhs (symbol of life) radiate from the sun toward the family | ||
| + | - Shows family is connect to Aten | ||
| + | - Form: | ||
| + | - Bas - relief carving | ||
| + | - Limestone | ||
| + | - Disproportionate bodies | ||
| + | - Softer body positions (sloping and relaxed forms) | ||
| + | - Around 32 cm. high | ||
| + | - stylistic | ||
| + | - Function: | ||
| + | - Meant to be apart of house altar | ||
| + | - Iconography - depicts a god | ||
| + | |||
| + | - Tutankhamun’s Tomb, innermost coffin (New Kingdom, 18th Dynasty. 1323 B.C.E. Gold with inlay of enamel and semi precious stones) | ||
| + | - Context: | ||
| + | - Tut is the son of Akhenaten and Nefertiti | ||
| + | - Content: | ||
| + | - Pharaoh Tut sarcophagus had three coffins for the kings body {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Inner coffin was made out of solid gold | ||
| + | - Outer coffins had gems like lapis lazuli and turquoise | ||
| + | - Had a death mask | ||
| + | - The pharaoh held a crook and flail (symbols of the Pharaoh’s right to rule) | ||
| + | - Had depictions of Nekhbet (a vulture) and Wadjet (cobra) | ||
| + | - Back of death mask is covered in a spell to help the Pharaoh get to the afterlife | ||
| + | - Wore a fake beard | ||
| + | - Form: | ||
| + | - Innermost coffin was made out of gold | ||
| + | - Gold with many different gems | ||
| + | - Function: | ||
| + | - Meant to protect the body of the pharaoh | ||
| + | - Help the pharaoh reach the afterlife | ||
| + | |||
| + | - Last judgement of Hu-Nefer, from his tomb. Book of the Dead (New Kingdom, 19th Dynasty. 1275 B.C.E. Painted papyrus scroll) | ||
| + | - Context: | ||
| + | - Book of Dead = text with spells, prayers and inscriptions that helped the dead in the afterlife | ||
| + | - “Coffin Text’ instructions written on coffin | ||
| + | - Founded buried with HuNefer | ||
| + | - Horus 4 children are responsible for carving for Hunefer’s internal organs, represent 4 cardinal points | ||
| + | - Art contains Egyptian conventions | ||
| + | - Content: | ||
| + | - Upper left = Hunefer speaking to deities explaining how he has lived a good ife and deserve to be in afterlife {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Depicted in white robe | ||
| + | - Led by Anubis=jackal- headed god who is carrying | ||
| + | |||
| + | an Ankh-symbol of eternal life | ||
| + | |||
| + | - Anubis = seemed with a scale, weighing Hunefer’s heart with a feather, from Ma’at (associated with living an ethical, ordered life). If feather weighs more = ethical life. If heart weighs more=beast Ammit (crocodile lion, hippo beast) will devour, Hunefer’s heart = unethical life | ||
| + | |||
| + | - Horus (a falcon head son of Osiris) hold an ankh introduces film to Osiris wife and Neftis (Osiris sister) stand behind ostris and join him in making judgment on Hunefer | ||
| + | |||
| + | - Form: | ||
| + | - Drawing/ painting on papyrus scroll | ||
| + | |||
| + | - Function: | ||
| + | - To prove Hunefer had lived an ethical life and deserved to enter the afterlife | ||
| + | |||
| + | - Lamassu from the Citadel of Sargon II, Dur Sharrukin (modern Khorsabad. Iraq) (Neo- Assyrian. 720-705 B.C.E. Alabaster.) | ||
| + | - Context: | ||
| + | - Mesopotamia was often in war and being conquered by different people | ||
| + | - Palace of Sargon | ||
| + | - Founded the capital in modern day Khorsabad | ||
| + | - Made during the height of Assyrian power {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Content: | ||
| + | - Human headed winged bull (protective genies called Lamassu) guarded entrances | ||
| + | - Carved from a single block | ||
| + | - The Lamassu has five legs | ||
| + | - Curly long tail | ||
| + | - Expressive eyes | ||
| + | - Has a crown, detailed wings, double horns, | ||
| + | - Looked as if it is moving forward if seen from the side | ||
| + | - Form: | ||
| + | - High relief | ||
| + | - 13.9 ft tall | ||
| + | - Function: | ||
| + | - A spiritual guardian figure of city and important places | ||
| + | - Symbol of the kings power | ||
| + | - Held up the citadel | ||
| + | |||
| + | - Athenian Agora (Archaic through Hellenistic Greek. 600 B.C.E.-150 C.E. Plan) | ||
| + | - Context: | ||
| + | - Was invaded by the Perisans but was rebuilt later on {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Citizens (male Athenians) were able to participate in government | ||
| + | - Meritocracy and equality before the law | ||
| + | - Content: | ||
| + | - The stoa - government, business | ||
| + | - Athena -patron goddess | ||
| + | - Form: | ||
| + | - Buildings were made out of marble | ||
| + | - Function: | ||
| + | - Originally a burial ground during the Bronze and Iron ages | ||
| + | - Started as a market place then transformed into a government building | ||
| + | - Progressed into a sacred temple dedicated to Athena | ||
| + | |||
| + | - Anavysos Kouros (Archaic Greek. 530 B.C.E. Marble with remnants of paint) | ||
| + | - Context: | ||
| + | - During the Archaic period | ||
| + | - First obtained iron tools | ||
| + | - Unknown artist {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Found in a cemetery Anavysos | ||
| + | - Grave marker for Krisos | ||
| + | - Content: | ||
| + | - Young naked male | ||
| + | - A little bit larger than life size | ||
| + | - Kouros - youth | ||
| + | - Set up by an aristocratic family | ||
| + | - Form: | ||
| + | - Idealized male body- strong and lean | ||
| + | - Stiff body posture - influenced by egyptain art | ||
| + | - Naked body | ||
| + | - Neatly braided hair | ||
| + | - Function: | ||
| + | - It was very popular | ||
| + | - Used as grave markers | ||
| + | - Offerings to a god | ||
| + | |||
| + | - Peplos Kore from the Acropolis (Archaic Greek. 530 B.C.E. Marble, painted details) | ||
| + | - Context: | ||
| + | - Created in 530 BCE | ||
| + | - Unknown artist {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Content: | ||
| + | - Young maiden | ||
| + | - A peplos robe | ||
| + | - Arm extended while holding something | ||
| + | - Rigid stance - Eqytian influence | ||
| + | - Facial expression - transcendent & wise | ||
| + | - Form: | ||
| + | - Once brightly pigmented ( red hair colored eyes) | ||
| + | - Missing left arm | ||
| + | - Tightened wrist | ||
| + | - Wearing a dress | ||
| + | - Neatly braided hair | ||
| + | - Function: | ||
| + | - To honor or depict a goddess | ||
| + | - Placeholder in front of a temple | ||
| + | - Physical representation of a goddess | ||
| + | |||
| + | - Sarcophagus of the Spouses (Etruscan. 520 B.C.E. Terra cotta) | ||
| + | - Context: | ||
| + | - Found in Etrusan tomb | ||
| + | - Etrusans lived in northern Italy {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Made in 520 BCE | ||
| + | - Etrusan women held a higher importance | ||
| + | - Content: | ||
| + | - Deceased woman and man together in intimacy | ||
| + | - Archaic smile | ||
| + | - Both people are reaching out | ||
| + | - The sarcophagus takes form of a bed | ||
| + | - Form: | ||
| + | - Painted terra cotta | ||
| + | - High-relief | ||
| + | - Relaxed figure | ||
| + | - Function: | ||
| + | - Grave marker | ||
| + | |||
| + | - Audience Hall (apadana) of Darius and Xerxes (Persepolis, | ||
| + | - Content: | ||
| + | - 72 columns, each 24 meters tall, extremely intricate | ||
| + | - Columbs capitals = animals: bulls, eagles, lions, all symbol of royalty | ||
| + | - 2 monuments of staircases | ||
| + | - The walls were carved with illustrations of hundreds of figures bringing offerings to the king from all the states conquered by Persian Empire | ||
| + | - Form: | ||
| + | - Carved primarily of limestone {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - The carvings on the wall were bas-relief | ||
| + | - Display the importance and authority of King | ||
| + | - Column capital = high relief | ||
| + | - Hall = hypostyle architecture | ||
| + | - Function: | ||
| + | - Represents the expensive | ||
| + | |||
| + | nature of the Persian Empire and emperor’s power | ||
| + | |||
| + | - Ceremonial Hall | ||
| + | |||
| + | - Served as the center of Persian Empire’s capital | ||
| + | |||
| + | - Temple of Minerva (Veii, near Rome, Italy) and sculpture of Apollo (master sculptor Vulca. 510-500 B.C.E. Original temple of wood, mudbrick, or tufa [volcanic rock]; terra cotta sculpture) | ||
| + | - Context: | ||
| + | - Found in Ertuscan | ||
| + | - Content: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Long deep tufa - block foundations | ||
| + | - Square footprint | ||
| + | - Triple cellar (Three-room configuration) | ||
| + | - Temple held masks, antefixes, decorative details | ||
| + | - Terra cotta statues were once placed on the edge of the roof | ||
| + | - Which was set up in a horizontal register | ||
| + | - Form: | ||
| + | - Terra cotta | ||
| + | - Tufa - a porous rock similar to limestone | ||
| + | - Doric columns | ||
| + | - Stone foundations | ||
| + | - Wood, mudbrick, terra cotta superstructure | ||
| + | - Split into two | ||
| + | - Deep front porch with wide space Tuscan columns | ||
| + | - Triple cella | ||
| + | - Back portion has triple cella | ||
| + | - High podium | ||
| + | - Function: | ||
| + | - Dedicated to Minerva | ||
| + | - Shows Etruscan assimilation of Greek gods | ||
| + | - Values of the gods and goddess changed slightly for Etrucsan | ||
| + | |||
| + | - Tomb of the Triclinium (Tarquinia, Italy. Etruscan 480-470 B.C.E. Tufa and Fresco) | ||
| + | - Context: | ||
| + | - Iron Age - peak of Etrsucan culture | ||
| + | - Wealth based on natural resources {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Iron from Greece and north Africa | ||
| + | - Etruscans believed that the afterlife will be like life on Earth | ||
| + | - Funerary customs | ||
| + | - Did not bury people | ||
| + | - Intricate funerals for members of the elite | ||
| + | - Funerals had games, banquet, music and dancing | ||
| + | - Tombs had furniture | ||
| + | - Carved the deceased into the sarcophagus | ||
| + | - Had a triclinium - three couched dining room | ||
| + | - Tomb found in Tarquinia | ||
| + | - Content: | ||
| + | - Tomb has chambers | ||
| + | - Painted fresco walls | ||
| + | - Left wall - four dancers and a male musician | ||
| + | - Right wall has a similar painting | ||
| + | - One fresco painting is faded most likely had 3 couches with recliner diners and 2 attendants | ||
| + | - Animals under couches | ||
| + | - Men dressed in robes | ||
| + | - Trees and shrubs | ||
| + | - Nude cup bearer | ||
| + | - Tomb ceiling is checkered | ||
| + | - Form: | ||
| + | - Fresco paintings | ||
| + | - Cambers cut out of subterranean rock | ||
| + | - Stylistic depictions | ||
| + | - Angular and stiff postures | ||
| + | - Gender depiction | ||
| + | - Men - darker skin tone | ||
| + | - Women - lighter skin tone | ||
| + | - Function: | ||
| + | - For funerary rituals | ||
| + | - Contained the deceased and offerings to God | ||
| + | - Shared a final meal with the deceased | ||
| + | - Proportion of meal was left in | ||
| + | - Reinforce social economic | ||
| + | |||
| + | - Niobides Krater (Anonymous vase painter of Classical Greece known as the Niobid Painter. 460-45- B.C.E. Clay, red-figure technique [white highlights]) | ||
| + | - Context: | ||
| + | - Methods: Throwing clay is centered or rotating wheels. While rotating, the potter pulls up the clay and forms it to desired shape. Turning and joining: Trimming superfluous and uneven clay to refine the shape of a vase/reduce the thickness walls. Burnishing: used to create smooth surfaces | ||
| + | - Each period of time had it’s own techniques | ||
| + | - Geometric period: geometric patterns | ||
| + | - Orientalizing period: animals professions and near eastern motifs | ||
| + | - Archaic and Classical Periods: vase displays human and mythological activities. | ||
| + | - To produce the characteristic red and black colors: used liquid clay as paint {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Content: | ||
| + | - 2 sides | ||
| + | - Front: Niobe: 14 kids and bragged about it | ||
| + | - Leto = mother of Apollo and Artemis. They got revenge for their mother by killing Niobe’s kid | ||
| + | - Perfect profile | ||
| + | - Artemis = reaching quiver for another arrow | ||
| + | - Apollo = drawing his bow back | ||
| + | - Niobe kids = more frontal | ||
| + | - Back: Hercules holding club and wearing lion skin | ||
| + | - Athena = left | ||
| + | - Maybe it's not a painting of Hercules, maybe Greek soldiers are coming to honor him and ask for protection | ||
| + | - Form: | ||
| + | - Figure = stiff, early classical period, severe style. Made of clay | ||
| + | - Function: | ||
| + | - Type of Vessel = calyx-krater | ||
| + | - Large purch bowl | ||
| + | - Used to mix water and wine | ||
| + | |||
| + | - Doryphoros (Spear Bearer) (Polykleitos. Original 450-440 B.C.E. Roman copy [marble] of Greek original [bronze]) | ||
| + | - Context: | ||
| + | - Found in palestra (place for athletes to work in) in Pompeii | ||
| + | - One of the most copied sculpture in Greeks | ||
| + | - Created at time when Greeks were in awe of the mathematics of perfection of human body | ||
| + | - Manipulated symmetry | ||
| + | - Graceful arrangement of the body based on tilted shoulders and hips and bent knees {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Content: | ||
| + | - Celebrates the human body, it's beauty, and strength | ||
| + | - Earliest examples of contrapposto: | ||
| + | - Strong sense of harmony: Left arm/ right leg=relaxed, | ||
| + | - Broad shoulders/ | ||
| + | - Hold an iron spear | ||
| + | - Depicts everyone ideal self | ||
| + | - Form: | ||
| + | - White marble | ||
| + | - Subtractive sculpture | ||
| + | - Life size=84 inches | ||
| + | - Function: | ||
| + | - People can learn from it | ||
| + | - Understand proportions | ||
| + | - Canons - a set of guidelines, outlining the ideal man based on ratios and measurements | ||
| + | - Showcase the beauty | ||
| + | |||
| + | - Acropolis (Athena, Greece. Iktinos and Kallikrates. 447-410 B.C.E. Marble.) | ||
| + | - Context: | ||
| + | - has been ransacked and burnt, blown up, etc multiple times | ||
| + | - Content: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - there are multiple buildings most notably the Parthenon, Temple of Nike, old Temple of Athena, Altar of Athena Polias, Rome and Augustus altar, Athena Promachos, Erechtheion, | ||
| + | - Form: | ||
| + | - Extremely large, classical period | ||
| + | - Function: | ||
| + | - Most important religious center in Greece | ||
| + | |||
| + | - Grave Stele of Hegeso (Attributed to Kallimachos 410 B.C.E. marble and paint) | ||
| + | - Context: | ||
| + | - Diphlon cemetery in Athens | ||
| + | - Hegeso: woman, domestic, basically in a house on the stele: 2 walls and a roof {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Not citizens of Athens | ||
| + | - Women were defined by their relationship to men | ||
| + | - noble , her father grave plot was super magnificent | ||
| + | - Attributed to the sculptor Kallimachos | ||
| + | - Content: | ||
| + | - Relief sculpture of Hegeso and servant girl | ||
| + | - Servant holds jewelry box and Hegeso holds and look at a necklace (dowry) | ||
| + | - Drapery: elaborate forms and swirls, very close to her body | ||
| + | - She does not touch the ground: her foot is on a pedestal | ||
| + | - Inscription says Hegeso, daughter of Proxenos | ||
| + | - Form: | ||
| + | - Stele 5’2” | ||
| + | - Detailing of drapery: naturalistic, | ||
| + | - Function: | ||
| + | - Grave stones | ||
| + | |||
| + | - Winged Victory of Samothrace (Hellenistic Greek 190 B.C.E Marble) | ||
| + | - Context: | ||
| + | - Stands on the prow of a huge marble ship to spread the messages | ||
| + | - Had huge impact on the traditions of western art that followed | ||
| + | - Louvre in Paris, France | ||
| + | - Content: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Depicts Nike = goddess of victory | ||
| + | - Missing her head and both arms but used to hold a trumpet or cupping her hand around her mouth to announce a naval victory | ||
| + | - The way her body is sculpted=creates a spiraling effect: her wings reach back her chest forward, her feet down | ||
| + | - Wet drapery technique | ||
| + | - Form: | ||
| + | - Over 9ft tall | ||
| + | - Made of Thasian and Parian marble | ||
| + | - Was found in temple complex on the island of Samothrace called sanctuary of the Great Gods | ||
| + | - Function: | ||
| + | - statue=ex-voto (offering to deity) most commemorate a naval victory | ||
| + | - The offering would serve to gain the deities favor protecting sailors and armies against storms and enemies. | ||
| + | |||
| + | - Great Altar of Zeus and Athena at Pergamon (Asia Minor [present day Turkey]. Hellenistic Greek. 175 B.C.E. Marble [architecture and sculpture]) | ||
| + | - Context: | ||
| + | - Geographically desirable | ||
| + | - Pergamon Museum: tried to recreate it | ||
| + | - Content: | ||
| + | - Battle of Greek myth pantheon of gods V.S. giant to determine the controller of the universe {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Athena | ||
| + | - Fights Alkyoneus, main giant, as his mother looks in horror | ||
| + | - Appears triumphant as she fights | ||
| + | - Being crowned by winged Nike | ||
| + | - Uses battle shakes to aid in defeating the Giants | ||
| + | - Gigantoleira= slayer of the giants. | ||
| + | - Zeus: | ||
| + | - Battles 3 giants at once with help of an eagle (above) and his lightning bolt | ||
| + | - Cloaked in realistically ruffled robes | ||
| + | - 2 of 3 giants he had already defeated | ||
| + | - Form: | ||
| + | - 35.64x33.4 metres | ||
| + | - High relief sculpture | ||
| + | - More prominent gods and figures=higher relief | ||
| + | - Function: | ||
| + | - Worship of Greek gods | ||
| + | - Representation of Greek power | ||
| + | - Sacrifices=made on top of stairs | ||
| + | |||
| + | - House of the Vettii (Pompeii, Italy. Imperial Roman. Second century B.C.E.; rebuilt 62- 79 C.E. Cut stone and fresco) | ||
| + | - Context: | ||
| + | - House owned by Aulus Vettius Conviva and his brother, Aulus Vettius Restitutus | ||
| + | - Conviva= Augutalis- a position at the highest civic office a freeman could attain | ||
| + | - Content: | ||
| + | - Wall painting=decorative schema {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - 4th style wall painting=expansive | ||
| + | - Contains large central Halls (Atria) | ||
| + | - Largest of room opening on peristyle contains painting in red/black | ||
| + | - Mythical winged gods of Love | ||
| + | - Impluvium (water basin) lies at center of atrium for collecting rain | ||
| + | - Increasingly sexual nature of paintings and artwork marks a decline in Pompeii moral standards | ||
| + | - Phallic figures god priapus, females being sexual, and depictions of nude males symbolizes fertility | ||
| + | - Painting depicts Cupid collecting grapes | ||
| + | - Form: | ||
| + | - Covers 1,100 sq meters | ||
| + | - Demonstrates Pompeii’s late artistic and architectural style | ||
| + | - The house paintings=indicate a theme of forward-thinking | ||
| + | - Function: | ||
| + | - 2 lockrooms for storing valuables were displayed proudly in the vestibulum | ||
| + | - The brothers went from freedmen to very wealthy | ||
| + | |||
| + | - Alexander Mosaic from the House of the Faun, Pompeii (Republican Roman 100 B.C.E. Mosaic) | ||
| + | - Context: | ||
| + | - Found in the city of Pompeii which was preserved in ash after the eruption of Mount Vesuvius | ||
| + | - It was found in the House of Faun, named after the bronze statue of a faun found there | ||
| + | - The Battle of Issus (333 BC) which was a turning point in ancient history because the ruler of Persia (Darius III) is ordering a retreat of his troops | ||
| + | - Darius has a look of desperation and history says that Alexander pitied his family and let them live | ||
| + | - Alexander is not depicted in his typical form here. It's; more natural {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Content: | ||
| + | - Depicts the Battle of of Alexander the Great and Darius III | ||
| + | - Very dramatic and chaotic scene with a sense of mentum as the massive chariot is turning around | ||
| + | - Excellent use of foreshortening in the horse | ||
| + | - Alexander breastplate has Medusa’s head, which was used as a magical protection spell from evil, it also symbolizes divine birth | ||
| + | - Form: | ||
| + | - Floor mosaic, 2.72 by 5.13 meters | ||
| + | - Made from more than one million and a half pieces of stones and glass | ||
| + | - Possibly based on a wall painting done in 315 B.C.E. hellenistic period by a greek artist named Philoxenos because it matches a description of the painting written by Pliny | ||
| + | - Function: | ||
| + | - Found in the House of Faun which was the nicest mansion found in Pompeii which means it was piece of art aristocrats would have invested in for perhaps their own enjoyment and for the enjoyment of guests | ||
| + | |||
| + | - Seated Boxer (Hellenistic Greek. 100 B.C.E. Bronze) | ||
| + | - Context: | ||
| + | - Breaking away from the traditional idealized, heroic male nude | ||
| + | - Still holding onto the pre-hellenisitic ideas: his body is idealized with perfect muscles but in contrast, his posture and face show humanity {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Content: | ||
| + | - The humanity found in this work creates a sense of presence | ||
| + | - Muscular, powerful, and defeated | ||
| + | - Covering his head and face is bits of copper which posed next to the bronze resembles blood, covering his face and hands with wounds | ||
| + | - Form: | ||
| + | - Lost wax casting (hollow cast) | ||
| + | - Seated posture | ||
| + | - Made in different sections that were welded together | ||
| + | - Broken nose and shattered teeth | ||
| + | - Function: | ||
| + | - Attributed with healing powers | ||
| + | - Represents the cultural shift of the Hellenistic period | ||
| + | - Could have been a votive statue dedicated to a boxer | ||
| + | - Identifying him as the boxer of Quirinal | ||
| + | - Could be made to represent the culture of boxing in Ancient Greece. | ||
| + | |||
| + | - Head of a Roman Patrician (Republican Rome 75-50 B.C.E. Marble) | ||
| + | - Context: | ||
| + | - Patricians= worked in senate, wealthy and educated | ||
| + | - Male gaze | ||
| + | - Content: | ||
| + | - Wrinkled and toothless with w/ sagging jowls | ||
| + | - Physical traits meant to convey seriousness of mind and the virtue of a public career by showing the mark of the endeavors. {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Wrinkles and other sign of ageing on this portrait serve to point out his admirable qualities of experience, seriousness and determination | ||
| + | - Form: | ||
| + | - Otricoli, head | ||
| + | - 1’2” High | ||
| + | - Marble | ||
| + | - Polychromed (painted in several colors) | ||
| + | - Terracotta was used and then painted with encaustic (otherwise referred to as a hot wax process) | ||
| + | - Veristic style=verism | ||
| + | - A form of realism (hyper-realistic) | ||
| + | - Over exaggerated | ||
| + | - Influenced by the tradition of ancestral imaginations. Death wax masks of notable ancestors were kept and display by the family | ||
| + | - Function: | ||
| + | - Displays respect | ||
| + | - Symbolizes wisdom, determination, | ||
| + | |||
| + | - Augustus of Prima Porta (Imperial Roman. Early first century C.E. Marble) | ||
| + | - Context: | ||
| + | - Augustus claims to be reestablishing the senate but in reality is stabilizing Rome so he can be Rome first real emperor | ||
| + | - Utilize canon of proportions | ||
| + | - Cupid rides a dolphin and symbolizes Augustus win in battle of Actium | ||
| + | - Cupid=show Augustus ancestors=Aeneas and Caesar | ||
| + | - Content: | ||
| + | - Political significance, | ||
| + | - Idealized statue of him, very young and attractive | ||
| + | - Cupid is pulling down his garment at his ankle symbolizes his own divine lineage | ||
| + | - The cuirass or breast plate depicts the god of the sky and goddess of the Earth, divine convergence on his sides=female personification of the nations conquered by Rome. {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Sun God and Sky God (Sol and Caclus) are at top of Cuirass and shines down on all part of the Empire | ||
| + | - Form: | ||
| + | - Found in the villa of Livia (his wife) at Prima Porta | ||
| + | - Free standing, sculpture in the round | ||
| + | - Bas Relief carving on breast plate | ||
| + | - Standing contrapposto | ||
| + | - Function: | ||
| + | - Propaganda: the statue shows the positive qualities wanted to portray himself to the people in godlike way | ||
| + | - Demonstrating Augustus military power | ||
| + | |||
| + | - Colosseum (Flavian Amphitheater) (Rome. Italy. Imperial Roman. 70-80 C.E. Stones and concrete) | ||
| + | - Context: | ||
| + | - Original called Flavian Amphitheater | ||
| + | - Named after the family who paid for the Colosseum | ||
| + | - Later was referred to as the Colosseum | ||
| + | - Vespasian built this as a gift to the Greek people | ||
| + | - Showed the social statues based on where a person was sitting | ||
| + | - POWs , slaves and no-citizens (besides women) were able to fight for their freedom {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Content: | ||
| + | - Had vaults and arches | ||
| + | - Oval shaped | ||
| + | - Four amin levels | ||
| + | - 1-3 levels had arched windows | ||
| + | - 4 levels had no solid wall no windows( for slaves foreigners and women) | ||
| + | - Flat stage with sand in the center | ||
| + | - Sand was to absorb blood and bodily fluids | ||
| + | - The hypogeum | ||
| + | - The underground part of the colosseum | ||
| + | - Had animal pens, trap doors, and a network | ||
| + | - Level 1 - tuscan | ||
| + | - Level 2 - ionic | ||
| + | - Level 3 - Corthian | ||
| + | - Velarium | ||
| + | - A retractable awning that was used as shade for onlookers | ||
| + | - Form: | ||
| + | - Oval Amphitheater (stadium) | ||
| + | - To Greek theaters put together | ||
| + | - Inner ring made from concrete | ||
| + | - Outer ring made from Travertine ( limestone) | ||
| + | - Held 50,000 -80,000 people | ||
| + | - Covers 6 acres | ||
| + | - 50 meters high | ||
| + | - 189 meters long | ||
| + | - 156 meters wide | ||
| + | - Function: | ||
| + | - Public entrainment | ||
| + | - Battles and swordfights | ||
| + | |||
| + | - Forum of Trajan (Rome, Italy. Apollodorus of Damascus. Forum and markets: 106-112 C.E.; column completed 113 C.E. Brick and concrete [architecture]; | ||
| + | - Context: | ||
| + | - Fora- open city | ||
| + | - Were found in any Roman city at the heart | ||
| + | - Always included a temple | ||
| + | - Trajan had expanded the Roman Empire to all over the Mediterranean | ||
| + | - Content: | ||
| + | - Commemorate the Trajan’s victories | ||
| + | - Highlights of when the Trajan defeated the Dacians {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - Shows his proud military acts | ||
| + | - Full of Greek and Roman literature | ||
| + | - Form: | ||
| + | - Apollodorus of Damascus was the engineer | ||
| + | - Had a massive entrance way | ||
| + | - Column of Trajan 1. | ||
| + | - Past the forum was Basilica Ulpia | ||
| + | - Was filled with structures, carving | ||
| + | - Laid the foundation of modern cruciform church | ||
| + | - Function: | ||
| + | - Commemorate the victories and accomplishments of the Trajan | ||
| + | - Solidified power and greatness | ||
| + | - Worked as civic, ceremonial space | ||
| + | |||
| + | - Pantheon (Imperial Roman. 118-125 C.E. Concrete with stone facing) | ||
| + | - Context: | ||
| + | - Commissioned by Hadrian | ||
| + | - Most influential building in the Renaissance | ||
| + | - Inscription above doorway, reads tribute to Marcus Agibba | ||
| + | - Content: | ||
| + | - Fitted in bronze, pediment-sculpture that acted out the battle of titans, 8 arches=housed statues of deities & emperors, | ||
| + | - Statues of Augustus & Agrippa stood in Apse at the end of colonnaded side aisles of entrance | ||
| + | - Huge amount of geometric representation, | ||
| + | - Almost all of it's mathematically proportioned | ||
| + | - Hole in the Dome=oculus | ||
| + | - One great window, when it rains water comes in | ||
| + | - Form: | ||
| + | |||
| + | - Reflects the movement of the heavens because of how sharp circle of light moves across building | ||
| + | - Corinthian columns= monolithic {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - porch = rectilinear, | ||
| + | - Structural system looks like it is based on a series of interesting arches-8 in total all where deities would have been housed on the interior | ||
| + | - Lighter materials used at the top of the dome | ||
| + | - 141 feet tall | ||
| + | - Function: | ||
| + | - Originally used as a temple to the gods, then made into a church | ||
| + | - Hadrian would hold court | ||
| + | - Pope used as a Catholic Church | ||
| + | - Expression of Hadrian wealth | ||
| + | - Oculus’s light functions as sundial. | ||
| + | |||
| + | - Ludovisi Battle Sarcophagus (Late Imperial Roman 250 C.E. Marble) | ||
| + | - Context: | ||
| + | - Sarcophagus start to appear more commonly in the beginning of 2nd century | ||
| + | - Found near a tomb near porta tiburtina (gate in the Aurelian walls of Rome) | ||
| + | - More focus on interaction between the people | ||
| + | - Typical style of Late Imperial rome=emotional subject matters | ||
| + | - Borrows from Greeks in battle from art. Depth of imagers actions and interactions departure from Greek Arts | ||
| + | - Content: | ||
| + | - Roman=good guys in this piece, idealized, confident, young looking | ||
| + | - The goths=Barbarians/ | ||
| + | - The hero=center, | ||
| + | - Movement is key in this piece | ||
| + | - Narrative piece | ||
| + | - Form: | ||
| + | - Very high relief | ||
| + | - Detailed carving, at some point the piece has 4 layers of figures on top of one another | ||
| + | - The figures along bottom are physically smaller, makes viewer feel like they are looking down upon them | ||
| + | - Uses contrast of light and darkness to guide a viewer’s eye | ||
| + | - Function: | ||
| + | - Created to mark the grave of a rich, unidentified Roman | ||
| + | |||
| + | ====== Unit 3: Early Europe & Colonial Americas: ====== | ||
| + | |||
| + | - Catacomb of Priscila (Rome, Italy. Late Antique Europe 200-400 C.E. Excavated tufa and fresco) | ||
| + | - Context: | ||
| + | - Underground, | ||
| + | - The oldest part of the catacombs: closest to the entrance of Priscilla’s villa {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | ||
| + | - A place where the earliest Christians were buried | ||
| + | - Content: | ||
| + | - 10km or more than 5 miles wide | ||
| + | - At least 40,000 tombs | ||
| + | - Multiple sarcophagus for family members | ||
| + | - Scenes from the bible are depicted on the wall | ||
| + | - Book of Daniel | ||
| + | - Form: | ||
| + | - Cubiculum | ||
| + | - Passageways are stacked on top of each other | ||
| + | - Roman first style painting: Building up of plaster on wall to look like marble | ||
| + | - Function: | ||
| + | - Burial location for the actual members of Priscilla’s family | ||
| + | - Not a place for worship | ||
| + | |||
| + | - Santa Sabina (Rome, Italy. Late Antique Europe 422-432 C.E. Brick and Stone, wooden roof) | ||
| + | - Context: | ||
| + | - In Rome, atop a hill | ||
| + | - Example of an ancient Constantinian basilica | ||
| + | - Roman Chrisitians chose it as the basis of their new churches | ||
| - Content: | - Content: | ||
| - | - Windows made of selenite {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-2_a68581c8b4bf4a7b974bcd524a634d30: | + | - Windows made of selenite |
| + | | ||
| - Colonnade with side aisle on each side | - Colonnade with side aisle on each side | ||
| Line 1070: | Line 2108: | ||
| - Content: | - Content: | ||
| - Two symmetrical square madrasas | - Two symmetrical square madrasas | ||
| - | ====== Unit One: Prehistoric Arts ====== | + | - Square prayer hall at the end of porticoed courtyard {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d:image1.jpeg}} |
| - | - Apollo 11 Stone (Namibia. 25000 B.C.E Charcoal | + | - The ethereal dome- floating in the prayer hall |
| + | |||
| + | - Grand dome rest on eight murquanas | ||
| + | |||
| + | - Qibla- the wall that faces Mecca, that projects forwards | ||
| + | |||
| + | - Buttress supporting the east and west piers( holds the weight of the dome) | ||
| + | |||
| + | - Muzzin platform: | ||
| + | |||
| + | dome ( where the leaders lead the worshippers in a chant) not the traditional place | ||
| + | |||
| + | - Painted interior, iznik tiles, chinese cloud art, polychrome | ||
| + | |||
| + | - Squinches- construction filling in the upper angles of a square room, base for a octagon or spherical dome | ||
| + | |||
| + | - Has shops( arasta) and a recitation school | ||
| + | |||
| + | - Minarets | ||
| + | |||
| + | - Abundance of windows | ||
| + | |||
| + | - Form: | ||
| + | - 190x 130 meters | ||
| + | - Made out of stone, brick, and marble | ||
| + | |||
| + | - Function: | ||
| + | - Made to show the greatness and wealth of the Ottoman Empire | ||
| + | |||
| + | - Calling of Saint Matthew(Caravaggio. c. 1597--1601 ce. Oil on canvas.) | ||
| + | |||
| + | - Context: | ||
| + | - The Counter-Reformation | ||
| + | - The Catholic Church reacted against the Protestant Reformation | ||
| + | - The Baroque Style | ||
| + | - Theatrical action | ||
| + | - Diagonal lines | ||
| + | - Gritty realism | ||
| + | |||
| + | - Content: | ||
| + | - Biblical story of the calling of Saint Matthew | ||
| + | - Takes place in a tavern or pub like environment | ||
| + | - Characters dressed in contemporary clothing of that time period | ||
| + | - Light has an important role {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Creates an ethereal glow | ||
| + | - The light follows from Christ’s fingers | ||
| + | - Second Adam? | ||
| + | - Jesus’s hand mimics the Michelangelo’s hand of God in “The Creation of Adam” | ||
| + | - Jessu is sometimes referred to as “the second Adam” | ||
| + | |||
| + | - Form: | ||
| + | - Oil on canvas | ||
| + | - Located in the Contarelli chapel, Rome | ||
| + | |||
| + | - Function: | ||
| + | - Didactic element | ||
| + | - Portrays the story of The Calling of Saint Matthew | ||
| + | - Taught from the catholic perspective | ||
| + | - Makes the viewer experience the painting (“Catholic Way”) | ||
| + | |||
| + | - Henri IV Receives the Portrait of Marie de’ Medici from the Marie de’ Medici Cycle (Peter Paul Rubens. 1621--1625 ce. Oil on canvas.) | ||
| - Context: | - Context: | ||
| - | | + | - Inspiration : Titan from the Renaissance period |
| - | - Found in the Hun's mountains of Namibia | + | |
| - | - It was founded along with 7 other tablets that contained animal figures | + | |
| - | - Founded during | + | |
| + | | ||
| + | - Marie was exiled in 1617 | ||
| + | - Divisions | ||
| + | - Marie had these paintings do for propaganda | ||
| + | - Marrie and Henry’s actual marriage | ||
| + | - Henry IV was under attack by the Catholic church | ||
| + | - Henry IV was in debt to the Medicis | ||
| - Content: | - Content: | ||
| - | - Cave stones with animal-like figures | + | - Winged Gods of marriage ( hymen which is on the left) and Love (cupid on the right) |
| - | - Thought | + | |
| + | - Cupid motions toward Marie and praise her beauty/ | ||
| + | - Henry IV looks at her adoringly | ||
| + | - Jupiter and Juno look down in approval holding hands and surrounded by their animal symbols ( eagle with a thunderbolt - Jupiter & peacock- Juno) | ||
| + | - Personification of France behind Henry encouraging him to marry Marie( for politics) | ||
| + | - France looks on with approval | ||
| + | - Lady France wears a plumed helmet | ||
| + | - Lady France whispers into Henry’s ear | ||
| + | - Telling him to ignore his battles and to marry Marie for political reasons | ||
| + | - Henry obliges | ||
| + | - The remains of Henry’s battle is a burning town which lies in the background | ||
| - Form: | - Form: | ||
| - | - Made out of charcoal | + | - Oil on canvas |
| - | - Maybe used mineral based pigment bc they found ostrich egg painted | + | - Strong vertical axis running through the painting from Juno( Hera) to Marie de’Medici |
| + | - Classical style | ||
| - Function: | - Function: | ||
| - | - Unknown but it is small enough to be carried in one�s hand | + | - Propaganda idealizes Marie’s actual life |
| + | - Political reasons | ||
| + | - Religion reasons | ||
| - | - Great Hall of the Bulls (Lascaux, France. Paleolithic Europe. 15000-13000 B.C.E. Rock painting) | + | - Self-Portrait with Saskia |
| - | - Context | + | - Context: |
| - | - Stone Age | + | - Rembrandt was a famous etchere during his time |
| - | - Dordogne, France , Cave- 250 meters long, Hunter and gatherer lifestyle | + | - He was a very experimental artist |
| - | - In 1963 original | + | - His style changed throughout art career |
| - | - Content | + | - He did not often create self portraits |
| - | - Animals that were of importance (bulls, horses, cattle, deer) | + | |
| - | - Human vs animals | + | |
| - | - Form | + | |
| - | - Charcoal and ochre on nonporous rock | + | |
| - | - Hierarchical scale | + | |
| - | - Patterns were prominent (could tell us about our past) | + | |
| - | - Only one human painting | + | |
| - | - Function | + | |
| - | - Shows the importance of survival | + | |
| - | - Used for religious rituals, storytelling and preserving the history | + | |
| - | + | ||
| - | - Camelid Sacrum in the Shape of a Canine (Tequixquiac, | + | |
| - | - Context: | + | |
| - | - Prehistoric-no written record | + | |
| - | - Lost to scholars for about 60 years. It was privately owned | + | |
| - | - Spiritual significance of sacrum. Pelvic bone is the fulcrum of the body & central to internal organs. | + | |
| - | - Could be a symbol of fertility or connection to ancestry and posterity | + | |
| - Content: | - Content: | ||
| - | - Head of Canine, natural shape of sacrum bone probably suggested image of canine | + | - Is a portrait |
| - | - Nostrils, mouth | + | - It seems to be an intimate moment |
| + | - Has two circles in the background | ||
| - Form: | - Form: | ||
| - | - Made from the now fossilized remains of the sacrum-triangular pelvic bone of a camelid (now extinct) | + | - Used a copper plate eroded by acid |
| + | | ||
| + | - Illusion | ||
| - Function: | - Function: | ||
| - | - Unknown but prehistoric artisans drew/ | + | - Private artwork |
| - | - Running Horned Woman (Tassili n�Ajjer, Algeria. 6000-4000 B.C.E. Pigment on Rock) | + | - San Carlo alle Quattro Fontane(Rome, Italy. Francesco Borromini (architect). 1638--1646 ce. Stone and stucco) |
| - Context: | - Context: | ||
| - | - Found in an area with high elevation & unique topography {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | + | - Baroque style: undulating movements and sculptural effects, eliminated the corner |
| - | - Hunter & gatherer society | + | - Borromini built it for free |
| - | - Thousands of paintings were found in the area | + | - Commissioned |
| - | - Found in Algeria, Africa | + | - Built from 1638-1646 |
| + | - Borromini was an Italian architect who suffered from melancholia (a type of depression with ill-founded fears) | ||
| - Content: | - Content: | ||
| - | - White dots- body paint | + | - Facade: undulating waves, upper part=concave bays, sectioned entablature {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: |
| - | - A horned woman running with arm and shin guards | + | - Center is oval shaped, held up by asymmetrical placed angels |
| - | - People running along with the horned woman | + | - Upper facade completed after Borromini’s death |
| + | - Lower stories consist of 2 outer concave | ||
| + | - Connected | ||
| + | - Has a central niche above one portal | ||
| + | - Has a statue of St. Charles Borromeo which was created by Antonio Raggi | ||
| + | - Beside | ||
| + | - Dome | ||
| + | - Windows at the base | ||
| + | - coffering= circles with octagonal molding, unequal hexagons, and Greek crosses | ||
| + | - Contains tall columns and small niches | ||
| + | - Convex and concave structures | ||
| + | - Paradox of imagination ( emotion vs. intellect) | ||
| + | - Symmetrical decorations | ||
| + | - Numerous carvings | ||
| + | - Cherubs | ||
| - Form: | - Form: | ||
| - | - Hierarchical scale | + | - Facade with 3 Bays |
| - | - Pigment on rock | + | - Plan |
| - | - Illusion | + | - A diamond inscribed into a oval |
| - | - Profile perspective | + | - Intersecting circles |
| + | - Numerous curves ( no right angles) | ||
| + | - Stacking three distinct units | ||
| + | - Middle zone is an original Greek cross plan | ||
| + | - Combination | ||
| + | - Oval dome | ||
| + | | ||
| - Function: | - Function: | ||
| - | - Emphasized importance of survival | + | - Dedicated to St. Charles Borromeo |
| - | - Recognition of the importance animal | + | |
| - | - Beaker with Ibex Motifs | + | - Ecstasy of Saint Teresa(Cornaro Chapel, Church of Santa Maria della Vittoria. Rome, Italy. Gian Lorenzo Bernini. c. 1647--1652 ce. Marble (sculpture); |
| - Context: | - Context: | ||
| - | - Found in Iran {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846:image6.jpeg}} | + | - Artist: Gian Lorenzo Bernini |
| - | - Belong to the susa people | + | - Location: Church of Santa Maria della Vittoria |
| + | - Baroque period | ||
| + | - Religious | ||
| + | - About Saint Teresa of Avila (who lived in the 16th century) | ||
| + | - Cornaro chapel - grouping of patrons that are depicted watching Saint Teresa’s revelation | ||
| - Content: | - Content: | ||
| - | - Central ibex (mountain goat) | + | - Golden arrow pointed at the heart of Saint Teresa |
| - | - Running greyhound like animals | + | - Rays of sun (holy light of God) |
| - | - Diamond shapes at the top of the beaker | + | - Saint Teresa with an angel |
| - | - Birds encircling | + | - St. Teresa body’s contorted, twisting feet and hands |
| + | - Rocks surrounding | ||
| + | - Expressive folds of fabric | ||
| - Form: | - Form: | ||
| - | - Painted terra cotta | + | - White marble that was carved with a chisel |
| - | - Geometric lines & shapes | + | - Realistic |
| + | - Wet drapery look | ||
| + | - Expressive and emotional | ||
| - Function: | - Function: | ||
| - | - For funerary practices | + | - Virtual representation of Saint teresa when she was brought to god |
| - | - Anthropomorphic Steele | + | - Angel with Arquebus, asiel Timor Dei (Master of Calamarca (La Paz School). c. 17th century ce. Oil on canvas. ) |
| - | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846:image7.jpeg}} | + | - Context: |
| - | - Pre-Islamic Northern Saudi Arabia | + | - Made in the late 17th century in the viceroyalty of Peru (a Spanish colonial administration) |
| - | - Found with 60 other steeles | + | - Created after the first missionizing period( forcing indigenous people to convert to Christainity) |
| - | - Fertile ground and area | + | - Most likely apart of a series |
| - Content: | - Content: | ||
| - | - Represent | + | - Depictions of androgynous angel waering stunning clothes holding |
| - | - Trapezoid head with a horizontal necklace along with an awl | + | - Harquenas is a gun with a large barrel |
| - | - The waist has a belt with two daggers | + | |
| - Form: | - Form: | ||
| - | - Made from sandstone | + | - Oil on canvas |
| - | - Carvings are not intricate | + | |
| - | - Bas-relief carving | + | |
| - Function: | - Function: | ||
| - | - Steele - a vertical stone monument or marker often inscribed text or relief carving | + | - Made to represent celestial, aristocratic and military beings all at the same time |
| - | - Shows the importance | + | - Used to represent |
| - | - Jade Cong (Liangzhu, China. 3300-2200 B.C.E. Carved Jade) | + | - Las Meninas |
| - Context: | - Context: | ||
| - | - Developed | + | - Used to be housed |
| - | - Farming society | + | |
| + | | ||
| + | - Velazquez was the court artist | ||
| - Content: | - Content: | ||
| - | - Square hollow tube | + | - The characters stare into the eyes of the viewer |
| - | - Represents dead ancestors | + | - Painting of Ovid’s the metamorphosis hangs in the background ( story of gods wrestling with mortals) |
| - | - Lines and circles = animals, humans, and monsters | + | - Illusion of space, depth and perspective |
| + | - In the center is the princess, maids of honor, palace of official, chaperone, dog, dwarf (hired to be friends with the | ||
| + | |||
| + | {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | |||
| + | - The painting is set in his studio | ||
| + | |||
| + | - Paints a palette with raw paint | ||
| + | |||
| + | - Form: | ||
| + | - 318x 276 cm | ||
| + | - Oil on canvas | ||
| + | - Currently located in Museo Nacional del Prado, Madrid | ||
| + | - Uses loose brushstrokes | ||
| + | - Uses scientific and aerial perspective | ||
| + | - Many light sources are shown in painting | ||
| + | |||
| + | - Function: | ||
| + | - Made for the King and queen to view | ||
| + | - To show ethereal perfection, wealth, but showed some informal aspects | ||
| + | |||
| + | - Woman Holding a Balance (Johannes Vermeer. c. 1664 ce. Oil on canvas.) | ||
| + | - Context: | ||
| + | - Baroque period | ||
| + | - The origins of the painting is linked to Pieter de Hooch’s Gold weighter | ||
| + | - Vermeer trained with a master painter that was apart of the Guild of Saint Luke | ||
| + | - The painting takes place in 17th century | ||
| + | - 1664 was the year before the second Anglo-Dutch war | ||
| + | - Content: | ||
| + | - The woman is dressed in fine cloth and a cap made of linen (commonly worn by women who are at home) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - She is apart of the upper merchant class | ||
| + | - Wearing a fur trimmed jacket | ||
| + | - Opposite side of her is a window with golden curtains and a mirror | ||
| + | - Right hand has a balance | ||
| + | - There is nothing on the balance | ||
| + | - There are boxes on the table in front of her | ||
| + | - One is open (most likely had been containing the balance) | ||
| + | - A box with a string of pearls | ||
| + | - One with coins (indication of wealth) | ||
| + | - Behind her is a painting of Christ during the Last Judgement ( serves as judge over souls) | ||
| + | - Her head divides the blessed ( the light side of her head)and the people that are doomed to go to hell ( the dark side of her head) | ||
| + | - Light give sense of motion | ||
| + | - Dark gives sense of stillness | ||
| + | - She is not pregnant just bulky clothing | ||
| - Form: | - Form: | ||
| - | - Made from jade | + | - Her pinky is the vanishing point |
| - | - Precise engravings (created from sanding | + | - Center of the painting =center of the balance |
| - | - Bas relief | + | - Has a lot compositional control ( in color means) |
| + | - Soft swirl painting style | ||
| + | - Muted colors | ||
| - Function: | - Function: | ||
| - | - Show power and wealth | + | - Showed |
| - | - Protect in afterlife, Found in graves, Connections to nature, rectangle= earth, circle= heavens | + | - Sign of self knowledge and truth |
| - | - Stonehenge | + | - The Palace of Versailles(Versailles, France. Louis Le Vau and Jules Hardouin-Mansart (architects). Begun 1669 ce. Masonry, stone, wood, iron, and gold leaf (architecture); |
| - Context: | - Context: | ||
| - | - Founded | + | - Construction began in 1661 completed around 1682 |
| - | - 1st phrase started around 3100 B.C.E. (this would be be concurrent w/ first dynasties of ancient Egypt) | + | - The staff: |
| - | - Construction continued | + | - Louis le Vau - chief architect |
| - | - Used machinery to get the lintel stones on top of the post stones | + | - Built the Grand facade and the Queen and King apartments |
| - | - Long term communal effort, shows that they are sophisticated | + | - Built the park’s Orangerie and Menagerie |
| + | - Adopted the italian “invisible roof” hidden by trophy- adorned balustrade | ||
| + | - Balustrade- a railing supported by ornamental parapets | ||
| + | - Andre le Notre - landscape designer | ||
| + | - Charles le Brun- interior decorator and painter | ||
| + | - Jules Hardouin Mansart -favorited architect did later construction | ||
| + | - Jean- Baptiste Colbert- principal advisor of the KIng | ||
| + | - Hyacinthe Rigaud: Painter to the French King | ||
| + | - Pierre Puget: Sculptor; his works are in the King's Gardens | ||
| + | - Louis XIV patron | ||
| - Content: | - Content: | ||
| - | - 3 Phases | + | - Satellite city to the East of the palace |
| - | - Concentric circles | + | - Housed a court and government officials, military and guard detachments, |
| - | - Huge pits dugged which allows stones to stay upright | + | - Extremely detailed and ornate {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: |
| + | - Hall of mirrors | ||
| + | - Had gold and silver furniture | ||
| + | - Walls inlaid with mirrors | ||
| + | - Used for festivals and parties | ||
| + | - Gardens | ||
| + | - Visible from the Hall of mirrors( central axis lined with trees, terraces, pools, and lakes) | ||
| + | - Formal gardens served as a transition from the ordered, man- made palace to natural gardens | ||
| + | - Change depending on the seasons and location | ||
| + | - Very neat and organized | ||
| + | - City’s 3 main avenues axis converged at the King’s bedroom | ||
| + | - So he can keep an eye on high ranking officials | ||
| + | - The king’s bedroom was an informal audience room | ||
| + | - Form: | ||
| + | - Stone, marble, glass, gold, silver, wood, gardens | ||
| + | - Palace consist | ||
| + | | ||
| + | - 2000 acres of garden | ||
| + | - Function: | ||
| + | - Emphasized the importance and power of King Louis XIV | ||
| + | - Used to host parties and military agreements | ||
| + | - To compared | ||
| + | - Symbolized power of the absolute monarch | ||
| + | |||
| + | - Screen with the Siege of Belgrade and Hunting Scene (Circle of the González Family. c. 1697--1701 ce. Tempera and resin on wood, shell inlay) | ||
| + | - Context: | ||
| + | - Spanish piece | ||
| + | - Commissioned by Jose Sarmiento de Valladares | ||
| + | - Only known artwork that combines biombos and encapuchados | ||
| + | - Content: | ||
| + | - Depicts the Battle of Belgrade (1688) | ||
| + | - A hunting scene in nature | ||
| + | - Influenced by Japanese folding screens (New Spain was in trade with Japan) | ||
| - Form: | - Form: | ||
| - | - Made mainly of bluestone which is very durable | + | - Style: Spanish Colonial, Flemish, Dutch |
| - | - Post and lintel construction | + | |
| - | - Monolithic Stones | + | |
| - Function: | - Function: | ||
| - | - Evident that the 2nd stage of construction, | + | - To be placed in the viceroy' |
| - | - Horseshoes of trilithons frames mark both mid-summer solstice and midwinter sunset (longest/ | + | - Intended to be viewed by two different audiences |
| - | - The Ambum Stone (Ambum Valley, Enga Province, Papua New Guinea. 1500 B.C.E. Greywacke) | + | - The Virgin of Guadalupe |
| - Context: | - Context: | ||
| - | - Neolithic {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | + | - Found everywhere in Mexico |
| - | - Settled communities which allowed more time for sculpture | + | - Made during Spanish colonization |
| - | - Greywacke: Really hard to carve long lasting | + | |
| - Content: | - Content: | ||
| - | - Most likely | + | - May represent Mary because of grey skin color |
| - | - The Ambum stone�s rounded belly provides balance | + | - Acts as a devotion to Guadalupe {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: |
| + | - The virgin | ||
| + | - Has a mass in her honor on december 12 | ||
| + | - Paid her reverence | ||
| + | - It is a replica | ||
| + | - Enconchado- mother in pearl inlaid ( for this artwork wood) | ||
| + | - Has an iridescent surface ( suggest heavenly and the divine) | ||
| + | | ||
| + | - There are stars in her cloak ( that image comes from the book of revelation) | ||
| + | - Below her, she is being supported by an angel | ||
| + | - The virgin appear before a man Jaun Deigo ( an indigenous man) and tells him to go to bishop and put a shrine to her on the hill where they met ( Hill of tepeyac) | ||
| - Form: | - Form: | ||
| - | - Used substances carving techniques which means they subtracted a certain amount of greywacke stone to create they floaty neck | + | - Oil and maybe tempra on cactus cloth and cotton |
| - Function: | - Function: | ||
| - | - Unknown. But easy to pass around. Perhaps some religious | + | - For religious |
| - | - Tlatilco Female Figurine | + | - Fruit and Insects |
| - Context: | - Context: | ||
| - | - Founded with many others by brick makers who were getting clay {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846:image11.jpeg}} | + | - During renaissance |
| - | - Appears to have come from graves | + | - Rachel Ruysch was born to the wealthy family in Amsterdam |
| + | - First successful female artist during the Baroque period | ||
| + | - She specialized in still life | ||
| - Content: | - Content: | ||
| - | - Figure | + | - A still life of fruits, vegetable and insects |
| - | - Elaborate style hair and lively expression | + | - In the Autumn |
| - | - Deformities: | + | - Grapes =blood |
| + | - animals= naturalism | ||
| + | - Illusion | ||
| - Form: | - Form: | ||
| - | - Balanced through symmetry textured hair, heavy bottom | + | - Oil on wood |
| - | - Rarely depicted males but when they are they are often wearing masks/ | + | - Still life painting |
| + | - Realistic | ||
| + | - Vibrant colors | ||
| + | - Uncommon subjects | ||
| - Function: | - Function: | ||
| - | - May have been part of a burial process | + | - For Rachel Ruysch Cosimo II = a sign of friendship and commonwealth |
| + | - Was sold | ||
| + | - Painting was for widening merchant class | ||
| - | - Terra Cotta Fragments | + | - Spaniard and Indian Produce a Mestizo(Attributed to Juan Rodríguez Juárez. c. 1715 ce. Oil on canvas.) |
| - Context: | - Context: | ||
| - | - Created by the artisans in the Lapita culture | + | - Metizo- a person of European and Indigenous descendant ( most types with father and idigenous mother) |
| - | - Was discovered in New Caledonia islands ~about 85,000 indigenous people lived on these islands | + | - First of a series showing mix of races and cultures |
| + | - Casta painting- focus on bad living conditions for families that are mixed racially | ||
| + | - Also appear darker as they become more racially mixed, | ||
| - Content: | - Content: | ||
| - | - Clear anthropomorphic | + | - Spanish father and Indigenous mother with a boy |
| - | - faces=highly geometric, large, | + | |
| - | - Different groups have specific designs | + | holding their child ( the boy that is holding the child is not a son of the two adults) |
| + | |||
| + | - Indigenous mother wearing a huipil( a traditional dress worn by indigenous women) lace sleeves and jewelry | ||
| + | |||
| + | - Spanish husband wearing french style clothes | ||
| + | - Hand on baby’s head or wife’s arm | ||
| + | - The boy(servant ) holding the baby looks upward at Spaniard | ||
| + | |||
| + | - Family looks calm | ||
| + | |||
| + | - Form: | ||
| + | - Oil painting | ||
| + | |||
| + | - Function: | ||
| + | - Discourage racial mixing because dark skinned people were considered dirty, unattractive and less civilized | ||
| + | - Tries to show European blood is superior | ||
| + | |||
| + | - The Tete a Tete, from Marriage a la Mode(William Hogarth. c. 1743 ce. Oil on canvas.) | ||
| + | - Context: | ||
| + | - The second of six painting that make coherent, | ||
| + | - The story revolves around a marriage of the daughter of a merchant to the son of a popular family ( works are know altogether {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | |||
| + | as Marriage a la mode) | ||
| + | |||
| + | - Set in the mid 18th -century ( the industrial revolution) | ||
| + | |||
| + | - Aristocracy lost some power to merchants | ||
| + | |||
| + | - Content: | ||
| + | - Translates to face to face | ||
| + | - Shows the young couple after the forced marriage | ||
| + | - The husband(Viscount Squanderfield) slouching in a chair | ||
| + | - Possibly drunk | ||
| + | - Has a mark of syphilis on his neck | ||
| + | - Likely has returned form having sex with a woman | ||
| + | - A dog sniffing at a bonnet in his pocket ( sign of fidelity in Renaissance) | ||
| + | - Viscountess Squaderfield | ||
| + | - Flirtatious | ||
| + | - Top of bodice is unbutton( sign that she was inmate with another man) | ||
| + | - She holds a mirror in right hand above her head | ||
| + | - She has a stain on her dress | ||
| + | - Sitting with legs apart | ||
| + | - The guy(pious Methodist) in the middle looks fed up with couple, | ||
| + | - Instrument on floor that has fallen out of the case( music was played for sex and sensuality ) | ||
| + | - Classical structure with broken nose | ||
| + | - Painting of cupid in ruins | ||
| + | - Painting covered up by curtain | ||
| + | |||
| + | - Form: | ||
| + | - Oil on canvas | ||
| + | - 69.9x90.8 cm | ||
| + | - Composition | ||
| + | - Few objects in foreground- the area of the picture/ | ||
| + | - Central | ||
| + | - The background consist of a seperate room, architectural features, paintings | ||
| + | - Area of emphasis - cluttered mantlepiece | ||
| + | - Vertical( edges of painting and columns) and curvy lines(mostly | ||
| + | |||
| + | - Function: | ||
| + | - Satirical commentary | ||
| + | - Appeal to middle class | ||
| + | |||
| + | > Unit 4: Late Europe and Americas | ||
| + | |||
| + | - Portrait of Sor Juana Ines de la Cruz (Miguel Cabrera 1750 C.E Oil on Canvas) | ||
| + | - Context: | ||
| + | - Neoclassical art | ||
| + | - Sor Juana is labeled as the first Feminist in the Americas because she pursued her owned interest to become a nun | ||
| + | - Often engaged in debate with philosophers and scientist | ||
| + | - Drew concern from the church for outspokenness about the rights of the women | ||
| + | - She was forced to sign an agreement that she would no longer pursue intellectual interest {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Died of a disease | ||
| + | - Content: | ||
| + | - Portrait of a catholic nun and sister of jeronimite order in New Spain | ||
| + | - Red curtains were common in paintings of the elite | ||
| + | - Wore religious garments - showed devotion to religion and god | ||
| + | - Books beside her to show her intellectual interest | ||
| - Form: | - Form: | ||
| - | - Made from molded terra cotta , a reddish, brown, unglazed type of clay | + | - Oil on canvas |
| - | - Used method called dentate stamping involves carving designs into existing natural materials | + | |
| - Function: | - Function: | ||
| - | - Fragments are from a pot used to store food | + | - Was just a portrait |
| - | - Could have been a form of reverence for ritualistic/ | + | |
| - | - Pottery was exchanged within this group: this shows trade and communication | + | |
| - | ====== Unit 2: Ancient Mediterranean ====== | + | - A philosopher giving a Lecture on the Orrery (Joseph Wright of Debrey 1763- 1765 Oil on Canvas) |
| + | - Context: | ||
| + | - Made during the enlightenment movement | ||
| + | - Joseph wright became the unofficial artist of that time period | ||
| + | - He is known for use of chiaroscuro | ||
| + | - Made in england | ||
| + | - Content: | ||
| + | - Shows a scientist, a note-taker, and children around a central Orrery | ||
| + | - Orrery- a mechanical model of the solar system {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Meant to be real people but we do not know their names | ||
| + | - The scientist in red is giving a lecture about, what is believed to be,a model to had inspiration by Issac Newton’s Lunar society of Burnigham | ||
| + | - Strong internal light source(the sun | ||
| - | | + | model)- also symbolizes the enlightenment rational thinking |
| + | |||
| + | - Painting also has women and children in the background | ||
| + | |||
| + | - Form: | ||
| + | - Naturalistic | ||
| + | - Red coat - suggest great influence | ||
| + | - Heavy contrast between light and dark | ||
| + | |||
| + | - Function: | ||
| + | - Show cased the scientific improvements during the enlightenment movement {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Show the curiosity and knowledge gained | ||
| + | |||
| + | - The Swing (Jean-Honore Fragonard. 1767 C.E. Oil on Canvas) | ||
| - Context: | - Context: | ||
| - | - Located in Iraq {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | + | - Wealthy and lavish living |
| + | | ||
| + | | ||
| - Content: | - Content: | ||
| - | - 40 feet tall | + | - Depicts a lady on a swing above her lover and a s bishop |
| - | - Tripartite plan | + | - Nature scene = dense garden |
| - | - Rectangular central hall | + | |
| - | - Three entrances | + | |
| - | - White temple | + | |
| - | - North, west and east entrances | + | |
| - | - Chambers with northeast with wood shelves | + | |
| - | - North end contained | + | |
| - | - Found lion & leopard bones | + | |
| - | - Ziggurat | + | |
| - | - Raised platform | + | |
| - | - Has a stairway | + | |
| - Form: | - Form: | ||
| - | - Made out of mudrock | + | - Epitome |
| - | - Whitewashed | + | - Realism |
| - | - Function : | + | - Use of soft colors |
| - | - For government and religious purpose | + | - Ornate details |
| - | - Rituals & sacrifices ( dedicated to Anu) | + | - Lighting = woman bathed in sunlight |
| + | - Function: | ||
| + | - For ownership of the rich | ||
| - | - Palette of King Narmer | + | - Monticello |
| - Context: | - Context: | ||
| - | - Found in the temple of Horus | + | - Thomas Jefferson hated British architecture and loved french architecture |
| - | - Made during the unification of lower and upper Egypt | + | - He studied at William |
| - | - For King Narmer | + | - Made in virginia |
| - | - Content: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846:image14.jpeg}} | + | - Content: |
| - | - Contains The head of goddess Bat | + | - Basilica plan |
| - | - King Narmer | + | - Used inspiration from classical and neoclassical french art |
| - | - Enemies decapitated and castrated | + | - Remodeled the two- story pavilion based on Hotel de Salm |
| - | - Bull (King Narmer) knocking down walls | + | - To a symmetrical one story brick home under an austere Doric entablature |
| + | - West garden | ||
| + | - A deep two column portico | ||
| + | - Has colonnades | ||
| + | - Has pediment | ||
| + | - Has dome | ||
| + | - Perisan windows | ||
| + | - transept | ||
| + | - Steps | ||
| + | - gardens= french inspiration | ||
| - Form: | - Form: | ||
| - | - Carved from a grayish siltstone | + | - Greek marble looking portico |
| - | - 2 feet long | + | - Marble fencing |
| + | - Long, rectangular windows | ||
| + | - Symmetrical around central axis | ||
| + | - Made out of brick, glass, stone and wood | ||
| - Function: | - Function: | ||
| - | - Used for grinding up makeup (ex: Eye makeup and lipstick) | + | - Meant to be a home |
| - | - Ceremonial; dedicated | + | |
| - | - Was also an object placed in graves | + | |
| - | - Statues | + | - The Oath of the Horatii |
| - Context: | - Context: | ||
| - | - Aspects of Mesopotamia religion is the votive figures | + | - The patron: |
| - | - Worshippers set up statues so that the statues would worship | + | - Made in France |
| + | - French Neoclassical | ||
| + | - Legend Horatti ( conflict between Rome and the city of Alba) | ||
| + | - Instead of battles they sent the 3 horatii to Alba to settle dispute | ||
| + | - France was on the edge of the revolution during this time {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| - Content: | - Content: | ||
| - | - Figure | + | - Deception |
| - | - Eyes are larger than hands (hierarchical scale) | + | - Three sons swearing their swords to their father |
| - | - Inscription | + | - Women sitting in to right grieving |
| + | | ||
| - Form: | - Form: | ||
| - | - Alabaster | + | - Simplistic and symbolic |
| - | - Pedestal | + | - Organized and structured |
| - | - 1 feet 3 inches | + | - Men- geometrical shapes |
| - | - Individualistic characteristics | + | - Women - organic shapes |
| - | - Eyes made of lapis lazuli- | + | - Function |
| - | - V-shaped bodies | + | |
| - | - Brows - dark shells, limestone, | + | - George Washington. (Jean-Antoine Houdon. 1788--1792 C.E. Marble) |
| + | - Context: | ||
| + | - Made after the American Revolution | ||
| + | - It was a popular time to commission | ||
| + | - Statue ordered = Virginia Governor {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Sculpted = French Artist | ||
| + | - Content: | ||
| + | - Marble sculpture | ||
| + | | ||
| + | - Neoclassicism | ||
| + | | ||
| + | - Contrapposto | ||
| + | - Symbolic details | ||
| + | - Form | ||
| + | | ||
| - Function: | - Function: | ||
| - | - Portable | + | - Sculpture |
| - | - Stand- in worshipper | + | |
| - | - Seated Scribe (Saqqara, Egypt. Old Kingdom, Fourth Dynasty 2620-2500 B.C.E. Painted Limestones) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846:image16.jpeg}} | + | - Self-Portrait. (Elisabeth Louise Vigée Le Brun. 1790 C.E. Oil on canvas) |
| + | - Context: | ||
| + | - During Rococo movement | ||
| + | - Not a lot of female painters during the time | ||
| + | - Le Brun worked for the crown of France specifically Marie Antionette | ||
| + | - Le Brun became very rich due to her job | ||
| + | - Close to the French Revolution | ||
| + | - She had to leave France because she worked for the crown | ||
| + | - Content | ||
| + | - Self portrait of Elisabeth Louise Vigee le brun | ||
| + | - She is wearing a traditional black dress with a red sash | ||
| + | - She is painting something in the painting | ||
| + | - Painting in the painting might be Marie Antionette | ||
| + | - Form: | ||
| + | - Naturalism | ||
| + | - Oil on canvas | ||
| + | - Elisabeth in a natural position | ||
| + | - Function: | ||
| + | - Shows freedom, intelligence and greatness of the artist | ||
| - | i. | + | - Y no hai remedio (And There’s Nothing to Be Done), from Los Desastres de la Guerra (The Disasters of War), plate 15. (Francisco de Goya. 1810--1823 C.E. (published 1863). Etching, drypoint, burin, and burnishing) |
| + | - Context: | ||
| + | - Goya was a painter for the French and Spain royalty | ||
| + | - His work was often labeled as controversial | ||
| + | - Went deaf and went recluse | ||
| + | - The french were pushed out after the Peninsular war | ||
| + | - Apart of the 82 paintings that was used to protest against The French occupation by Napoleon Barnaparte | ||
| + | - Napoleon tricked the king of Spain into letting his troops cross the border which led him to upsurge the king and his brother from the throne | ||
| + | - Content: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Man wearing light-colored/ | ||
| + | - He is blindfolded | ||
| + | - Landscape shows depth and the scene is dark | ||
| + | - A firing squad is behind the central figure facing similarly bounded | ||
| + | - On the central figure’s right side, contorted, | ||
| + | - Rifle barrels pointed at the central figure , the people holding it are occluded | ||
| + | - Alter Christus - other Christ | ||
| + | - First plate - effect of conflict | ||
| + | - Second plate- effect of famine | ||
| + | - Last plate- disappointment and demoralization of Spaniard | ||
| + | - Form: | ||
| + | - Etched plates- cover the metal plate with wax, carve out the shapes, dip in acid, melt off the wax and the incisions remain | ||
| + | - Black and white | ||
| + | - Drypoint - scratch lines on the surface with a stylus | ||
| + | - Artist then pours ink on plate and wipes it off only remains where the acid burned or the etched | ||
| + | - Put a moist paper on the plate when running through the press | ||
| + | - Function | ||
| + | - Protest against French occupation | ||
| - | ii. iii. | + | - La Grande Odalisque. (Jean-Auguste- Dominique Ingres. 1814 C.E. Oil on canvas.) |
| + | - Context: | ||
| + | - French | ||
| + | - Eroticisim and nudist paiting | ||
| + | - Content: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| - | i. | + | - Peacock fan |
| - | ii. iii. | + | - Turban |
| - | iv. | + | - Enormous pearls |
| - | - Context: | + | - A hookah |
| - | > Depicts a seated scribe Scribes were the one of the few people that could write and read Egyptian Scribes were used to write down history and records | + | - Wearing Kente Cloth |
| + | - Interwoven silk and cotton fabric | ||
| + | - Ghanan | ||
| + | - Various dates and artists | ||
| + | - Form: | ||
| + | - Oil on canvas | ||
| + | - Function: | ||
| + | - Used in an oriental style to stay within | ||
| - | - Content: | + | |
| + | - Context: | ||
| + | - Romanticism | ||
| + | - Based on July Revolution of 1830 | ||
| + | | ||
| + | - Personification of Liberty (central figure) | ||
| + | - Marching over dead bodies | ||
| + | - Leading the way to freedom | ||
| + | - Carrying flag of revolution and a musket in her hands | ||
| + | - Boy holding two pistols | ||
| + | - Represents sacrifice | ||
| + | - Upper-class gentleman in a top hat, holding a rifle | ||
| + | - Represents the rich inability to stay out of the war | ||
| + | - Form: | ||
| + | - Realistic but with dramatic lighting | ||
| + | - Soft, rounded lines | ||
| + | - Depth and foreground but little to no background | ||
| + | - Function: | ||
| + | - Glorification of everyday people | ||
| + | - Acknowledgment of sacrifices | ||
| - | > Scribe holds a papyrus scroll Tranquil face = wisdom Scribe | + | - The Oxbow (View from Mount Holyoke, Northampton, |
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Untouched land | ||
| + | - Artist: Thomas Cole | ||
| + | - Content: | ||
| + | - View from Mount Holyoke, Northampton, | ||
| + | |||
| + | Massachusetts | ||
| + | |||
| + | - Untouched nature | ||
| + | |||
| + | - Hudson river | ||
| + | |||
| + | - Tree bent over ( nature being at mercy of its own self) | ||
| + | |||
| + | - River and clouds(stormy) in the foreground | ||
| + | |||
| + | - References the bend in the Connecticut river | ||
| + | |||
| + | - White and clear sky in background which is enhanced by the stormy clouds | ||
| - Form: | - Form: | ||
| + | - Realistic but cartoon ( exaggerated) | ||
| + | - Warm hues for nature | ||
| + | - Cool hues for weather | ||
| + | - 130.8 x 193 cm | ||
| + | - Oil on canvas | ||
| + | - The diagonal line the artist used from lower right to upper left to divide the composition | ||
| - | - Body is limestone | + | - Function: |
| + | - humanity’ s insignificance in the grand scheme of things compared to nature | ||
| + | - Westward expansion | ||
| - | - Nipples are made of wood | + | - Still Life in Studio. (Louis- Jacques-Mandé Daguerre. 1837 C.E. Daguerreotype) |
| + | - Context: | ||
| + | - Daguerreotype accompanied the invention | ||
| + | - Less than 25 of his picture survived a fire in 1839 | ||
| + | - Content: | ||
| + | - Autonomy of Daguerreotype | ||
| + | - A handful of still- lifes , parisian views, and portraits | ||
| + | - Also has sculptures, paintings and photography {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Form: | ||
| + | - Silver plated sheets of copper | ||
| + | - The sheets were sensitized with iodine vapors, exposed in a large camera box | ||
| + | - Very detailed | ||
| + | - The sheets were then developed in mercury fumes | ||
| + | - And stabilized with salt water | ||
| + | - Function: | ||
| + | - Duality and artistic expression | ||
| - | - Individualistic features | + | - Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On). (Joseph Mallord William Turner. 1840 C.E. Oil on canvas) |
| + | - Context: | ||
| + | - Made by Joseph Mallord William Turner | ||
| + | - Trans -atlantic slave trade | ||
| + | - Twenty + years before the impressionist movement {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Content: | ||
| + | - A slave ship going into a storm abandoning the slaves that were thrown overboard | ||
| + | - Fiery sunset, writhing foam and waves | ||
| + | - Fish chopping at the slave chained limbs | ||
| + | - A wall of water and grey clouds( as punishment and vengeance for throwing the slaves overboard to die) | ||
| + | - Form: | ||
| + | - Abstract | ||
| + | - Fabricated quality | ||
| + | - Function: | ||
| + | - Wanted to protest slavery | ||
| + | - Wanted to prevent slavery from becoming a new normal | ||
| + | - Purpose was to shock the audience and make them question why they support such an immoral act | ||
| - | - The scribe would have been placed on a description | + | - Palace of Westminster (Houses of Parliament). London, England. Charles Barry and Augustus W. N. Pugin (architects). 1840--1870 C.E. Limestone masonry and glass. |
| + | - Context: | ||
| + | - Gothic style | ||
| + | - Created by Charles Barry and Agustus Pugin | ||
| + | - Built during early victorian era | ||
| + | - Content: | ||
| + | - Across the river Thames {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Among the houses of parliament in London | ||
| + | - Interior designs | ||
| + | - stained glass | ||
| + | - Form: | ||
| + | - In the style of Late Medieval | ||
| - Function: | - Function: | ||
| - | - For funerals | + | - Serves as a House of Parliament |
| - | - Created due to the respect | + | - To reinforce traditional values |
| + | - Today as the seat of government | ||
| - | - Standard of Ur from the Royal Tombs at UR (modern Tell el-Muqayyar, | + | - The Stone Breakers. (Gustave Courbet. 1849 C.E. (destroyed in 1945). Oil on canvas) |
| - Context: | - Context: | ||
| - | - Found in south Iraq | + | - Painted one year after the published Communist Manifesto |
| - | - Prosperous and fertile grounds | + | - Went against normal french techniques which was refined during this time |
| - | - Found in the graves of Ur (one grave contained 74 sacrifices) | + | |
| - Content: | - Content: | ||
| - | - One side shows men bringing crops and fish {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | + | - Two figure(one very old and one very young) breaking stone with different tools |
| - | - Another side is the war | + | - Breaking stone for rubble |
| - | - Enemies of war- naked and bleeding given to the king | + | - Both wear tattered clothing( |
| - | - Divided into 3 registers | + | |
| - | - Hierarchical scale King is larger than others to show importance | + | |
| - | - Talons folding an arrow- symbol of war | + | |
| - | - Olive branch - symbol of peace | + | |
| - Form: | - Form: | ||
| - | - Mosaic tiles made from shells | + | - Rough brushwork |
| - | - Small; portable | + | - The artist did not worry too much about the accuracy of the human figures |
| + | - Lacks aerial perspective | ||
| + | - Function | ||
| + | - Symbol of the deprivation of the agriculture french people | ||
| + | |||
| + | - Nadar Raising Photography to the Height of Art. (Honoré Daumier. 1862 C.E. Lithograph) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Context: | ||
| + | - Nadar was famous for taking aerial photos of Paris | ||
| + | - By Honore Daumier | ||
| + | - Content: | ||
| + | - Ironic artwork | ||
| + | - Nadar taking an aerial picture of paris | ||
| + | - Form: | ||
| + | - Lithograph- the process of printing | ||
| + | - realism | ||
| - Function: | - Function: | ||
| - | - Mostly unknown | + | - Used to mock Nadar |
| - | - Possibilities | + | - Tried to show how ridiculous and dangerous Nadar art was |
| - | - Music box | + | |
| - | - Commemoration | + | |
| - | - A wallet (something to hold currency) | + | |
| - | - Standard | + | |
| - | - Great Pyramids of Giza (Menkaura, Khafre, Khufu) and Great Sphinx (Giza, Egypt. Old Kingdom, Fourth Dynasty. 2550-2490 B.C.E. Cut Limestone) | + | - Olympia. |
| - Context: | - Context: | ||
| - | - Tallest things for over 4000 years | + | - A salon painting or a academic painting |
| - | - People were buried with all the things they need in life | + | - During |
| - | - Cosway=elevated road led to nile-river | + | - Received backlash from it because a naked white woman and a black maid were seen as animalistic sexaulity and inferior( was seen as disrespectful) |
| - | - When dead=boat arrive up cosway funeral temple taken to pyramid | + | - He recreated the Venus of Urbino with this painting |
| - | - Pyramid of Khufu: | + | - Model (white naked lady) :Victorian Meurent |
| - | - Tallest of the 3 (481ft), 2300000 blocks over 50 tons | + | - Olynpia was a common name for prostitutes |
| - | - king/queen chamber | + | - Manet was considered the father of impressionism |
| - | - Pyramid | + | - Content: |
| - | - 2nds tallest but looks tallest because it�s | + | - a nude white woman (prostitute) sitting |
| - | - Contains | + | - Stares at viewer coldly and indifferently |
| + | - Black woman servant behind her giving her a gift sent from a client | ||
| + | - Stark contrast against | ||
| + | - Depicts the world of Parisan prostitution | ||
| + | - Form: | ||
| + | - Flat tones | ||
| + | - Not a lot of depth | ||
| + | - Function: | ||
| + | - Commentary on racial divisions | ||
| + | - Depicted harsh realities of Parisian life | ||
| - | > Lion with the head of Khafre | + | - The Saint-Lazare Station. (Claude Monet. 1877 C.E. Oil on canvas) |
| + | - Context: | ||
| + | - Impressionism | ||
| + | - Monet wanted to be remembered as painter of the modern world {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - He lived in rural Paris iv. | ||
| + | - Content: | ||
| + | - Train station | ||
| + | - A locomotive train pulling up into the station | ||
| + | - Trees frame the center | ||
| + | - Diagonal lines from the roof recede backwards into the painting | ||
| + | - Form: | ||
| + | - Oil on canvas | ||
| + | - Function: | ||
| + | - Wanted to show industrialization and modernization of Paris | ||
| + | - To show the beauty in the busy , urban life in Paris | ||
| - | - Pyramid of Menkaure: | + | - The Horse in Motion. (Eadweard Muybridge. 1878 C.E. Albumen print) |
| - | - Smallest (213 ft) | + | - Context: |
| - | - Most complex chambers | + | - Taken at a horse racing track |
| - | - Held Menkaure�s black stones | + | - Content: |
| - | - Held many statues | + | - Running horse and a jockey {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: |
| + | - 4 by 4 column and rows of photos | ||
| + | - 16 photos in the series | ||
| + | - They are in profile | ||
| + | - A lot of movement | ||
| + | - Form: | ||
| + | - Realism | ||
| + | - Used a zoopraxiscope | ||
| + | - Photograph | ||
| + | - Series of photographs | ||
| + | - Function: | ||
| + | - Motion study of a running horse and a jockey | ||
| + | - Wanted to establish expressiveness | ||
| - | - Content: | + | - The Valley of Mexico from the Hillside of Santa Isabel (El Valle de México desde el Cerro de Santa Isabel). (Jose María Velasco. 1882 C.E. Oil on canvas) |
| - | - 3 major pyramids for 3 rulers over 3 generations | + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: |
| - | - Representations of the passages | + | - Velasco was a astamed landscape painter |
| - | - Pyramids = close to cities | + | - Content: |
| + | - Mountains, | ||
| + | - All seen from a point on the mountain | ||
| + | |||
| + | top that overlooks the valley | ||
| - Form: | - Form: | ||
| - | - Bedrocks, corestones, Tura limestone, casing red granite, mortar, edges = aligned with cardinal points | + | - Oil on canvas |
| + | - Realism | ||
| + | - Atmospheric perspective | ||
| + | - Viewer stands above the mountains | ||
| - Function: | - Function: | ||
| - | - Burial sites for kings | + | - Wanted to show the beauty of Mexico |
| - | - Royal mortuary complex | + | |
| - | - Social structure | + | |
| - | - Reflect solar cycle | + | |
| - | - King Menkaura and Queen (Old Kingdom, Fourth Dynasty. 2490-2472 B.C.E. Greywacke) | + | - The Burghers of Calais. Auguste Rodin. 1884--1895 |
| - Context: | - Context: | ||
| - | - During | + | - The town council of Calais rejected |
| - | - Menkaure was the son of Khafre | + | |
| - Content: | - Content: | ||
| + | - 6 burghers(middle class people) that are from the burgh/ | ||
| + | - Burghers promised their life to the English king( so that the king will save their village from occupation during the Hundred years’ war) | ||
| + | - The english king made them wera sacks and carry a key to Calais | ||
| + | - All of them are weak | ||
| + | - Central character- Eustache de Saint- Pierre | ||
| + | - Swollen hands with a noose around his neck | ||
| + | - Ready for execution | ||
| + | - Form: | ||
| + | - Bronze | ||
| + | - All figures are individualized | ||
| + | - Details were reduced by Roden to emphasized the depravity of the 6 burghers | ||
| + | - Function: | ||
| + | - Symbolizes the severity of the Hundred Years’ war and French occupation | ||
| - | - Depicts Egyptian king Menkaure and his wife(unsure who it is) | + | - The Starry Night. Vincent van Gogh. 1889 C.E. Oil on canvas. |
| + | - Context: | ||
| + | - Created by Vincent Van Gogh | ||
| + | - Had a various amount of mental illnesses | ||
| + | - Painted a lot during | ||
| + | - Painting followed a mental breakdown which had damaged his ear | ||
| + | - Content: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Landscape view from artist point of view( the hospital room in St.Remy) | ||
| + | - Mountains in the distance | ||
| + | - Sleepless exaggerated in the moon | ||
| + | - Wave like-movements flow left to right | ||
| + | - Cypress trees are a symbol of death of eternal life and it is reaching up into the sky | ||
| + | - It is of the night sky | ||
| + | - Form: | ||
| + | - Oil on canvas | ||
| + | - Composite landscape | ||
| + | - Short, thick brushstrokes | ||
| + | - Parts of the canvas can be seen through the paint | ||
| + | - Function: | ||
| + | - Landscape study or night sky study | ||
| + | - Expression of the artist mental illness | ||
| - | - Wears traditional fake beard and headdress | + | - The Coiffure. Mary Cassatt. 1890--1891 C.E. Drypoint |
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - De- eroticizes nakedness | ||
| + | - Global influences | ||
| + | - Created by Mary Cassatt | ||
| + | - Europe was fascinated by Japan | ||
| + | - Content: | ||
| + | - Naked woman sitting in a chair facing a mirror | ||
| + | - Fixing her hair | ||
| + | - Asian influence in background( decorative prints) | ||
| + | - Shows what is considered a femine moment | ||
| + | - Form: | ||
| + | - In the style of japanese prints | ||
| + | - Light brushstrokes | ||
| + | - 2-Dimensional | ||
| + | - Sketch | ||
| + | - Reproducible print | ||
| + | - Function: | ||
| - | - Both are stepping forward | + | - The Scream. Edvard Munch. 1893 C.E. Tempera and pastels on cardboard. |
| + | - Context: | ||
| + | - Shows synthesia | ||
| + | - Synthesia is the synthesis of the senses | ||
| + | - Ex. relating a associating a color with a smell | ||
| + | - The Scream’s swirls reflects understanding of synthesis | ||
| + | - Content: | ||
| + | - Adrogynous and elongated figure screams with hands on both sides of their face {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Two figures seem to be walking on the bridge | ||
| + | - Sea blends | ||
| + | - Form: | ||
| + | - Vibrant color contrast | ||
| + | - Skewed proportions (everything swirls into itself) | ||
| + | - Movements of uncertainty | ||
| + | - Function: | ||
| + | - Semi-autobiographical | ||
| + | - Refers to an experience or event that Munch had with friends | ||
| + | - Usage of different mediums | ||
| + | - Part a study in a series called “The Frieze of Life” | ||
| + | - To test out different techniques and mediums to create the art piece | ||
| - | - Individualized & young facial and body characteristics | + | - Where Do We Come From? What Are We? Where Are We Going? (Paul Gauguin. 1897--1898 C.E. Oil on canvas) |
| + | - Context: | ||
| + | - Symbolism {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Colors play an important role | ||
| + | - 2-dimensional | ||
| + | - Expressive, non- naturalistic | ||
| + | - r | ||
| + | - Content: | ||
| + | - Tahitian natives depicting scenes of the stages of life (birth, | ||
| + | - Figures are partially clothed | ||
| + | - Form: | ||
| + | - Continuous narrative (friezes) | ||
| + | - Multi-perspective view in the background | ||
| + | - Function: | ||
| + | - Multiple interpretations (enigmatic) | ||
| + | - A private work for Gaugin | ||
| - | - Menkaura is slightly taller than his wife | + | - Carson, Pirie, Scott and Company Building. (Chicago, Illinois, U.S. Louis Sullivan (architect). 1899--1903 C.E. Iron, steel, glass, and terra cotta) |
| + | - Context: | ||
| + | - Diverging from a traditional vertical effect when depicting a skyscraper | ||
| + | - Art Nouveau | ||
| + | - Industrial materials reflect organic forms | ||
| + | - Content: | ||
| - | - Both have nude upper bodies | + | - Tripartite {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: |
| + | - Open and accessible ground level | ||
| + | - Infinite number of levels | ||
| + | - Distinct attic line | ||
| + | - Highlights the ground floor | ||
| + | - Ground floor has large windows to emphasize space | ||
| - Form: | - Form: | ||
| - | - No inscription | + | - Steel-frame skyscraper |
| - | - Made out old greywacke (hard to carve) | + | - Art Nouveau decorative program |
| + | - Cast-iron ornamentation covers the entryway and ground level | ||
| + | - floral , intricate designs | ||
| + | - Function: | ||
| + | - Department store | ||
| + | - Highlights the ground level entryway | ||
| - | - Rigid postures | + | - Mont Sainte-Victoire. (Paul Cézanne. 1902--1904 C.E. Oil on canvas) |
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - A part of a series | ||
| + | - Adopted impressionism | ||
| + | - Paul Cezanne bought a few arces on the hill of Les Lauves | ||
| + | - Content | ||
| + | - Has a limestone mountain (1011 meter high) | ||
| + | - The hometown of Paul Cezanne down below | ||
| + | - Heightened lyricism | ||
| + | - View point from the hill of Les Lauves which is located north of the Aix | ||
| + | - Divides painting into three horizontal parts | ||
| + | - | ||
| + | - Form: | ||
| + | - Rough patches yellow, emerald, and viridian green | ||
| + | - In contrast blues, violets, grey | ||
| + | - Did subtle adjustments | ||
| + | - Has flatness and depth | ||
| - Function: | - Function: | ||
| + | - Wanted to capture the beauty of the mountain from close to where he lived | ||
| - | - Communicates | + | - Les Demoiselles d’Avignon. (Pablo Picasso. 1907 C.E. Oil on canvas) |
| + | - Context: | ||
| + | - Often called a creative vacuum - cleaner because he used inspiration from many arts styles | ||
| + | - Made during | ||
| + | - Mask inspired by african mask worn by women | ||
| + | - Had a fear of disease(especially syphilis ) | ||
| + | - Content: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Naked women with stiff postures | ||
| + | - Geometric shapes | ||
| + | - Sees women in an analytical sense and sees them as an object of desire | ||
| + | - Women looking outwards | ||
| + | - Two masked figures ( refers to Picasso’s fear of disease) | ||
| + | - The middle figure relates to Matisse’s canvas | ||
| + | - The still fruit is a symbol of sexaulity | ||
| + | - Supposed to be from the male gaze | ||
| + | - Form: | ||
| + | - Oil on canvas | ||
| + | - Function | ||
| + | - Expression of his desire and fear | ||
| - | - Memorial structure | + | - The Steerage. (Alfred Stieglitz. 1907 C.E. Photogravure) |
| + | - Context: | ||
| + | - Photograph was just becoming its own art form | ||
| + | - Emphasized clarity and realism {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Focused on the composition rather than the subjects in the piece | ||
| + | - Influences by cubist artists | ||
| + | - Content: | ||
| - | - Used to make sure the pharaoh would reach the afterlife | + | - Diagonals and framing effects of ladders, |
| - | - The Code of Stele of Hammurabi | + | |
| + | |||
| + | - Steerage = reserved for passengers with the cheapest tickets | ||
| + | - Form: | ||
| + | |||
| + | i. Photograph | ||
| + | |||
| + | - Function: | ||
| + | |||
| + | - To show the social divisions between the upper class, | ||
| + | |||
| + | - Showcase photography as an art form | ||
| + | |||
| + | | ||
| - Context: | - Context: | ||
| - | - Babyloain kingdom | + | - Art Nouveau |
| - | - King Hammurabi came into power | + | - To eliminate separation of mediums and combine them all into one |
| + | - Floral patterns and complex designs {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - During Modernization of the city of Vienna | ||
| - Content: | - Content: | ||
| - | - King Hammurabi receiving the code from the god of justice (Shamash) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | + | - A kissing couple |
| - | - Laws written in cuneiform | + | |
| - | - small register (showing right to be king) | + | - His bowed neck shows a sense of desire and passion |
| - | - Over 300 laws that governed Babyloian society | + | - Big intricate patterns on the clothing |
| - | - Law and punishments were severe | + | - Male is rectangular while the women is more circular |
| + | - Reminds the viewer of religious symbolism | ||
| - Form: | - Form: | ||
| - | - High relief | + | - Oil on canvas with gold leaf |
| - | - 7.4 ft tall | + | |
| - | - Basalt rock | + | |
| - Function: | - Function: | ||
| - | - To show the laws and punishments that will be enforced by Hammurbi | + | - To show all consuming love and passion |
| - | - Temple of Amun-Re and Hypostyle Hall (Karnak, near Luxor, Egypt. New Kingdom, 18th and 19th Dynasties. Temple: 1550 B.C.E.; Hall: 1250 B.C.E. Cut sandstone and mudbrick) | + | - The Kiss. (Constantin Brancusi. Original 1907--1908 |
| - Context: | - Context: | ||
| - | - Heavily used New Kingdom | + | - Cubism- breaking down the human form into angles and shapes |
| - | | + | - Brancusi was a romanian born french sculptures |
| - | - Hall: 1250 B.C.E. | + | - Romania had a long tradition |
| - | - Certain areas = restrictive and only able to be accessed by elite | + | - Content: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d:image46.jpeg}} |
| - | - Currently in poor state due to lack of preservation | + | |
| - | - Content: | + | |
| - | - Pharaohs continued to add to it overtime | + | |
| - | - Clerestory lighting = natural and coming from opening above | + | |
| - | - Creates a sort of heavenly godly feeling | + | |
| - | - Existed in Karnak, near Luxor. | + | |
| - | Egypt | + | - Intertwined figures |
| - | - Obelisk | + | - Woman on the right |
| + | - Slightly thinner | ||
| + | - Eyes slightly smaller | ||
| + | - Bulge suggest breast | ||
| + | |||
| + | - Two eyes become one | ||
| + | |||
| + | - Raw surface | ||
| + | |||
| + | - Intimate moment | ||
| + | - Form: | ||
| + | |||
| + | > i. Primitive form | ||
| + | |||
| + | - Rejected the academy | ||
| + | |||
| + | - Limestone | ||
| + | - Function: | ||
| + | - To Express a subject in its pure form | ||
| + | |||
| + | - The Portuguese. (Georges Braque. 1911 C.E. Oil on canvas) | ||
| + | - Context: | ||
| + | - Analytical cubism | ||
| + | - First phrase of cubism | ||
| + | - Highly experimental | ||
| + | - Worked with Picasso | ||
| + | - Fractured form | ||
| + | - Nearly monochrome | ||
| + | - Exploration of shapes | ||
| + | - Not portrait of portuguese musician | ||
| + | - Form: | ||
| + | - Jagged edges | ||
| + | - Sharp and multifaceted lines | ||
| + | - Function: | ||
| + | - Experimental art | ||
| + | - Non-naturalistic | ||
| + | |||
| + | - Goldfish. (Henri Matisse. 1912 C.E. Oil on canvas) | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Fauvism | ||
| + | - Famous for expressive forms and bold color | ||
| + | - One of the biggest artist during his time | ||
| + | - Content: | ||
| + | - Still life painting of goldfish in a tank | ||
| + | - Goldfish - symbol for paradise list | ||
| + | - iii. Decorative style | ||
| - Form: | - Form: | ||
| - | - Made of cut sandstone and mudbrick | + | - Used vibrant colors |
| - | - Axis designed and created on the 4 cardinal direction points, had a both a north/south and an east/west axes | + | - Violent contrast colors |
| - | - Hypostyle = columns hence the name one of the largest temple construction | + | - Thinly applied color |
| - | - Axial temple: longitudinal split symmetry | + | - Energetic brushstrokes |
| - | - Pylon-long gate way/ | + | |
| - Function: | - Function: | ||
| - | - Center of god Amun-Re | + | - Contemplative exaltation for the viewer |
| - | - Also honors several Egyptain gods and goddess | + | |
| - | - Also known as the most select of places | + | |
| - | - Mortuary Temple of Hatshepsut | + | - Improvisation 28 (second version). (Vassily Kandinsky. 1912 C.E. Oil on canvas) |
| - | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846:image22.jpeg}} | + | - Context: |
| - | - Hatshepsut = woman pharaoh | + | - Expressionism inspired by Fauve movement |
| - | - New kingdom | + | - Big part of Der Blaue Reiter |
| - | | + | - He is Russian |
| + | - One of the first non- objective paintings | ||
| - Content: | - Content: | ||
| - | - Kneeling statue | + | - Abstract painting |
| - | - Temple had a relief carvings and statues of the Pharaoh with the gods | + | - Inspired by Der Blaue reiter |
| - Form: | - Form: | ||
| - | - Temple cut from a cliff side | + | - Strong balck lines |
| - | - Kneeling statue | + | - Colors shade around lines |
| - | - Temple had a colonnade terrace | + | |
| + | - Function | ||
| + | - Non- objective | ||
| + | - Wanted the viewer to respond to the painting the way they would respond to a composition of music | ||
| + | |||
| + | - Self-Portrait as a Soldier. (Ernst Ludwig Kirchner. 1915 C.E. Oil on canvas) | ||
| + | - Context: | ||
| + | - Found German expressionist group called Die Brucke | ||
| + | - Used influences of african and central asian and and primitive | ||
| + | - The group disbanded in 1913 | ||
| + | - Kirchner volunteered as a driver in the military | ||
| + | - Soon declared unfit for service {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Content: | ||
| + | - Masterpiece of psychological drama | ||
| + | - Severed hand is a metaphor ( injury to his identity as an artist) | ||
| + | - Kirchner dressed in a uniform standing in a studio with an amputated arm and a nude model next to him | ||
| + | - Complicated coming of age story | ||
| + | - Suggest sexual relationship with model | ||
| + | - Form: | ||
| + | - Oil on canvas | ||
| - Function: | - Function: | ||
| - | - Funerary temple to Pharaoh Hatshepsut | + | - Representation of injury as an artist |
| - | - Akhenaton, Nefertiti, and Three Daughters | + | - Memorial Sheet for Karl Liebknecht. |
| - Context: | - Context: | ||
| - | - Akhenaton changed | + | - The artist does ot depict people often |
| - | - Akhenaton and Nefertiti made themselves the representative | + | - Made after the end of World war |
| + | - During communist uprising in Germany | ||
| + | - Liked Liebknecht charisma but thought the SPD ( societal democrat ic party of Germany)would have been better | ||
| + | |||
| + | {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | |||
| + | - Content: | ||
| + | - Three horizontal sections | ||
| + | - Space of the print is compressed | ||
| + | - Multiple people coming | ||
| + | - A man has his hand on Liebknecht’s chest ( the deceased person) | ||
| + | - The body of martyr revolutionary ( Liebknecht) | ||
| + | - Women and child leaning over ( Kollwitz often focused on women and children) | ||
| + | |||
| + | - Form: | ||
| + | - printmaking | ||
| + | |||
| + | - Function: | ||
| + | - Memorial piece for Liebknecht, a german communist | ||
| + | |||
| + | - Villa Savoye. (Poissy-sur-Seine, | ||
| + | - Context: | ||
| + | - Developed theories on modern architecture | ||
| + | - Sought to isolate type forms( universal elements of design that can work together) | ||
| - Content: | - Content: | ||
| - | - Depicts Akhenaton, Nefertiti and his three daughters sitting on a throne | + | - Represents the cumulation of modern architecture |
| - | - Aten is represented by a sun in the center | + | - Located outside of Paris |
| - | - Ankhs (symbol of life) radiate | + | - Apart of a series of housesf |
| - | - Shows family is connect to Aten | + | - Free facade |
| + | - Ribbon windows | ||
| + | - Ribbon terraces | ||
| + | - Ground floor painted green | ||
| + | - Ramp winds from entrance up to a salon | ||
| + | - Integration of indoor and outdoor spaces | ||
| - Form: | - Form: | ||
| - | - Bas - relief carving | + | - Usedsteel |
| - | - Limestone | + | |
| - | - Disproportionate bodies | + | |
| - | - Softer body positions (sloping | + | |
| - | - Around 32 cm. high | + | |
| - | - stylistic | + | |
| - Function: | - Function: | ||
| - | - Meant to be apart of house altar | + | - Offered an escape from the city for wealthy patrons |
| - | - Iconography - depicts | + | - Both a functional house and a architectural sculpture |
| - | - Tutankhamun�s Tomb, innermost coffin | + | - Composition with Red, Blue and Yellow. |
| - Context: | - Context: | ||
| - | - Tut is the son of Akhenaten | + | - Neo-plasticism |
| + | - Plastic used to describe paintings on canvas, sculptures, 3 dimensional forms | ||
| + | - Used abstraction in his art often | ||
| + | - Studied art academics in Hague and Amsterdam {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Lived in the Netherlands | ||
| + | - Was inspired by cubism and Picasso | ||
| + | - Loved to experiment with abstract forms | ||
| + | - Multiple perspectives | ||
| + | - Content | ||
| + | - Consist of red, yellow, blu, white and black | ||
| + | - Rectilinear forms | ||
| + | - Horizontal and vertical lines | ||
| + | - Form: | ||
| + | - Consist of red, blue yellow, white and black | ||
| + | - Oil on canvas | ||
| + | - Function | ||
| + | - Wanted to depict the underlying structure of reality | ||
| + | - Wanted to experiment with abstract forms | ||
| + | |||
| + | - Illustration from The Results of the First Five-Year Plan. (Varvara Stepanova. 1932 C.E. Photomontage.) | ||
| + | - Context | ||
| + | - Communism was rising during this time {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Russia became communist Soviet Union and created five year plans for the economy | ||
| + | - Stepanova considered herself as a constructivist and focused on portraying the ideals of the Soviet Union | ||
| + | - Well know for her contributions to the USSR in Construction magazine | ||
| + | - Content | ||
| + | - On the left, it has public speaker on a platform with the number 5 ( this symbolizes the five year plan) | ||
| + | - Has place cards showing the CCCP and the USSR | ||
| + | - Has a portrait of Lenin, the founder of the Soviet Union, speaking | ||
| + | - Has wires that go to an electrical transmission tower | ||
| + | - Red for the soviet union flag | ||
| + | - Large crowd that shows the popularity of Sralins beliefs | ||
| + | - Form | ||
| + | - Photomontage - a montage from constructed photographic images | ||
| + | - Used sepia photographs alternating between white and black | ||
| + | - Function | ||
| + | - To commemorate the ideals of Soviet Union | ||
| + | |||
| + | - Object (Le Déjeuner en fourrure). (Meret Oppenheim. 1936 C.E. Fur-covered cup, saucer, and spoon): | ||
| + | - Context: | ||
| + | - She was at lunch with picasso and Dora Maar {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Picasso and Dora Maar marveled at Oppenheim’s fur bracelet and said almost anything can be covered in fur | ||
| + | - Then as a joke Oppenheim asked the waiter for more fur ( menat keep my tea warm) | ||
| + | - Content | ||
| + | - A cup , saucer and spoon wrapped in gazelle fur | ||
| + | - Form | ||
| + | - Surrealism | ||
| + | - Made out drinking items and fur | ||
| + | - Function | ||
| + | - She pesses that you can actually feel the fur on your lips as if you were drinking from the cup | ||
| + | - Preferred a non- objective title for this work | ||
| + | - Many people tried to push a sexual meaning on the piece of work but Oppenheim most likely did not mean it to be sexual | ||
| + | |||
| + | - Fallingwater. Pennsylvania, | ||
| + | |||
| + | C.E. Reinforced concrete, sandstone, steel, and glass.) | ||
| + | |||
| + | - Context | ||
| + | - In the forest of Southwest pennsylvania {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Two architects opened a Modern Architecture: | ||
| + | - To help the turmoils of architects during the Great Depression and afterwards | ||
| + | - Alot of catalougues condemned Wright for his creations saying it wasn’t innovative | ||
| + | - Wright made an apprenticeship called the fellowship | ||
| + | - Criticism changed after this house | ||
| + | |||
| + | - Content | ||
| + | - House perched on a rocky hillside above a mountain cataract | ||
| + | - With water flowing down from the bottom of the house | ||
| + | |||
| + | - Form | ||
| + | - Reinforced concrete, sandstone, steel and glass | ||
| + | |||
| + | - Function | ||
| + | - Was a personal milestone for the architect | ||
| + | - Was a weekend home for Kaufmann | ||
| + | |||
| + | - The Two Fridas. (Frida Kahlo. 1939 C.E. Oil on canvas) | ||
| + | - Context | ||
| + | - Surrealism | ||
| + | - Abstract traditions of biomorphic forms | ||
| + | - Vertistic tradition of using reality based subjects put together in unusual forms | ||
| + | - Kahlo rejected the surrealism label | ||
| + | - Rivera often cheated on Kahlo and Kahlo cheated on him but Kahhlo wanted to be together and stop cheating | ||
| + | - Was getting a divorce from Rivera {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Content | ||
| + | - Juxtaposition of two self portraits | ||
| + | - A spanish lady in white lace - on the left | ||
| + | - A mexican woman that is a peasant on the right | ||
| + | - Two hearts are intertwined by viens that is cut by scissors by the end | ||
| + | - The viens led to a portrait | ||
| + | - Infetile land in the background | ||
| + | - Vein= umbilical cord | ||
| + | - Blood in lap suggest the many miscarriages and abortions in her life | ||
| + | - Form | ||
| + | - Oil on canvas | ||
| + | - Function | ||
| + | - Used to express her pain during that time | ||
| + | |||
| + | - The Migration of the Negro, Panel no. 49. (Jacob Lawrence. 1940--1941 C.E. Casein tempera on hardboard) | ||
| + | - Context | ||
| + | - The harlem renaissance {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - The great migration | ||
| + | - Apart of a series depicting the great migration | ||
| + | - Content | ||
| + | - A public restaurant in the north that was heavily segregated shown by the yellow pole splitting the black people from the white people | ||
| + | - Form | ||
| + | - Flat colors | ||
| + | - Flat simple shapes | ||
| + | - Geometric forms | ||
| + | - Forms hover in large spaces | ||
| + | - Tempera on hardboard | ||
| + | - Function | ||
| + | - Aimed to depict the great migration form the rural south to the north | ||
| + | |||
| + | - The Jungle. (Wifredo Lam. 1943 C.E. Gouache on paper mounted on canvas) | ||
| + | - Context | ||
| + | - Lam is a famous refined artist from Cuba | ||
| + | - Around the time where a revolutio happened in Cuba that overthrew Cuba’s leader | ||
| + | - In 1920s- 1930s Lam lived in Europe then left because of the war and went back to his home country | ||
| + | - Influenced by Afro- Carribean culture and surrealism {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Sugarcane was Cuba’s equivalent to Cotton in America | ||
| + | - Content | ||
| + | - Clusters of enigmatic faces, limbs, and sugarcane | ||
| + | - Kind of a game of perception | ||
| + | - Willowy arms and legs | ||
| + | - Seems not the have enough feet and legs for each figure | ||
| + | - Form | ||
| + | - Diapproniate bodys and figures | ||
| + | - Dense at the top and open at the bottom | ||
| + | - Gouache on paper mounted on canvas | ||
| + | - Function | ||
| + | - Intended to communicate a psychic state | ||
| + | |||
| + | - Dream of a Sunday Afternoon in the Alameda Park. (Diego Rivera. 1947--1948 C.E. Fresco.) | ||
| + | - Context | ||
| + | - Deigo Rivera famous painter from Mexico who was married to Kahlo | ||
| + | - Surrealism | ||
| + | - Never official joined the surrealist | ||
| + | - Afterwards the overthrown dictator of Mexico | ||
| + | - Content | ||
| + | - Depicts over 400 characters from Mexican history walking together through a garden | ||
| + | - Lighthearted elements- colorful balloon and bright flowers and plants | ||
| + | - Darker elements- conflict between police and indigenous family and smiling skeleton | ||
| + | - Middle highlights the life of the Mexican elite | ||
| + | - In contrast to the improvertish life of mexicans | ||
| + | - Shows the genocide and oppression | ||
| + | - The dream of democracy | ||
| + | - Religious idealism and religious intolerance | ||
| + | - Frida Kahlo holding yin and yang ( represents their relationship) | ||
| + | - Shows his love for Kahlo and her declining health | ||
| + | - Woman in european clothes | ||
| + | - Feather boa on Catrina’s neck = Quetzalcoatl ( mesoamerican serpent god) | ||
| + | - Form | ||
| + | - Figures overlap {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - In the form of a mural or fresco | ||
| + | - Mecxican muralism | ||
| + | - Function | ||
| + | - Commemorate Mexiacn history | ||
| + | - Critique of the upper class in Mexico | ||
| + | |||
| + | - Fountain (second version). (Marcel Duchamp. 1950 C.E. (original 1917). Readymade glazed sanitary china with black paint) | ||
| + | - Context {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Apart of the dada movement ( criticism of what is considered and what can be art) | ||
| + | - Dada translates to hobby horse or nonsense | ||
| + | - Dadaist abandoned conventional art and art techniques | ||
| + | - Content | ||
| + | - Upside down urinal with a signature | ||
| + | - Form | ||
| + | - Ready made sculpture | ||
| + | - Function | ||
| + | - irony | ||
| + | |||
| + | - Woman, I. (Willem de Kooning. 1950--1952 C.E. Oil on canvas) | ||
| + | - Context {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Abstract expressionism | ||
| + | - First American avant-garde art movement | ||
| + | - Action painting | ||
| + | - Inspired by neolithic goddess and pin up girls | ||
| + | - A part of a series | ||
| + | - Created by Willem de Kooning | ||
| + | - Content | ||
| + | - Angry woman baring her teeth | ||
| + | - Large eyes | ||
| + | - Exaggerated breast | ||
| + | - Blank stare and frozen grin | ||
| + | - Form | ||
| + | - Slashing paints | ||
| + | - Jagged lines | ||
| + | - Vague background | ||
| + | - Thick black lines | ||
| + | - Function | ||
| + | - It represents the quote from the artist “Beauty becomes petulant to me. I like the grotesque” | ||
| + | |||
| + | - Seagram Building. (New York City, U.S. Ludwig Mies van der Rohe and Philip Johnson (architects). 1954--1958 C.E. Steel frame with glass curtain wall and bronze) | ||
| + | - Context | ||
| + | - International style of architecture {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Thought a house should be a “machine for the living” | ||
| + | - modern | ||
| + | - Content | ||
| + | - Minimalistic | ||
| + | - Vertical and horizontal lines | ||
| + | - Form | ||
| + | - Steel frame with glass walls and bronze | ||
| + | - Set back from a plaza | ||
| + | - Bronze veneer - giving monolithic | ||
| + | - Modelo f a skyscraper | ||
| + | - Function | ||
| + | - wanted structural items to be evident | ||
| + | |||
| + | - Marilyn Diptych. (Andy Warhol. 1962 C.E. Oil, acrylic, and silkscreen enamel on canvas) | ||
| + | - Context | ||
| + | - Pop art | ||
| + | - Marilyn Monroe was very famous | ||
| + | - She died of overdose in her house {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Content | ||
| + | - Marilyn Monroe’ s face repeated many times | ||
| + | - Right- black and white(marilyn’s death | ||
| + | |||
| + | > ) | ||
| + | |||
| + | - Left- in color( marilyn’s life | ||
| + | |||
| + | - Form | ||
| + | - Rectangular screen- printed photographic images | ||
| + | - Film from Nigara was used | ||
| + | - Repetition | ||
| + | |||
| + | - Function | ||
| + | - Mocks the cult of celebrity ( people’s obsession with celebrities | ||
| + | - Fights the idea that art has to be solely unique | ||
| + | |||
| + | - Narcissus Garden. (Yayoi Kusama. Original installation and performance 1966. Mirror balls) | ||
| + | - Context | ||
| + | - She volunteered to live in a mental health facility {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Has a long history of mental illness | ||
| + | - Uses the story of Narcissus ( Narcissist) inspo | ||
| + | - Recreation of Narcissus garden in mythology | ||
| + | - Content | ||
| + | - Many ( 1, | ||
| + | - Balls were tightly arranged | ||
| + | - Reflection repeated and distorted | ||
| + | - Form | ||
| + | - Mirror balls | ||
| + | - Function | ||
| + | - Makes people confort vanity and ego | ||
| + | - Protest against commercialized art | ||
| + | |||
| + | - The Bay. (Helen Frankenthaler. 1963 C.E. Acrylic on canvas) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Context | ||
| + | - Abstract expressionist | ||
| + | - Content | ||
| + | - A bay in Michigan | ||
| + | - Form | ||
| + | - Painted unprimed canvas(canvas soaked up a lot of the paint) | ||
| + | - Runny paint | ||
| + | - Very 2 dimensional | ||
| + | - Atmospheric painting | ||
| + | - Violet to indigo | ||
| + | - Function | ||
| + | - Just for art | ||
| + | |||
| + | - Lipstick (Ascending) on Caterpillar Tracks. (Claes Oldenburg. 1969--1974 C.E. Cor-Ten steel, steel, aluminum, and cast resin; painted with polyurethane enamel) | ||
| + | - Context | ||
| + | - Pop art | ||
| + | - Made during the time students were protesting the Vietnam War | ||
| + | - Made in collaboration with yale students {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Experimented with lipstick forms v. | ||
| + | - Content | ||
| + | - A tube of lipstick sprouting from military vehicle | ||
| + | - Lipstick was seen as bullet and phallic shaped | ||
| + | - Combined feminie(lipstick) and masculine (war) | ||
| + | - Form | ||
| + | - 24 feet high | ||
| + | - Function | ||
| + | - Anti-war | ||
| + | - U.S consumption and beauty was a distraction from the Vietnam war and what is actually happening in the world | ||
| + | |||
| + | - Spiral Jetty. (Great Salt Lake, Utah, U.S. Robert Smithson. 1970 C.E. Earthwork: mud, precipitated salt crystals, rocks, and water coil.) | ||
| + | - Context | ||
| + | - Artist was interested in the blood like waters of the lake {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Example of site art sometimes called Earth art | ||
| + | - Content | ||
| + | - A spiral jetty in the middle in the great salt lake | ||
| + | - Form | ||
| + | - Mud, rocks, crystals, water coil | ||
| + | - Earthwork | ||
| + | - Used a tractor with native stones | ||
| + | - An extremely remote area | ||
| + | - Function | ||
| + | - Jetties are supposed to be piers | ||
| + | |||
| + | - House in New Castle County. (Delaware, U.S. Robert Venturi, John Rauch, and Denise Scott Brown (architects). 1978--1983 C.E. Wood | ||
| + | |||
| + | {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | |||
| + | - Context | ||
| + | - Post modern architecture( developed in late 70s - early 80s) | ||
| + | |||
| + | - Content | ||
| + | - Surrounded by hills and forest | ||
| + | - Wife is a musician = has a well stocked music room | ||
| + | - Husband is a bird watcher=large windows | ||
| + | - Post modern looks with historic looks | ||
| + | - Front facade = floating arch | ||
| + | - Rear facade= prominent arch | ||
| + | - Doric colonnades | ||
| + | - Grand whimsical interior | ||
| + | - Chandeliers | ||
| + | |||
| + | - Form | ||
| + | - A geometric shapes | ||
| + | |||
| + | - Function | ||
| + | - Designed for a family of three | ||
| + | |||
| + | ====== Unit 5: Indigenous Americas ====== | ||
| + | |||
| + | - Chavín de Huántar. (Northern highlands, Peru. Chavín. 900--200 B.C.E. Stone (architectural complex); granite (Lanzón and sculpture); hammered gold alloy (jewelry)) | ||
| + | - Context | ||
| + | - Archaeological and religious site of the andes of Peru | ||
| + | - Has a transportation of ceramics and textile to the temple | ||
| + | - Made by the Chavin cult | ||
| + | - Capital and religious center of Chavin cult and Pre-Inca civilization | ||
| + | - Set at the connection between two of the largest rivers in Peru | ||
| + | - Agriculture of maize and potatoes | ||
| + | - Content | ||
| + | - Jewelry made of gold alloy( the serpent nose ornament ) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Temple had a lot of tunnels( built around 900 BCE | ||
| + | - The old temple is shaped in a U | ||
| + | - New temple was built around 500 BCE | ||
| + | - Quarried stone building, terraces around palazas, internal gallery | ||
| + | - Had artifacts and stylistic | ||
| + | - Form | ||
| + | - Made of stone | ||
| + | - Rough shapes of stone | ||
| + | - Lanzon and sculpture made of granite | ||
| + | - 10,330 feet above sea level | ||
| + | - Function | ||
| + | - Religious center for the their primary god | ||
| + | - Held many spiritual ceremonies | ||
| + | - Designed to unify people | ||
| + | - An important pilgrimage | ||
| + | |||
| + | - Mesa Verde cliff dwellings. (Montezuma County, Colorado. Ancestral Puebloan (Anasazi). 450--1300 C.E. Sandstone) | ||
| + | - Context: | ||
| + | - Mesa Verde means “green table” | ||
| + | - Ancestral Puebloans | ||
| + | - They were mainly sedentary farmers | ||
| + | - Abandoned around 1300 CE due to lack of resources, drought , or violence | ||
| - Content: | - Content: | ||
| - | - Pharaoh Tut sarcophagus had three coffins | + | - Kivas = underground circular rooms used for ritual purposes |
| - | - Inner coffin was made out of solid gold | + | - Wooden roof held up by sandstone columns |
| - | - Outer coffins had gems like lapis lazuli and turquoise | + | - Firepit in the center |
| - | - Had a death mask | + | - Had a small hole in the ground called sipapu for ceremonial purposes |
| - | - The pharaoh held a crook and flail (symbols of the Pharaoh�s right to rule) | + | - Plastered |
| - | - Had depictions of Nekhbet (a vulture) | + | - Other paintings also decorated the walls |
| - | - Back of death mask is covered in a spell to help the Pharaoh get to the afterlife | + | - Geometric |
| - | - Wore a fake beard | + | - Were used to depict |
| - Form: | - Form: | ||
| - | - Innermost coffin was made out of gold | + | - Built into the cave |
| - | - Gold with many different gems | + | - Dwellings built on the top and bottom |
| + | - Over 600 structures | ||
| + | - Made of stone, mortar and plaster | ||
| + | - Used a building technique called Adobe | ||
| + | - Adobe = type of brick made from clay, sand, straw and/or sticks | ||
| + | - The paintings and murals were made from clay, minerals, and other organic materials | ||
| - Function: | - Function: | ||
| - | - Meant to protect | + | - Used for ceremonies and residential |
| - | - Help the pharaoh reach the afterlife | + | - Were covered but now have no roofs |
| + | - The space around | ||
| + | - Circular and rectangular for living space | ||
| + | - One room facing | ||
| + | - Smaller rooms were used for storage | ||
| - | - Last judgement of Hu-Nefer, from his tomb. Book of the Dead (New Kingdom, 19th Dynasty. 1275 B.C.E. Painted papyrus scroll) | + | - Yaxchilán. (Chiapas, Mexico. Maya. 725 C.E. Limestone (architectural complex)) |
| - Context: | - Context: | ||
| - | - Book of Dead = text with spells, prayers | + | - Yaxchilan dynasty 4th century |
| - | - �Coffin Text� instructions written | + | - Lord shield Jaguar II who ruled for 60 years beginnings in 681 |
| - | - Founded buried | + | - He commissioned famous sculpture work at site |
| - | - Horus 4 children are responsible for carving for Hunefer�s internal organs, represent 4 cardinal points | + | - Bird Jaguar IV followed his father ( built famous buildings and sculpture) |
| - | - Art contains Egyptian conventions | + | - Bloodletting was common |
| + | - Lintels | ||
| + | - Lady took burned the paper to allow the blood to ascend to the gods | ||
| + | - Content | ||
| + | - Carved lintel | ||
| + | - Stairs | ||
| + | - Depicted ritual moment in the life of Lady Xooks | ||
| + | - Lintel 24:Lady Xook pulls a throned cord through her tongue so that she can bleed on a paper that fills a basket on the ground( bloodletting) | ||
| + | - Her husband holds a lit torch above her | ||
| + | - Beautiful diamond decorated | ||
| + | - Lintel 25:from central doorway also a bloodletting ritual by Lady Xook in front of a serpent | ||
| + | - She holds the bowl in her hand while looking up at the serpent {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Bowl had papers that she bleed on | ||
| + | - Figure images from serpent’s mouth with a shield, spear, and war helmet | ||
| + | - Backward inscription | ||
| + | - Structure 33 | ||
| + | - Three enterways | ||
| + | - Decorated with stucco ornamentation | ||
| + | - Limestone blocks | ||
| + | - Displays ruler like Bird Jaguar II in intricate clothing and with his son | ||
| + | - Elaborate roof comb= a masonry wall | ||
| + | - Structure 40 | ||
| + | - Unusual concept of beauty | ||
| + | - Often had chacmool ( half sitting half lying down) | ||
| + | - Form | ||
| + | - Relief structures | ||
| + | - Structure 33 built by Bird Jaguar IV | ||
| + | - Function | ||
| + | - To legitimize ruler | ||
| + | - To show power | ||
| + | |||
| + | - Great Serpent Mound. (Adams County, southern Ohio. Mississippian (Eastern Woodlands). c. 1070 C.E. Earthwork/ | ||
| + | - Context: | ||
| + | - Created by Native American tribes | ||
| + | - Effigy mounds depicting animals were quite common among Native American tribes | ||
| + | - Believed snakes to have supernatural powers | ||
| + | - Possibly influenced by Mississipian rattlesnake worshipping practices | ||
| - Content: | - Content: | ||
| - | - Upper left = Hunefer speaking | + | - A snake (probably a rattlesnake) that is slightly crescent shaped |
| - | - Depicted | + | - Snake’s head is pointed |
| - | - Led by Anubis=jackal- headed god who is carrying | + | - The ovoid shape at the eastern end the snake is thought be either the head, an eye, an egg, or maybe even the sun to represent |
| + | - In some Native American cultures, snakes are believed | ||
| + | - Form: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f:image26.jpeg}} | ||
| + | - Dirt | ||
| + | - Largest snake effigy mound in the world | ||
| + | - The mound confroms into the natural topography in the area | ||
| + | | ||
| + | - Function: | ||
| + | - Snakes were often included into spiritual rituals | ||
| + | - The astrological alignment of the snake suggest that it was used to mark seasons | ||
| + | - The North Pole star aligns with the first curve of the serpent so it could represent the constellation Draco | ||
| + | - May have marked the day the Haley’s Comet appeared | ||
| - | an Ankh-symbol | + | |
| + | - Context: | ||
| + | - Aztec Empire {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Means “The Greater Temple” | ||
| + | - Taken apart and destroyed by the Spanish in 1521 | ||
| + | - Thousands | ||
| + | - The Aztec invasion in which its purpose was spread their Aztec | ||
| - | - Anubis = seemed with a scale, weighing Hunefer�s heart with a feather, from Ma�at (associated with living an ethical, ordered life). If feather weighs more = ethical life. If heart weighs more=beast Ammit (crocodile lion, hippo beast) will devour, Hunefer�s heart = unethical life | + | ideas and religions to neighboring territories |
| - | - Horus (a falcon head son of Osiris) hold an ankh introduces film to Osiris wife and Neftis (Osiris sister) stand behind ostris | + | - Could hold 200,000 people by the 16th century |
| + | |||
| + | - Trade center | ||
| + | |||
| + | - Content: | ||
| + | - Main temple of the Mexica people | ||
| + | - Design is inspired by Mixica mythology | ||
| + | - Either side of the temple was dedicated to two primary gods | ||
| + | - Wooden statues represented each god | ||
| + | - God of War and Sun | ||
| + | - Huitzilopochtli | ||
| + | - Included sacrificial stone and bearer figures and serpents | ||
| + | - This side represente Snake mountain or Coatepec | ||
| + | - Painted red = symbolized the dry season during the winter solstice | ||
| + | - The steps leading to Huitzilopochtli were painted red to symbolize war and blood | ||
| + | - God of Agriculture and Rain | ||
| + | - Tlaloc | ||
| + | - Included | ||
| + | - This side symbolized mountain of sustenance, which produced rain and allowed crops to grow | ||
| + | - Painted with blue stripes = symbolized the wet season during the summer solstice | ||
| + | - Stairs leading to Tlaloc were painted blue and white to represent water | ||
| + | - These halves were very opposite and contradicting of each other | ||
| - Form: | - Form: | ||
| - | - Drawing/ painting on papyrus scroll | + | - Volcanic stone and covered in stucco |
| + | - The post classic period and Mesoamerican style | ||
| + | - A large symmetrical building with twin staircases leading up to two identical temple towers | ||
| + | - Was a focal point in society and taller than all other building in the area | ||
| - Function: | - Function: | ||
| - | - To prove Hunefer had lived an ethical life and deserved to enter the afterlife | + | - A place of worship of their gods |
| + | - Rituals, ceremonies, | ||
| + | - Represented Aztec warfare and conquest as well as their power | ||
| - | - Lamassu from the Citadel | + | - Ruler' |
| + | - Context | ||
| + | - Belonged to Motecuhzoma II, ruler of the Aztec Empire | ||
| + | - Capital of Aztec empire Tenochtitlan | ||
| + | - Stolen by Hernan Cortes | ||
| + | - Europe called it a moorish hat {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | | ||
| + | - Content | ||
| + | - Originally had a golden bird beak | ||
| + | - 450 feathers | ||
| + | - Quetzal tail feathers from the male birds located in Yucatan peninsula | ||
| + | - Made by amantecas ( feather workers)highly skilled artist | ||
| + | - Form | ||
| + | - Feather, gold, wood, plant fibers | ||
| + | - 3.8 feet tall | ||
| + | - 5.75 feet wide | ||
| + | - Feathers mounted on wood sticks layered in semi- circle | ||
| + | - Vibrant colors | ||
| + | - Function | ||
| + | - For the ruler | ||
| + | |||
| + | - City of Cusco, including Qorikancha (Inca main temple), Santo Domingo (Spanish colonial convent), and Walls at Saqsa Waman (Sacsayhuaman). (Central highlands, Peru. Inka. c. 1440 C.E.; convent added 1550--1650 C.E. Andesite) | ||
| - Context: | - Context: | ||
| - | - Mesopotamia | + | - Inca Empire |
| - | - Palace | + | - Known for monumental architecture and extensive road networks |
| - | - Founded | + | - Did not have a money system |
| - | - Made during | + | - Instead exchanged labor and goods |
| + | - Taxes were paid in a form of labor | ||
| + | - Inti Raymi | ||
| + | - Ceremony of the sun and sun god | ||
| + | - It was later limited and banned when the Spanish came | ||
| + | - Mea and Women were seen as equal in Incan culture | ||
| + | - The Spanish saw the women as slaves | ||
| + | - Women could own land - inheritance went through both mother | ||
| + | - 16th Century Spanish Conquest | ||
| + | - City of Cusco was preserved | ||
| + | - Temples, monasteries, | ||
| + | - Showed juxtaposition between | ||
| + | - One of the most important centers for religious art creation | ||
| + | - Today it is recognized as cultural heritage and a monumental area {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f:image29.jpeg}} | ||
| - Content: | - Content: | ||
| - | - Human headed winged bull (protective genies called Lamassu) guarded entrances | + | - City may have been laid out in the form of a puma (a symbol of strength) |
| - | - Carved | + | - The noble houses were isolated |
| - | - The Lamassu has five legs | + | - The architecture showcased the city’s political power |
| - | - Curly long tail | + | - They had an extensive understanding of masonry |
| - | - Expressive eyes | + | - Each stone was modified with tools to fit other stones |
| - | - Has a crown, detailed wings, double horns, | + | - Each stone had a bit of space in between so they wouldn’t collapse during an earthquake |
| - | - Looked | + | - Gods (captured) and mummies were used to further control followers |
| + | - Qorikancha | ||
| + | - Cheques served | ||
| + | - Renovated by an emperor who had a divine revelation | ||
| + | - Doorways and wall niches are inca trapezoids | ||
| + | - Doorways are double jammed to indicate importance | ||
| - Form: | - Form: | ||
| - | - High relief | + | - Red roofs |
| - | - 13.9 ft tall | + | - Buildings are close together |
| + | - Fertile land | ||
| + | - Technical stone structures | ||
| + | - Urban layout | ||
| - Function: | - Function: | ||
| - | - A spiritual guardian figure | + | - Capital |
| - | - Symbol | + | - Divided into four quarters that represent the four divisions in the empire |
| - | - Held up the citadel | + | - Axis Mundi = center |
| + | - Inca rulers and nobles lived in cusco | ||
| + | - Gods and mummies kept in the capital | ||
| + | - Qorikancha | ||
| + | - Most sacred shrine = to the sun god Inti | ||
| + | - Was later turned into a Christian temple | ||
| + | - Sacsayhuaman | ||
| + | - Built as a fortress but function is still unsure | ||
| - | - Athenian Agora (Archaic through Hellenistic Greek. 600 B.C.E.-150 C.E. Plan) | + | - Maize cobs. (Inka. c. 1440--1533 |
| + | - Context | ||
| + | - Maize was very important food in Central america and the civilization there | ||
| + | - Inka art | ||
| + | - Displayed in a metal garden in City of Cusco | ||
| + | - Content | ||
| + | - Life size sculpture of maize( corn) | ||
| + | - Form | ||
| + | - Made of gold and metal( mix of copper and silver) | ||
| + | - Corn kennels were individually sculpted | ||
| + | - Function | ||
| + | - Honor an important aspect of the life there | ||
| + | |||
| + | - City of Machu Picchu. (Central highlands, Peru. Inka. c. 1450--1540 C.E. Granite (architectural complex)) | ||
| + | - Context | ||
| + | - Originally a palace for Inca rulers | ||
| + | - Overlooks the Urubamba river | ||
| + | - Near the city of Cusco | ||
| + | - Fertile climate | ||
| + | - Chosen because of its location close to the Adean landscape | ||
| + | - Emperors only lived there for part of the year | ||
| + | - Pachacuti thought he was the descendant of the sun | ||
| + | - Yanaconas and Mitimas {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Content | ||
| + | |||
| + | - Main building= typical Inca elite architecture | ||
| + | |||
| + | - Buildings show social divisions | ||
| + | |||
| + | - Emperor lived on the southwest | ||
| + | |||
| + | - Contains religious structures | ||
| + | |||
| + | - Had a observatory | ||
| + | |||
| + | - Intihuatana- a carved border located in the ritual area | ||
| + | - Form | ||
| + | |||
| + | i. Porturding stones | ||
| + | |||
| + | - Function | ||
| + | - Show that the emperor is connected to the gods | ||
| + | - Solidify rule and power | ||
| + | - At first was a palace for elites but more of a city | ||
| + | |||
| + | - All-T’oqapu tunic. (Inka. 1450--1540 C.E. Camelid fiber and cotton) | ||
| + | - Context | ||
| + | - Textiles with the finest cloth ( qompi ) were made by acallas ( chosen women) | ||
| + | - Allacs performed important rituals across the Inca empire {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Content | ||
| + | - Designs represented people/ | ||
| + | - Contains a black and white checkerboard like pattern for the ones worn in the military | ||
| + | - Patterns demonstrate the sapa inca ( unique inca ) was an important person who claimed the tunic | ||
| + | - Form | ||
| + | - Tunic: A woven rectangle piece of cloth folded into a square, with a slit woven into the middle for the neck, with small red woven squares. | ||
| + | - T’oqapu: composition of these square geometric motifs that make up the tunic, worn by upper class tunics. | ||
| + | - Made from dyed camelid fiber and cotton ( rare and luxury dyes and fabric) | ||
| + | - Required the work of numerous people | ||
| + | - Light and strong fabric and threads | ||
| + | - Function | ||
| + | - For the elite | ||
| + | - Showed Inca power | ||
| + | |||
| + | - Bandolier bag. (Lenape (Delaware tribe, Eastern Woodlands). c. 1850 C.E. Beadwork on leather) | ||
| + | - Context | ||
| + | - Inspired by the bags Europeans wore | ||
| + | - Created by the tribe in Delaware | ||
| + | - Called Aazhooningwa' | ||
| + | - Made by most tribes near the great lakes | ||
| + | - Women created the bags | ||
| + | - Animalistic religion | ||
| + | - Were removed from their land by the indian Removal act | ||
| + | - Content | ||
| + | - Thousands of beads strung together {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Bandolier | ||
| + | - Red trimming and tassels on the bag | ||
| + | - Floral blue, black green and pink colors used in the patterns | ||
| + | - Ends have trapezoidal shaped extensions | ||
| + | - Long rectangle - bandolier | ||
| + | - Bag | ||
| + | - Follows the same color scheme as the bandolier | ||
| + | - Tassels decorate the opening of the bag | ||
| + | - Very decorative | ||
| + | - Form | ||
| + | - Very large | ||
| + | - Silk ribbons- came from trading with europeans | ||
| + | - Red wool tassel with metal cones | ||
| + | - Abstract and asymmetrical | ||
| + | - Cotton and wool cloth | ||
| + | - Function | ||
| + | - For men to wear expressed social identities and groups | ||
| + | |||
| + | - Transformation mask. (Kwakwaka’wakw, | ||
| + | - Context | ||
| + | - Mask worn during ceremonies | ||
| + | - Dancers open the mask during the ceremony | ||
| + | - Carving techniques changed after Europeans | ||
| + | - Transformation mask were very important to the culture | ||
| + | - Mask were worn with a cloak | ||
| + | - Primogeniture political structure | ||
| + | - Barter and trade economy | ||
| + | - Content | ||
| + | - Large, exaggerated bird | ||
| + | - Opens to show a human face | ||
| + | - In the shape of an eagle | ||
| + | - Pull the chord and the mask opens | ||
| + | - The human face is the face of an ancestor {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Form | ||
| + | - Hair made of string | ||
| + | - Bright colors | ||
| + | - Function | ||
| + | - Portrayed genealogy (like a family crest) | ||
| + | - Worn at a potlatch | ||
| + | - Conveyed high status {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | |||
| + | - Painted elk hide. (Attributed to Cotsiogo (Cadzi Cody), Eastern Shoshone, Wind River Reservation, | ||
| + | - Context | ||
| + | - Artist Cotsiogo american name: Cadzi Cody | ||
| + | - Known for his animal paintings | ||
| + | - Was a member of the Eastern Shoshone tribe | ||
| + | - Animal painting tradition | ||
| + | - Extreme poverty on the Wind river reservation | ||
| + | - Content | ||
| + | - Painted on elk hide | ||
| + | - Animals running ( horses and buffalo) | ||
| + | - People hunting them with a bow and arrow even though most tribes had guns | ||
| + | - Women sitting near fire | ||
| + | - Form | ||
| + | - Free- hand pencil sketches and paintings | ||
| + | - Use of stencils | ||
| + | - Function | ||
| + | - Sold to white visitors/ tourist | ||
| + | |||
| + | - Black-on-black ceramic vessel. (Maria Martínez and Julian Martínez, Tewa, Puebloan, San Ildefonso Pueblo, New Mexico. c. mid-20th century C.E. Blackware ceramic) | ||
| + | - Context | ||
| + | - Made by Maria Martinez and Julian Martinez | ||
| + | - Made on the puebloan reservation | ||
| + | - The reservation was poor | ||
| + | - Maria Martinez became popular because europeans considered her pots as art deco | ||
| + | - Content {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Pictures of clouds, bird feathers, corn, and rivers | ||
| + | - Form | ||
| + | - Ceramics | ||
| + | - Made by coiling clay into shape of the vase | ||
| + | - Made with volcanic ash | ||
| + | - Burnished- polished with a stone | ||
| + | - Ollas- a rounded pot | ||
| + | - Function | ||
| + | - Was able to buy things for the reservation | ||
| + | - Functional uses | ||
| + | |||
| + | ====== Unit 6: Africa ====== | ||
| + | |||
| + | - Conical tower and circular wall of Great Zimbabwe. Southeastern Zimbabwe. (Shona peoples. c. 1000--1400 C.E. Coursed granite blocks) | ||
| - Context: | - Context: | ||
| - | - Was invaded by the Perisans but was rebuilt later on {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | + | - Took over 30 years to complete |
| - | - Citizens (male Athenians) were able to participate in government | + | - Conical tower believed |
| - | - Meritocracy and equality before the law | + | - Built in a time of great wealth success of Great Zimbabwe |
| - Content: | - Content: | ||
| - | - The stoa - government, business | + | - Zimbabwe=Judicial Center or Ruler’s court |
| - | - Athena | + | - Clay structure, excavations have revealed interior furnishings such as pot- stands, elevated surfaces for sleeping and sitting as well as hearth |
| - Form: | - Form: | ||
| - | | + | |
| + | | ||
| + | - Hill Ruin (on a rocky hill-top) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Incorporates a cave that remains sacred site for Shona ppl today; cave accommodate the residence of the ruler and his immediate family; | ||
| + | - Held a structure surrounded 30 feet high walls | ||
| + | - Flanked by cylindrical towers: monoliths carved with elaborate geometric patterns | ||
| + | - The Great Enclosure: | ||
| + | - Walled structure punctuated with turrets and monoliths; massive outer wall id 32 feet high | ||
| + | - Inside Great Enclosure is a smaller wall parallel to the exterior wall creating a tight passageway leading to large towers | ||
| + | - Accommodate a surplus population and it's religious and administrative activities | ||
| + | - Valley Ruins: | ||
| + | - Hub for commercial exchange and long distance trade; found porcelain fragments and long distance trade, beads crafted in SE Asia and copper | ||
| + | - Monolithic soapstone sculpture of a seated bird resting atop of a register of zig zags | ||
| + | - Conical Tower: walls were constructed from granite blocks; had no military function; didn’t use mortar to bind the stones; ashlar masonry carefully cut the stone walls | ||
| + | - Symbolize the power and prestige of the rulers: a shona ruler shows his largess towards his subjects through his granaly, often distributing grains: symbolizing his protection | ||
| + | |||
| + | i. Geometric shapes and Patterns | ||
| + | |||
| + | - Function | ||
| + | - Wall separated the commoners from the royal families | ||
| + | - Circular wall=demonstrate power and protect houses and the commercial markets | ||
| + | - Long distance=trade | ||
| + | |||
| + | - Great Mosque of Djenné. (Mali. Founded c. 1200 C.E.; rebuilt 1906--1907. Adobe) | ||
| + | - Context: | ||
| + | - Largest mud-brick structure in the world | ||
| + | - Rebuild 3 times | ||
| + | - Built in a market place | ||
| + | - Ostrich egg represents fertility | ||
| + | - Tombs of great Islamic Scholars are adjacent to the mosque | ||
| + | - Content: | ||
| + | - 3 minarets {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Earthen roof | ||
| + | - Qibla faces Mecca | ||
| + | - Terracotta lids over holes on the roof | ||
| + | - Imber poles poke out of the mosque called torons for decorations and climbing the mosque for replatering | ||
| + | - Straits symbolizes transition from everyday life of the marketplace to a sacred place | ||
| + | - Form: | ||
| + | - Made from cylindrical adobe (mudbrick) | ||
| + | - Made by hand with contribution from the whole society-- complex organization of society | ||
| + | - Supported by massive pillars | ||
| + | - Contains a Mihrab | ||
| - Function: | - Function: | ||
| - | - Originally a burial ground during | + | - Signs of the chiefs religious devotion to Islam |
| - | - Started as a market place then transformed into a government building | + | - Mosque=center for prayers and community |
| - | - Progressed into a sacred temple | + | - Location of crepissage, |
| - | - Anavysos Kouros (Archaic Greek. 530 B.C.E. Marble with remnants of paint) | + | - Wall plaque, from Oba’s palace. (Edo peoples, Benin (Nigeria). 16th century |
| - Context: | - Context: | ||
| - | - During | + | - Beninese mainly traded Portuguese empire |
| - | - First obtained iron tools | + | - A new system of trade that was recently enabled due to the British imperial conquests of Benin |
| - | - Unknown artist | + | - Portuguese empire began declining around the 18th century and British began making inroads into Benin |
| - | - Found in a cemetery Anavysos | + | - Portuguese seek mutually beneficial trade whereas British sought to dominate the local ppl and extract resources |
| - | - Grave marker for Krisos | + | |
| - Content: | - Content: | ||
| - | - Young naked male | + | - Depicts the King attended by several court attendants; king depicted in the center=emphasize his power |
| - | - A little bit larger | + | - Attendants appear smaller |
| - | - Kouros | + | - King is shown riding horse and wearing expensive necklaces and jewelry |
| - | - Set up by an aristocratic family | + | |
| + | - Distinct use of proportion in which the Oba’s head is larger because Oba was known as “Great Head” as he is the center of wisdom/ | ||
| - Form: | - Form: | ||
| - | - Idealized male body- strong and lean | + | - Cast brass relief plaque |
| - | - Stiff body posture - influenced by egyptain art | + | - Brass=valuable material |
| - | - Naked body | + | - Plaque combines traditional depictions of figures and brass work of European cultures |
| - | - Neatly braided hair | + | |
| - Function: | - Function: | ||
| - | - It was very popular | + | - Decorated palace walls. Plaques were made in pairs and attached to pillars |
| - | - Used as grave markers | + | - Shows court rituals that occurred in palace and the order of plaques in the palace show the history of the Kingdom |
| - | - Offerings to a god | + | |
| + | | ||
| + | |||
| + | C.E. Gold over wood and cast-gold attachments) | ||
| - | - Peplos Kore from the Acropolis | + | - Context: |
| + | - The ashanti group is the largest ethnic group in Ghana today | ||
| + | - Their king Osei Tutu | ||
| + | - Believed the golden stool descended | ||
| + | - Priest - Okomfo Anokye | ||
| + | - The stool is sacred | ||
| + | - King is viewed as a divine medium | ||
| + | - The kingdom was rich in gold | ||
| + | - Lost the Ashanti war against the Europeans that exploited the people and the land for gold | ||
| + | - The ashanti people people hid the stool away from the Europeans to keep it safe | ||
| + | |||
| + | - Content | ||
| + | - A seat with two bells tied to the end | ||
| + | - Intricate designs in the middle part | ||
| + | - Small figures attached to the seat | ||
| + | - Believed to contained the soul of the people | ||
| + | |||
| + | - Form | ||
| + | - Gold over wood | ||
| + | - 18 inches high | ||
| + | - 24 inches long | ||
| + | - 12 inches wide | ||
| + | - carved using ashanti methods | ||
| + | - Crescent shaped seat | ||
| + | |||
| + | - Function | ||
| + | - It is a sacred piece for the Ashanti people | ||
| + | |||
| + | - Ndop (portrait figure) of King Mishe miShyaang maMbul. (Kuba peoples (Democratic Republic of the Congo). c. 1760--1780 | ||
| + | - Context | ||
| + | - Made by the Kuba people | ||
| + | - Commissioned by Kuba King Mishe miShyaang maMbul at height of his reign | ||
| + | - Stolen by a colonial minister and then sold to the Brooklyn museum | ||
| + | - Kuba kingdom flourished during the 17th to 18th century {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Content | ||
| + | - Calm, expressionless faces | ||
| + | - Sits cross legged on a platform | ||
| + | - Holds a royal drum and a belt to identify the king | ||
| + | - Captures the ideal king | ||
| + | - Other symbols of the king;s wealth and family are included | ||
| + | - Head center of intelligence | ||
| + | - Form | ||
| + | - Exaggerated features | ||
| + | - Not individualistic characters | ||
| + | - Function | ||
| + | - Ndop is a record of the king’s rule | ||
| + | - Celebrates his rule and generosity | ||
| + | |||
| + | - Power figure (Nkisi n’kondi). (Kongo peoples (Democratic Republic of the Congo). c. late 19th century C.E. Wood and metal) | ||
| - Context: | - Context: | ||
| - | - Created in 530 BCE | + | - Spiritual importance and protection=important to kingo ppl |
| - | - Unknown artist {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | + | - Power figures were confiscated and destroyed by missionaries of the late 19th century when found because they were evidence of sorcery |
| + | | ||
| + | | ||
| - Content: | - Content: | ||
| - | - Young maiden | + | - Wooden human figure meant to highlight it's function in human |
| - | - A peplos robe | + | - Elongated belly button with cowrie shell fertility link to ancestors and wealth |
| - | - Arm extended while holding something | + | - Often contain medicinal combinations inside them covered by a piece of glass (Glass represent the other world) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: |
| - | | + | - Nkisi container of sacred substances activated by supernatural forces that summon spirits into the natural world |
| - | - Facial expression - transcendent & wise | + | |
| - Form: | - Form: | ||
| - | - Once brightly pigmented ( red hair colored eyes) | + | - Imposing figure leaning forward wide stance signifies strength and importance |
| - | - Missing left arm | + | - Contains different types of insertions |
| - | - Tightened wrist | + | |
| - | - Wearing a dress | + | |
| - | - Neatly braided hair | + | |
| - Function: | - Function: | ||
| - | - To honor or depict a goddess | + | - Used as reminders of social obligations and enforcers of proper behavior |
| - | - Placeholder in front of a temple | + | - Brought healing and protection to the community |
| - | - Physical representation | + | - Symbolize an honoring |
| + | - Served as a mediator between ancestral spirit world and the living world | ||
| - | - Sarcophagus of the Spouses | + | - Female |
| - Context: | - Context: | ||
| - | - Found in Etrusan tomb | + | - Chokwe is a matrilineal society |
| - | - Etrusans lived in northern Italy {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | + | |
| - | - Made in 520 BCE | + | |
| - | - Etrusan women held a higher importance | + | |
| - Content: | - Content: | ||
| - | - Deceased woman and man together in intimacy | + | - Cingelyengelye on forehead |
| - | - Archaic smile | + | - Hairstyle = common chokwe women hairstyle called coat which includes a braided headband and heavy fringe coated with red earth (plaiting) |
| - | - Both people are reaching out | + | - Pwo- founding mother and deity who represents fertility |
| - | - The sarcophagus takes form of a bed | + | - This mask represent Pwo Meana: a younger and more idealized form |
| + | - Tattoos: | ||
| + | - Left cheek=cingelyengelye: | ||
| + | - Right cheek=cuijingo: | ||
| + | - Forehead=mitelumuna (knitted eyebrows) an allusion to discontentedness or arrogance | ||
| + | - Under the eyes is the masoji, signifying tears | ||
| + | - Whiteness around the eyes: spiritual realm /her eyes are important part of face | ||
| + | - Huge eyes suggest that she is on a different level of spirituality | ||
| - Form: | - Form: | ||
| - | - Painted terra cotta | + | - Neat lines and circles use of symmetric shape |
| - | - High-relief | + | - Glowing reddish brown surface represents healthy skin |
| - | - Relaxed figure | + | - Slender nose, elliptical mouth and hemispherical ears |
| - Function: | - Function: | ||
| - | - Grave marker | + | - Honor a chokwe women who had successfully given birth |
| + | - 2 performers: 1 wearing pwo mask and the other wear male counterpart: | ||
| + | - Used during male initiation rites to show them the type of ideal type of women that they should because looking for a wife {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| - | - Audience Hall (apadana) of Darius and Xerxes | + | - Portrait mask (Mblo). (Baule peoples (Côte d’Ivoire). Early 20th century |
| + | - Context: | ||
| + | - Baule peoples: 400,000 lived in villages in Cote D' | ||
| + | - Known for wood sculptures and ceremonial masks | ||
| + | - Baule society=matriarchal | ||
| - Content: | - Content: | ||
| - | - 72 columns, each 24 meters tall, extremely intricate | + | - Mask is an idealized portrait of Moya Yanso: a women |
| - | - Columbs capitals = animals: bulls, eagles, lions, all symbol of royalty | + | |
| - | - 2 monuments of staircases | + | known in Kami for her beauty and incredible dancing ability; mask displays her at her prime |
| - | - The walls were carved | + | |
| + | - High forehead and small mouth > convey intelligence and posture | ||
| + | |||
| + | - Left eye is slightly higher than right eye; gives feeling of complexity | ||
| + | |||
| + | - Tubular pieces above.are just decorative | ||
| + | |||
| + | - The folds near the mouth conveys age | ||
| + | |||
| + | - Brass would shine in the sunlight to represent good health | ||
| + | |||
| + | - Form: | ||
| + | - Oblong face shape is black in color with triangular brown marking | ||
| + | - Traces of orange and red paint remain near lips, eyes, nose | ||
| + | - Nose is long and mouth is closed | ||
| + | - Ears are rounded nubs | ||
| + | |||
| + | - Function: | ||
| + | - Part of masquerade called a gbagba in the village of Kami in the early 1900s | ||
| + | - The mask concealed until a climactic moment when they are revealed | ||
| + | - Watched by an audience | ||
| + | - Masks kept out of sight when not in use | ||
| + | - Meant to honor a respected member of Baule society | ||
| + | |||
| + | - Bundu mask. (Sande Society, Mende peoples (West African forests of Sierra Leone and Liberia). 19th to 20th century C.E. Wood, cloth, and fiber) | ||
| + | - Context: | ||
| + | - During ceremonies women bodies | ||
| + | - Mende people = large ethnic group {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Patrilineal and patriarchal | ||
| + | - Religion: Ngewo-single creator | ||
| + | - Content: | ||
| + | - Full costume; made of a gown of raffia fibers and the 2-4 ib mask represents sowo | ||
| + | - Masks deep black sheen and smoothness: shows ideal image in contrast | ||
| + | - Sheen created | ||
| + | - Mask is idealized | ||
| + | - Stylized neck rings symbolizes fertility, good health, and high status | ||
| + | - Small mouth means a women should not gossip | ||
| + | - Small ears mean women shouldn’t listen to gossip | ||
| + | - Eyes are largely closed and downward cast | ||
| + | - 4 lines under eyes=ideal aesthetic | ||
| - Form: | - Form: | ||
| - | - Carved primarily of limestone {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | + | - Dark; painted wood materials forms a head that resembles a thimble |
| - | - The carvings on the wall were bas-relief | + | - A small face with small features is central and towards |
| - | - Display | + | |
| - | - Column capital = high relief | + | - Geometric designs surround |
| - | - Hall = hypostyle architecture | + | - Folds extended from the face to the back of the head |
| + | - Fibers resembles hair extended from head | ||
| - Function: | - Function: | ||
| - | - Represents | + | - Part of a public masquerade that celebrates girls maturation |
| + | - A female dancer appears in acostume represent sowo (water spirit of the sande society) | ||
| + | - Creates an image that young girls should strive for | ||
| + | - Thought to be a spirit | ||
| + | - Spiritual knowledge and how to be a wife | ||
| + | - - Ikenga (shrine figure). (Igbo peoples (Nigeria). c. 19th to 20th century C.E. Wood) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Context: | ||
| + | - Made by Igbo people in Nigeria | ||
| + | - Began in 19th century | ||
| + | - Lives in remote inland area where they are isolated and independent from other tribes | ||
| + | - Content: | ||
| + | - An “ikenga” is carved wooden figure that has a human face and animal attributes | ||
| + | - Horns symbolizes aggressiveness and ambition | ||
| - | nature of the Persian Empire | + | because they believe that ram fifth with the head and head initiates good actions |
| - | - Ceremonial Hall | + | - Most Ikenga holds swords=to show power |
| - | - Served as the center of Persian Empire�s capital | + | - The figure is carved to resemble whoever commissioned it |
| - | - Temple | + | - Form: |
| + | - Carved wooden figures | ||
| + | - Masculine sculpture genre are so much taller and wider | ||
| + | - All have ram horns but vary in size | ||
| + | |||
| + | - Function: | ||
| + | - Celebrates the Igbos belief in the importance | ||
| + | - A source of strength | ||
| + | - Emphasize the power of the right hand usually because they hold a sword on right hand | ||
| + | - They are also meant to symbolize the significance of that person in society or past accomplishments of the person | ||
| + | - Usually get burned with the owner | ||
| + | |||
| + | - Lukasa | ||
| - Context: | - Context: | ||
| - | - Found in Ertuscan | + | - Start of 1500s, Luba people began to emerge as a powerful nation |
| - | - Content: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846:image32.jpeg}} | + | - Content: |
| - | - Long deep tufa - block foundations | + | - Wooden plank that has metal beads and other beads specifically placed to make patterns in touch in visualization to discuss the history of the Luba people |
| - | - Square footprint | + | - Designed specifically to tell a story and remember |
| - | - Triple cellar (Three-room configuration) | + | |
| - | - Temple held masks, antefixes, decorative details | + | |
| - | - Terra cotta statues were once placed on the edge of the roof | + | |
| - | - Which was set up in a horizontal register | + | |
| - Form: | - Form: | ||
| - | - Terra cotta | + | - Varied in size but small enough |
| - | - Tufa - a porous rock similar | + | |
| - | - Doric columns | + | |
| - | - Stone foundations | + | |
| - | - Wood, mudbrick, terra cotta superstructure | + | |
| - | - Split into two | + | |
| - | - Deep front porch with wide space Tuscan columns | + | |
| - | - Triple cella | + | |
| - | - Back portion has triple cella | + | |
| - | - High podium | + | |
| - Function: | - Function: | ||
| - | - Dedicated | + | - Used as a way to record and remember important times and events in Luba people’s society |
| - | - Shows Etruscan assimilation | + | - Men of memory could only read it |
| - | - Values of the gods and goddess changed slightly for Etrucsan | + | - Readers must hold it in their left hand and trace patterns with their right index fingers |
| - | - Tomb of the Triclinium | + | - Aka elephant mask. (Bamileke (Cameroon, western grassfields region). c. 19th to 20th century |
| - Context: | - Context: | ||
| - | - Iron Age - peak of Etrsucan culture | + | - Kuosi-elite masking society that owned and wore these includes: royal family, wealth title holders |
| - | - Wealth based on natural resources {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846:image33.jpeg}} | + | |
| - | - Iron from Greece and north Africa | + | |
| - | - Etruscans believed that the afterlife will be like life on Earth | + | |
| - | - Funerary customs | + | |
| - | - Did not bury people | + | |
| - | - Intricate funerals for members of the elite | + | |
| - | - Funerals had games, banquet, music and dancing | + | |
| - | - Tombs had furniture | + | |
| - | - Carved the deceased into the sarcophagus | + | |
| - | - Had a triclinium - three couched dining room | + | |
| - | - Tomb found in Tarquinia | + | |
| - Content: | - Content: | ||
| - | - Tomb has chambers | + | - Intended to worship the elephant-this animal was always seen as a symbol of sovereignty and royal authority {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: |
| - | | + | - Beads imported from venice |
| - | | + | - Black beads- relationship between living and the dead |
| - | | + | - White beads-ancestors |
| - | - One fresco painting is faded most likely had 3 couches with recliner diners | + | - Red Beads-life and women |
| - | - Animals under couches | + | - Triangular pattern of beads-similar to the configuration of a leopard’s spots: this animal was also seen as a great symbol of power and authority: required a lot of respect |
| - | | + | |
| - | - Trees and shrubs | + | |
| - | - Nude cup bearer | + | |
| - | - Tomb ceiling is checkered | + | |
| - Form: | - Form: | ||
| - | - Fresco paintings | + | - Composed |
| - | - Cambers cut out of subterranean rock | + | - Round eyes with read beads and white cloth-strong navy blue tones in the cloth |
| - | - Stylistic depictions | + | - cowrie shells decorated on the face and rest of mask |
| - | - Angular | + | - 2 long panels and represent the elephant trunk-woven raffia fiber adorns the edges of the trunch |
| - | - Gender depiction | + | - Geometric designs |
| - | - Men - darker skin tone | + | - 2 circles=elephant ears |
| - | - Women - lighter skin tone | + | |
| - Function: | - Function: | ||
| - | - For funerary rituals | + | - This piece of art was meant to be used in performance-the wearer also wore a tunic and a decorative headdress very dramatic- many ppl wore these masks and emerge from a large palace compound |
| - | | + | - Purpose |
| - | | + | |
| - | - Proportion of meal was left in | + | |
| - | - Reinforce social economic | + | |
| - | - Niobides Krater | + | - Reliquary figure |
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Fangs lived in rainforest: Equatorial Africa | ||
| + | - Fang ppl believe ancestors had power even in afterlife so they worshipped and preserved men who found lineages and women who were successfully given birth to many children | ||
| + | - These figures sits on top of reliquary boxes: nomadic culture of | ||
| + | - Content | ||
| + | - Head is symbolic of infant with the body of an adult | ||
| + | - Highlights the continuous cycle of the human development | ||
| + | - Enlarged head- intelligence | ||
| + | - Bulging belly button and high forehead- a recently born baby | ||
| + | - Bulging muscles | ||
| + | - Infants form a link between living and the dead | ||
| + | - Expressionless face | ||
| + | - Symmetrical body | ||
| + | - Elongated torso | ||
| + | - Downcasted eye | ||
| + | - Closed mouth | ||
| + | - Popular hairstyle of men at that time | ||
| + | - Form | ||
| + | - Reduced Geometric forms | ||
| + | - Wooden carved figure | ||
| + | - Abstract | ||
| + | - Function | ||
| + | - Guarded family reliquary boxes( container for holy relics) | ||
| + | - Express spiritual ideas | ||
| + | |||
| + | - Veranda post of enthroned king and senior wife (Opo Ogoga). (Olowe of Ise (Yoruba peoples). c. 1910--1914 C.E. Wood and pigment) | ||
| + | - Context | ||
| + | - Shows influential style that has been in Yoruba for centuries | ||
| + | - Most important of the four veranda post commissioned, | ||
| + | - Content: | ||
| + | - Depicts the King seated | ||
| + | - Senior wife behind him, crowning him, is in large scale to show her importance | ||
| + | - A junior wife is at his feet along with a trickster god, Esu, playing the flute and a fan bearer (now missing) | ||
| + | - Exaggerated proportions | ||
| + | - Interrelationship with the other figures and open space between them | ||
| + | - Conveys a close relationship between the King and the Queen | ||
| + | - Patterns of beads in queen’s bracelet repeated in the King’s crown | ||
| + | - Form: | ||
| + | - One of the four carved wooden posts., painted with an unknown pigment | ||
| + | - Function: | ||
| + | - Veranda post | ||
| + | - Structural support for palace at Ikere | ||
| + | |||
| + | ====== Unit 7: West and Central Asia ====== | ||
| + | |||
| + | - Petra, Jordan: Treasury and Great Temple. (Nabataean Ptolemaic and Roman. c. 400 B.C.E.--100 C.E. Cut rock) | ||
| - Context: | - Context: | ||
| - | - Methods: Throwing clay is centered or rotating wheels. While rotating, | + | - believe that the tombs were probably constructed when the Nabateans were wealthiest between the second century B.C.E. and the early second century C.E. |
| - | - Each period of time had it�s own techniques | + | |
| - | - Geometric period: geometric patterns | + | |
| - | - Orientalizing period: animals professions and near eastern motifs | + | |
| - | - Archaic and Classical Periods: vase displays human and mythological activities. | + | |
| - | - To produce the characteristic red and black colors: used liquid clay as paint {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | + | |
| - Content: | - Content: | ||
| - | - 2 sides | + | - Their architecture reflects the diverse and different cultures with which the Nabateans traded, interacted |
| - | - Front: Niobe: 14 kids and bragged about it | + | - Many of the tombs contain niches or small chambers |
| - | - Leto = mother | + | - No human remains have ever been found in any of the tombs, and the exact funerary practices of the Nabataeans remain unknown |
| - | | + | - The treasury was exceptional |
| - | | + | |
| - | | + | |
| - | | + | |
| - | | + | |
| - | - Athena = left | + | |
| - | - Maybe it's not a painting | + | |
| - Form: | - Form: | ||
| - | - Figure = stiff, early classical period, severe | + | - The entire city has been carved into the rock face |
| + | - The ability of ancient people to carve such a large building still confounds modern engineers | ||
| + | - The Treasury’s façade is 24.9 x 38.77 high | ||
| + | - The style most clearly embodies the Hellenistic style and reflects the influence of Alexandria, the greatest city in the Eastern Mediterranean at this time. | ||
| + | - Its architecture features a broken pediment and central circular building on the upper level | ||
| + | - This architectural element originated in Alexandria. | ||
| + | - Ornate Corinthian columns are used throughout | ||
| + | - Above the broken pediments, the bases of two obelisks appear and stretch upwards into the rock | ||
| - Function: | - Function: | ||
| - | - Type of Vessel = calyx-krater | + | - Functioning city that had all the necessary facilities |
| - | - Large purch bowl | + | |
| - | - Used to mix water and wine | + | |
| - | - Doryphoros | + | - Buddha. |
| - Context: | - Context: | ||
| - | - Found in palestra (place | + | - Bamiyan Valley |
| - | - One of the most copied sculpture | + | - plurality and lax nature of buddhist worship created pretext for buddhist cave architecture : 1000 buddhist caves along 1300 meters of cliff face in Bamiyan |
| - | - Created at time when Greeks | + | - destroyed |
| - | - Manipulated symmetry | + | |
| - | - Graceful arrangement | + | Bamiyan was muslim by 10th century yet maintained statues |
| + | |||
| + | - only niches and faint outlines remain | ||
| + | |||
| + | - Content: | ||
| + | - 2 monumental figures carved into the cliff face facing the valley | ||
| + | - western buddha (Buddha Vairochana) stood 175 ft tall | ||
| + | - eastern buddha (Buddha Shakyamuni) stood 120 ft tall | ||
| + | - described by writings | ||
| + | - statues wore wooden masks covered in brass featuring facial features | ||
| + | - pigments | ||
| + | |||
| + | - Form: | ||
| + | - High Relief Sculpture | ||
| + | - Carved into cliff face but feet and head in the round | ||
| + | - Circumambulation | ||
| + | |||
| + | - Function: | ||
| + | - For worshippers to circulate | ||
| + | |||
| + | - The Kaaba. (Mecca, Saudi Arabia. Islamic. Pre-Islamic monument; rededicated by Muhammad in 631--632 C.E.; multiple renovations. Granite masonry, covered with silk curtain and calligraphy in gold and silver-wrapped thread) | ||
| + | - Context: | ||
| + | - It is believed that the Kaaba is created by Abraham and his son Ismail | ||
| + | - Symbolic | ||
| + | - He was driven our of Mecca but upon his return he wiped the Kaaba of idols and returning it to a shrine dedicated to Ibrahim and the Muslim faith {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed:image9.jpeg}} | ||
| + | - The stone is thought to have been given to Ibrahim by the Angel Gabriel | ||
| - Content: | - Content: | ||
| - | - Celebrates | + | - interior of the Kaaba is fitted with a marble |
| - | - Earliest examples of contrapposto: | + | - This black brocade cloth that is hung around the Kabba is known as the Kiswah. |
| - | - Strong sense of harmony: Left arm/ right leg=relaxed, | + | |
| - | - Broad shoulders/ | + | |
| - | - Hold an iron spear | + | - Intense modifications have been done to the Kaaba |
| - | - Depicts everyone ideal self | + | - The area around it is has been expanded multiple times to compensate for the growing amounts |
| + | - This was done by the second caliph ‘Umar (ruled from 634-44) | ||
| + | - In 683 CE the Kaaba was set on fire during a civil war | ||
| + | - It broke apart and was reconstructed by Ibn Zubayr | ||
| + | - He used wood and stone and followed the original dimensions | ||
| + | - Umayyad caliph al-Walid ruled from 705-15 CE ornately decorated the Grand Mosque, that surrounds the Kaaba, with mosaics that surrounds the Kaaba. | ||
| - Form: | - Form: | ||
| - | - White marble | + | - The medium is black granite masonry |
| - | - Subtractive sculpture | + | - It is about 13 meters high and the sides are 11 meters long |
| - | - Life size=84 inches | + | |
| - Function: | - Function: | ||
| - | - People can learn from it | + | - Every Muslim faces the direction of the Kaaba and Mecca when they are praying and they pray five times a day. |
| - | - Understand proportions | + | - establishes the universal direction of prayer for all Muslims. |
| - | - Canons - a set of guidelines, outlining the ideal man based on ratios | + | - It is also the location where the Muslim population takes a very important religious pilgrimage. Hundreds |
| - | - Showcase | + | - Most Muslims hope they can take this pilgrimage once in their lives and it is one of the five pillars of Islam. |
| - | - Acropolis (Athena, Greece. Iktinos and Kallikrates. 447-410 B.C.E. Marble.) | + | - Jowo Rinpoche, enshrined in the Jokhang Temple. Lhasa, Tibet. (Yarlung Dynasty. Believed to have been brought to Tibet in 641 C.E. Gilt metals with semiprecious stones, pearls, and paint; various offerings) |
| - Context: | - Context: | ||
| - | - has been ransacked and burnt, blown up, etc multiple times | + | - Buddha Shakyamuni aka Siddhartha Guatama |
| - | - Content: | + | - The sculpture has undergo restoration/ |
| - | - there are multiple buildings most notably | + | - Content: |
| + | - Rinpoche=”Precious One” in Tibetan | ||
| + | - Housed in the Jokhang temple in Lhasa tibet | ||
| + | - Seated against a resplendent gold and jeweled throne | ||
| + | - Left hand is in mudra of meditation | ||
| + | - His right hand is the gesture of calling the earth to witness | ||
| + | - Signifies Buddha’s enlightenment | ||
| - Form: | - Form: | ||
| - | - Extremely large, classical period | + | - Statue is made of gilt metal |
| + | - The effect is an image of gold hue with blue hair | ||
| - Function: | - Function: | ||
| - | - Most important religious center in Greece | + | - Cultural significance |
| + | - To act as the Buddha’s proxy after his parinirvana or departure from the world | ||
| + | - Believed that Yarlung brought it to tibet as part of her marriage | ||
| - | - Grave Stele of Hegeso | + | - Dome of the Rock. (Jerusalem. Islamic, Umayyad. 691--692 |
| - Context: | - Context: | ||
| - | - Diphlon cemetery in Athens | + | - A part of the ismalic religion |
| - | - Hegeso: woman, domestic, basically in a house on the stele: 2 walls and a roof {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846:image37.jpeg}} | + | - Significant to the three of the albrahamic faiths |
| - | - Not citizens of Athens | + | - The talmud |
| - | - Women were defined by their relationship to men | + | - The bible |
| - | - noble , her father grave plot was super magnificent | + | - The Quran |
| - | - Attributed | + | - Dispute over the 3 religions about this structure |
| + | - Modified several times the Ottoman sultan | ||
| + | - Content | ||
| + | - Dome on a rock | ||
| + | - Has 2 ambulatories | ||
| + | - An octagonal exterior wall | ||
| + | - Arabic scripture | ||
| + | - Form | ||
| + | - Stone masonry | ||
| + | - Wooden roof | ||
| + | - Glazed ceramic tile | ||
| + | - Mosaic | ||
| + | - Gilt aluminum | ||
| + | - Bronze dome | ||
| + | - Function | ||
| + | - Religious associations | ||
| + | |||
| + | - Great Mosque (Masjid-e Jameh). (Isfahan, Iran. Islamic, Persian: Seljuk, Il- Khanid, Timurid and Safavid Dynasties. c. 700 C.E.; additions and restorations in the 14th, 18th, and 20th centuries C.E. Stone, brick, wood, plaster, and glazed ceramic tile) | ||
| + | - Context: | ||
| + | - The mosque visually embodies the visual tastes and political dynasties of the Persian empire | ||
| + | - Nizam al-Mulk commissioned the dome in 1086 | ||
| + | - It has urbanized over time in order to accommodate | ||
| - Content: | - Content: | ||
| - | - Relief sculpture of Hegeso | + | - Calligraphy covers the arches |
| - | - Servant holds jewelry box and Hegeso holds and look at a necklace | + | - Has towering minarets for the call for prayer |
| - | - Drapery: elaborate forms and swirls, very close to her body | + | - Hypostyle hall and vaults |
| - | - She does not touch the ground: her foot is on a pedestal | + | - The undersides are carved with intricate geometric designs |
| - | - Inscription says Hegeso, daughter of Proxenos | + | - Bricks and stucco motifs and tilework along with calligraphy {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed:image12.jpeg}} |
| + | - Isfhans’s covered bazaar connects to the mosque | ||
| - Form: | - Form: | ||
| - | - Stele 5�2� | + | - Made up of a large central courtyard surrounded by two story arcade |
| - | - Detailing of drapery: naturalistic, | + | - Brick piers and columns which support the roof system |
| + | - The mosque is a four iwan design | ||
| + | - Inscriptions on the walls | ||
| + | - Centrally planned | ||
| + | - Makes use of gold and blue | ||
| - Function: | - Function: | ||
| - | - Grave stones | + | - To bring people to prayer away from busy streets |
| + | - Unite the community | ||
| + | - The location makes it the center gathering and transportation | ||
| + | - Commercial activity | ||
| - | - Winged Victory of Samothrace | + | - Folio from a Qur’an. |
| - Context: | - Context: | ||
| - | - Stands on the prow of a huge marble ship to spread the messages | + | - Huge part of daily Muslim’s lives |
| - | - Had huge impact on the traditions of western art that followed | + | - Very high value and prosperity in Islam |
| - | - Louvre | + | - It was a luxury have such a fine inscripted object |
| - | - Content: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846:image38.jpeg}} | + | - The scribes illustrated them were highly valued |
| - | - Depicts Nike = goddess | + | - Content: |
| - | - Missing her head and both arms but used to hold a trumpet or cupping her hand around her mouth to announce a naval victory | + | - Human and animal form depictions wee considered inappropriate on sacred objects and motifs |
| - | - The way her body is sculpted=creates | + | - The Qur’an consists of the divine revelation to the Prophet Muhammad in Arabic |
| - | - Wet drapery technique | + | - The words on the Qur’an translate as rays of light for the people who read and recite the recitations Piece from “The Spider” |
| - Form: | - Form: | ||
| - | - Over 9ft tall | + | - It is part of the Qur’an which is the sacred text of Islam |
| - | - Made of Thasian and Parian marble | + | - The Qur’an is written on parchment in blank ink with a broad-nibbed reed pen |
| - | - Was found in temple complex on the island of Samothrace called sanctuary | + | - Kufic is the type of calligraphy used in the manuscript |
| + | - The Qur’an is read from left to right | ||
| - Function: | - Function: | ||
| - | - statue=ex-voto (offering to deity) most commemorate a naval victory | + | - Used for sacred rituals and recitations |
| - | - The offering would serve to gain the deities favor protecting sailors | + | |
| + | - The Qu’ran is the central part of Islam and the Islamic faith revolves around this book | ||
| - | - Great Altar of Zeus and Athena | + | - Basin (Baptistère de St. Louis). (Muhammad ibn al-Zain. c. 1320--1340 C.E. Brass inlaid with gold and silver) |
| + | - Context | ||
| + | - Muhammad ibn al-zain was either egypatian or syrian | ||
| + | - Bowls used at religious ceremonies | ||
| + | - Content | ||
| + | - Shows people hunting | ||
| + | - Battle scenes | ||
| + | - Maluk hunters verus Mongol enemies {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Shows the conflict | ||
| + | - Decorated with fish,eels, crab, frogs and crocodiles | ||
| + | - Form | ||
| + | - Brass inlaid with gold and silver ( difficult task) | ||
| + | - Very expensive materials | ||
| + | - Functions | ||
| + | - Was to wash or purify themselves for the ceremony | ||
| + | - Later was used for royal baptisms | ||
| + | |||
| + | - Bahram Gur Fights the Karg, folio from the Great Il-Khanid Shahnama. | ||
| + | - Context | ||
| + | - Part of the translated book of kings Shahnama, | ||
| + | - Content {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Represents the ideal king | ||
| + | - Shows mix of chinese and european influences | ||
| + | - Bahram wears a crown and halo( is the ancient Iranian king of the Sassanian Dynasty) | ||
| + | - European fabric for the clothes | ||
| + | - Form | ||
| + | - Had calligraphy | ||
| + | - Overlapping planes | ||
| + | - Illuminated manuscript | ||
| + | - Flat colorscript is continuous | ||
| + | - Function | ||
| + | - Recounts the tale of Bahram Gur | ||
| + | |||
| + | - The Court of Gayumars, folio from Shah Tahmasp’s Shahnama. (Sultan Muhammad. c. 1522--1525 C.E. Ink, opaque watercolor, and gold on paper) | ||
| + | - Context | ||
| + | - An angel tells Gayumars that his son will be killed by the Black Div ( the demon, Ahirman) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - A part of the translated book of kings Shahnama, | ||
| + | - Content | ||
| + | - Depicts the king Gayumars enthroned in front of his new kingdom | ||
| + | - The left is his son Siyamaki | ||
| + | - To the right is his grandson Hishang | ||
| + | - In a semicircle his court appears before him | ||
| + | - They are all wearing court attire( leopard skin | ||
| + | - Form | ||
| + | - Ink, watercolor and gold on paper | ||
| + | - Function | ||
| + | - To depict the enthroned king Gayumars | ||
| + | - Depicts the harmony between man and nature | ||
| + | |||
| + | - The Ardabil Carpet. (Maqsud of Kashan. 1539--1540 C.E. Silk and wool) | ||
| + | - Context | ||
| + | - Named after town of Ardabil in North iran | ||
| + | - Home to the shrine of Sufi Saint, Safi-al Din Ardabili | ||
| + | - Followers grew after his death {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Highly prized in Iran v. | ||
| + | - Content | ||
| + | - Prayer carpet | ||
| + | - Medallion in the center | ||
| + | - Mosque lamps hanging from both sides | ||
| + | - corner squishies have pendants | ||
| + | - Borde- rectangle spaces for calligraphy | ||
| + | - Wool carpet | ||
| + | - Four line inscriptions | ||
| + | - A short poem | ||
| + | - Masquad - court official in charge with making the prayer mats | ||
| + | - Form | ||
| + | - Wool and silk | ||
| + | - Natural dyes( pomegranate and indigo) | ||
| + | - Function | ||
| + | - For prayer | ||
| + | |||
| + | ====== Unit 8: South, East, and Southeast | ||
| + | |||
| + | - Great Stupa at Sanchi. (Madhya Pradesh, India. Buddhist; Maurya, late Sunga Dynasty. c. 300 B.C.E.--100 C.E. Stone masonry, sandstone on dome) | ||
| - Context: | - Context: | ||
| - | - Geographically desirable | + | - Located on a hill in the countryside; |
| - | - Pergamon Museum: tried to recreate it | + | - Emperor Ashoka (famous for converting Buddhism) recompense for slaughtering of thousands in battle |
| + | - Ashoka divided up those remains into many different locations throughout India including Sanchi | ||
| + | - 4 gateways added around 75-100 B.C.E | ||
| - Content: | - Content: | ||
| - | - Battle of Greek myth pantheon of gods V.S. giant to determine | + | - Exterior parts: Chatra-triple umbrella structure symbolizing |
| - | - Athena | + | - Central pillar symbolizes the cosmic axis; supports |
| - | - Fights Alkyoneus, main giant, as his mother looks in horror | + | - Dome symbolizes dome of heaven enclosing |
| - | - Appears triumphant as she fights | + | - Upper level walkway: aka medhi; elevated terrace; 16 ft above ground |
| - | - Being crowned by winged Nike | + | |
| - | - Uses battle shakes to aid in defeating | + | |
| - | - Gigantoleira= slayer | + | |
| - | - Zeus: | + | |
| - | - Battles 3 giants at once with help of an eagle (above) and his lightning bolt | + | |
| - | - Cloaked in realistically ruffled robes | + | |
| - | - 2 of 3 giants he had already defeated | + | |
| - Form: | - Form: | ||
| - | - 35.64x33.4 metres | + | - Stone and sandstone (stupas)=domed structured; evolved from earthen mounds containing relics |
| - | - High relief sculpture | + | - The Stupa evolved into a pagoda form |
| - | - More prominent gods and figures=higher relief | + | |
| - Function: | - Function: | ||
| - | - Worship of Greek gods | + | - Site for worship and meditation |
| - | - Representation of Greek power | + | - Devotees walk around in clockwise fashion |
| - | - Sacrifices=made on top of stairs | + | - Venerated as a symbol |
| - | - House of the Vettii | + | - Terracotta warriors from the mausoleum |
| - Context: | - Context: | ||
| - | - House owned by Aulus Vettius Conviva and his brother, Aulus Vettius Restitutus | + | - During Emperor Qin reign, he introduced standardization of currency, writing measurements and more {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: |
| - | - Conviva= Augutalis- a position at the highest civic office a freeman could attain | + | - He connected cities and states with advanced systems of road and canals |
| + | | ||
| - Content: | - Content: | ||
| - | - Wall painting=decorative schema {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846: | + | - Army includes warriors, infantry men, horses, chariots, and all their attendant armour and weaponry |
| - | - 4th style wall painting=expansive | + | - There are unusually high amount |
| - | - Contains large central Halls (Atria) | + | - Historians may have believe that the emperor may have set up a system |
| - | - Largest | + | |
| - | - Mythical winged gods of Love | + | |
| - | - Impluvium (water basin) lies at center | + | |
| - | - Increasingly sexual nature of paintings and artwork marks a decline | + | |
| - | | + | |
| - | - Painting depicts Cupid collecting grapes | + | |
| - Form: | - Form: | ||
| - | - Covers 1,100 sq meters | + | - Emperor Win lined his burial complex with a treasury of riches and piles of precious gemstones said to represent the star, moon and sun |
| - | - Demonstrates Pompeii�s late artistic | + | - All had unique faces |
| - | - The house paintings=indicate a theme of forward-thinking | + | |
| - Function: | - Function: | ||
| - | - 2 lockrooms for storing valuables were displayed proudly in the vestibulum | + | - The First Emperor ascended to the throne of Qin state at the age of 13; he began to plan his burial and underground palace and army to carry/ |
| - | - The brothers went from freedmen | + | - Made to guard the tomb |
| - | - Alexander Mosaic from the House of the Faun, Pompeii | + | - Funeral banner of Lady Dai (Xin Zhui). (Han Dynasty, China. c. 180 B.C.E. Painted silk) |
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - She was an elite member of the Han Dynasty | ||
| + | - It was expansive and powerful stretched to as far as the Roman Empire; Elite lived in an enclosed village around the emperor | ||
| + | - Content: | ||
| + | - It is comprised | ||
| + | - Heavenly Realm: | ||
| + | - Wider and longer than the other registers; two men stand guarding the gate to the heavenly realm; deity with dragon | ||
| + | |||
| + | > body and human head; pink sun and crescent moon which were used to portray the supernatural aspect of the heavenly world | ||
| + | |||
| + | - Lady and her attendants: | ||
| + | - Portrait of Lady Dai in an expensive embroidered silk robe; leaning on a staff; standing on a platform; Two servants in front of her and three being; She is focal point of this register; she is standing on a bi or a disk with a whole, thought to represent the sky | ||
| + | |||
| + | - Body of Lady Dai with Mourners: | ||
| + | - Sacrificial funerary rituals; there are large containers and vase-shaped vessels; two rows of mourners are present | ||
| + | |||
| + | - Underworld: | ||
| + | - Two huge black fish; red snake; two blue goat; being in the underworld symbolize water and death | ||
| + | |||
| + | - Form: | ||
| + | - Painted silk | ||
| + | - Made from wood and has lacquered exterior and interiors | ||
| + | - The dimension of coffin is 256x118x114 cm | ||
| + | |||
| + | - Function: | ||
| + | - Display wealth | ||
| + | - A burial shrouds that assisted the soul on it's journey to the afterworld | ||
| + | |||
| + | - Longmen caves. | ||
| - Context: | - Context: | ||
| - | - Found in the city of Pompeii which was preserved in ash after the eruption of Mount Vesuvius | + | - 800,000 people worked on site |
| - | - It was found in the House of Faun, named after the bronze statue of a faun found there | + | - Inscription states that Empress Wu Zetian |
| - | - The Battle of Issus (333 BC) which was a turning point in ancient history because | + | - Buddhism transmitted to China by chance and intermittently |
| - | - Darius has a look of desperation and history says that Alexander pitied his family and let them live | + | |
| - | - Alexander is not depicted in his typical form here. It's; more natural | + | |
| - Content: | - Content: | ||
| - | - Depicts the Battle of of Alexander the Great and Darius III | + | - Includes 110,000 Buddhist stone, statues, |
| - | - Very dramatic | + | - Central Binyang cave-508 C.E.; previously painted |
| - | - Excellent use of foreshortening in the horse | + | - Fengxian Temple: Vaircana Buddha |
| - | - Alexander breastplate | + | |
| - Form: | - Form: | ||
| - | - Floor mosaic, 2.72 by 5.13 meters | + | - Bodhisattvas- enlightened ppl who delayed entrance to paradise to help others reach enlightenment |
| - | - Made from more than one million and a half pieces of stones and glass | + | - Smiling Buddha/ |
| - | - Possibly based on a wall painting done in 315 B.C.E. hellenistic period by a greek artist named Philoxenos because it matches a description of the painting written by Pliny | + | - high relief: sculpture are carved into existing limestone |
| - Function: | - Function: | ||
| - | - Found in the House of Faun which was the nicest mansion found in Pompeii which means it was piece of art aristocrats would have invested in for perhaps their own enjoyment | + | - Record |
| + | - Asserted sovereignty | ||
| + | - Used for assimilation | ||
| - | - Seated Boxer (Hellenistic Greek. 100 B.C.E. Bronze) | + | - Gold and jade crown. |
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Korea was split into 3 kingdoms and this crown was found in the Silla Kingdom which took up most of the southeast territory | ||
| + | - This piece shows the connection that korea had with the Eutrasian steppe; they used the same burial techniques as the Chinese | ||
| + | - Connection to the outside world and influence of other cultures | ||
| + | - Content: | ||
| + | - Have 3 branches coming from headband which represents sacred tree that once stood in the ritual precinct of Gyeongju: connected heaven and earth | ||
| + | - The two antlers coming off the piece represent the reindeer that were native to the eurasian steppe | ||
| + | - Gold disk and jade pieces were called gogok: these are supposed to be ripe fruits that represents the land fertility and abundance | ||
| + | - Form: | ||
| + | - Made from gold and jade; granulated meal suggest idea of trade | ||
| + | - Function: | ||
| + | - Placed in burial mounds when royal family members died; worn by high ranking people | ||
| + | |||
| + | - Todai-ji. (Nara, Japan. Various artists, including sculptors Unkei and Kaikei, as well as the Kei School. 743 C.E.; rebuilt c. 1700. Bronze | ||
| - Context: | - Context: | ||
| - | - Breaking away from the traditional idealized, heroic male nude | + | - Has been destroyed during military unrest |
| - | - Still holding onto the pre-hellenisitic ideas: his body is idealized with perfect muscles but in contrast, his posture and face show humanity | + | - Reflects combination of Buddhist and politics |
| + | - Great Buddha took 6 years to complete: annual ritual cleaning ceremony of statue | ||
| - Content: | - Content: | ||
| - | - The humanity found in this work creates a sense of presence | + | - Massive hall (hondo) is located at its center or the daibutsuden=great buddha hall |
| - | - Muscular, powerful, and defeated | + | - Supported by 84 cypress pillars |
| - | - Covering his head and face is bits of copper | + | - 2 nine story pagodas (multi-tiered towers; an evolution |
| + | - The guardian kings: no guardian figures: one on either side of the gate; 2 massive wooden sculptures; intricate swirling drapery, fierce forbidding looks and gestures; powerful/ | ||
| + | - The Great Budda: massive bronze statue; sits atop of a lotus petals | ||
| + | - South Gate: 2 stones are the same size; roof supported by huge pillars; nandai men | ||
| - Form: | - Form: | ||
| - | - Lost wax casting | + | - Great Eastern temple: referred to its location: on eastern edge of city of Nara (Japan’s capital) |
| - | - Seated posture | + | |
| - | - Made in different sections that were welded together | + | |
| - | - Broken nose and shattered teeth | + | |
| - Function: | - Function: | ||
| - | - Attributed with healing powers | + | - Commissioned by emperor Shomu; promote spiritual unity among Japanese provinces |
| - | - Represents the cultural shift of the Hellenistic period | + | |
| - | - Could have been a votive statue dedicated | + | |
| - | - Identifying him as the boxer of Quirinal | + | |
| - | - Could be made to represent the culture of boxing in Ancient Greece. | + | |
| - | - Head of a Roman Patrician | + | - Borobudur Temple. |
| - Context: | - Context: | ||
| - | - Patricians= worked | + | - at one point in the year, the sun comes up and perfectly aligns with top dome- not on equinox |
| - | | + | |
| - Content: | - Content: | ||
| - | - Wrinkled | + | - stupas on top have buddhas inside, buddhas face outward, base = kamadhatu- 160 reliefs of sin, middle = radhitu- |
| - | - Physical traits meant to convey seriousness | + | |
| - | - Wrinkles and other sign of ageing on this portrait serve to point out his admirable qualities of experience, seriousness and determination | + | transition from life to heavens, top = arupadhatu- abode of gods |
| + | |||
| + | - Form: | ||
| + | - three levels, square base, round top, sculptures, reliefs, bottom is most ornate, top is least ornate, | ||
| + | |||
| + | - Function: | ||
| + | - made to represent the path of life, enlightenment, | ||
| + | |||
| + | - Angkor, the temple of Angkor Wat, and the city of Angkor Thom, Cambodia. (Hindu, Angkor Dynasty. c. 800--1400 C.E. Stone masonry, sandstone.) | ||
| + | - Context: | ||
| + | - Became Cambodian Flag | ||
| + | - Built by King Suryavarman II aka protector of the sun | ||
| + | - Content: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Ancient Sanskirt | ||
| + | - they planned it accordingly | ||
| + | - Structure: expansive enclosure wall separates the | ||
| + | |||
| + | temple grounds from the moat; temple is comprised of 3 passageways running around temple | ||
| + | |||
| + | - galleries | ||
| + | |||
| + | - Decoration: 1200 square meters of carved bas-relief | ||
| + | |||
| + | - Churning of the Ocean of Milk: | ||
| + | - Shows the beginning of the time and creation of universe | ||
| + | - Devas (Gods fighting asura (demons)) to save the earth amirta (elixir of life) | ||
| + | - Playing tug a war with Naga (shake) to churn oceans | ||
| + | - Once elixir is released Indra (king of Gods) is seen descending to collect it | ||
| + | |||
| + | - Form: | ||
| + | - Largest religious monuments (400 kilometer large) | ||
| + | - Contains various capitals of Khemer empire | ||
| + | |||
| + | - Function: | ||
| + | - Dedicated to Vishnu= protector or preserver | ||
| + | |||
| + | - Lakshmana Temple. (Khajuraho, India. Hindu, Chandella Dynasty. c. 930--950 C.E. Sandstone) | ||
| + | - Context: | ||
| + | - Built by the Chandella kings in their newly-created capital | ||
| + | - Content: | ||
| + | - Central deity is Vishnu in his 3 headed form known as Vaikuntha who sits inside | ||
| + | - Sculpture has a harmonious integration with the architecture | ||
| + | - Figures=sensuous with revealing clothing | ||
| + | - Depicts idealized female beauty; sculptures | ||
| - Form: | - Form: | ||
| - | - Otricoli, head | + | - Made of five store and ashlar masonry |
| - | - 1�2� High | + | - Nagara style Hindu Temple |
| - | - Marble | + | - Consist of a shrine known as vimana |
| - | - Polychromed (painted in several colors) | + | - Shrine |
| - | - Terracotta was used and then painted with encaustic (otherwise referred to as a hot wax process) | + | |
| - | - Veristic style=verism | + | |
| - | - A form of realism (hyper-realistic) | + | |
| - | - Over exaggerated | + | |
| - | - Influenced by the tradition of ancestral imaginations. Death wax masks of notable ancestors were kept and display by the family | + | |
| - Function: | - Function: | ||
| - | - Displays respect | + | - Residence of a God |
| - | - Symbolizes wisdom, determination, | + | - Devotees approach the temple from the east and walk around (Circumambulation) |
| - | - Augustus of Prima Porta (Imperial Roman. Early first century | + | - Travelers among Mountains and Streams. |
| - Context: | - Context: | ||
| - | - Augustus claims to be reestablishing the senate but in reality is stabilizing Rome so he can be Rome first real emperor | + | - Only surviving work by Fan Kuan; painted during Song Dynasty |
| - | - Utilize canon of proportions | + | - Neo-Confucianism: |
| - | | + | |
| - | | + | |
| - Content: | - Content: | ||
| - | - Political significance, | + | - Boulders in foreground; rocky outcroppings covered in trees; 2 men driving donkeys |
| - | - Idealized statue | + | - Temple partially hidden in forest; Gritty rick takes up ⅔ of picture; in the background central peak flanked by smaller peaks |
| - | - Cupid is pulling down his garment at his ankle symbolizes his own divine lineage | + | - Contains immense details |
| - | - The cuirass or breast plate depicts the god of the sky and goddess of the Earth, divine convergence | + | - Long waterfall |
| - | - Sun God and Sky God (Sol and Caclus) are at top of Cuirass and shines down on all part of the Empire | + | - Man seen as small and insignificant in vast natural world |
| - Form: | - Form: | ||
| - | - Found in the villa of Livia (his wife) at Prima Porta | + | - 7 feet long hanging scroll |
| - | - Free standing, sculpture in the round | + | - Take advantage of seale to increase grandeur and monumentality of mtns by decreasing |
| - | - Bas Relief carving on breast plate | + | |
| - | - Standing contrapposto | + | |
| - Function: | - Function: | ||
| - | - Propaganda: the statue shows the positive qualities wanted to portray himself to the people | + | - Expresses cosmic vision on man’s harmonious existence |
| - | - Demonstrating Augustus military power | + | - Shows the Neo-Confucian search for absolute truth in nature |
| - | - Colosseum | + | - Shiva as Lord of Dance (Nataraja). (Hindu; India (Tamil Nadu), Chola Dynasty. |
| + | |||
| + | c. 11th century C.E. Cast bronze) | ||
| + | |||
| + | | ||
| + | - Nataraja is a depiction of the god Shiva as the cosmic dancer who performs his divine dance to destroy a weary universe and make preparations for the god Brahma to start the process of creation {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | |||
| + | - Content: | ||
| + | - IT combines shiva;s roles as creator, preserver, and destroyer of the universe and conveys the Indian conception of the never- ending cycle of time. His upper right hand holds the damaru. His upper left hand holds the agni. | ||
| + | - The symbol implies that, through belief in Shiva, his devotees can achieve salvation | ||
| + | |||
| + | - Form: | ||
| + | - It's decorative and representational | ||
| + | |||
| + | - Function: | ||
| + | - It’s used to praise Shiva | ||
| + | |||
| + | - Night Attack on the Sanjô Palace. (Kamakura Period, Japan. c. 1250--1300 | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Commemorates a 12th century incident | ||
| + | - Made surin the Kamakura period | ||
| + | - Sanjo palace incident just part of the Heiji insurrection 1159-60 | ||
| + | - The scroll was part of another set | ||
| + | - Content: | ||
| + | - Vibrant color and outline | ||
| + | - Characters appear multiple times | ||
| + | - Narrative scene | ||
| + | - Tangled mass of bodes; lone archer leads escape from burning palace with commander on horseback | ||
| + | - Form: | ||
| + | - Emaki-Japanese handscroll | ||
| + | - Example of Otoko-e “men painting” | ||
| + | - The action moves from right to left: strong diagonal lines emphasizes movement | ||
| + | - Written introduction | ||
| + | - 25 feet long: get progressively chaotic | ||
| + | - Function: | ||
| + | - Designed to be unrolled and viewed up close | ||
| + | - Informative about the Heiji Rebellion | ||
| + | - Important reference painting to study bc it's very detailed | ||
| + | |||
| + | - The David Vases.(Yuan Dynasty, China. 1351 C.E. White porcelain with cobalt- blue underglaze) | ||
| - Context: | - Context: | ||
| - | - Original called Flavian Amphitheater | + | - Blue porcelain |
| - | - Named after the family who paid for the Colosseum | + | - Vases were purchased by David {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed:image30.jpeg}} |
| - | - Later was referred to as the Colosseum | + | |
| - | - Vespasian built this as a gift to the Greek people | + | |
| - | - Showed the social statues based on where a person was sitting | + | |
| - | - POWs , slaves and no-citizens (besides women) | + | |
| - Content: | - Content: | ||
| - | - Had vaults | + | - Tall white vessels decorated with blue stylized dragons, birds, clouds, |
| - | - Oval shaped | + | - Elephant = head shaped |
| - | - Four amin levels | + | - Neck and food of vase= leaves |
| - | - 1-3 levels had arched windows | + | - Inscription: |
| - | - 4 levels had no solid wall no windows( for slaves foreigners | + | |
| - | - Flat stage with sand in the center | + | |
| - | - Sand was to absorb blood and bodily fluids | + | |
| - | - The hypogeum | + | |
| - | - The underground part of the colosseum | + | |
| - | - Had animal pens, trap doors, | + | |
| - | - Level 1 - tuscan | + | |
| - | - Level 2 - ionic | + | |
| - | - Level 3 - Corthian | + | |
| - | - Velarium | + | |
| - | - A retractable awning that was used as shade for onlookers | + | |
| - Form: | - Form: | ||
| - | - Oval Amphitheater (stadium) | + | - Glazed: cobalt blue paint |
| - | - To Greek theaters put together | + | - Porcelain= white ceramic |
| - | - Inner ring made from concrete | + | - Very fine white clay 1300 degrees shimmery finish |
| - | - Outer ring made from Travertine ( limestone) | + | - Firing technique oxidizes it |
| - | - Held 50,000 -80,000 people | + | |
| - | - Covers 6 acres | + | |
| - | - 50 meters high | + | |
| - | - 189 meters long | + | |
| - | - 156 meters wide | + | |
| - Function: | - Function: | ||
| - | - Public entrainment | + | - Were made as an altarpiece along with a incense burner to honor a general who had recently been made into a god due to his supernatural wisdom, power, and ability to tell the future |
| - | - Battles and swordfights | + | |
| + | | ||
| - | | + | C.E. Hanging scroll (ink and color on silk)) |
| + | |||
| + | | ||
| + | - Sin Sukju is a scholar and politician that rose to status | ||
| + | - Rank badges are typically made of embroidered silk and it indicated rank of anyone from local official to the emperor {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | |||
| + | - Content: | ||
| + | - Depicts Sin as an official honored for his service to the court and loyalty to the king during a chaotic period | ||
| + | - Dressed in official robes with rank badge on chest | ||
| + | - Rank badge has a pair of peacocks surrounded by plants and clouds | ||
| + | - He is seated in a full-length view, head turned slightly, only one ear showing common during that time period | ||
| + | - Wrinkles and solemn expression exudes wisdom and signity | ||
| + | - Detail on face contrasts with simplicity of attire | ||
| + | |||
| + | - Form: | ||
| + | | ||
| + | - This is a hanging scroll made from ink and color on silk | ||
| + | |||
| + | - Function: | ||
| + | - Meant to honor the accomplishments of the distinguished court member and eventual prime minister | ||
| + | |||
| + | - Forbidden City. (Beijing, China. Ming Dynasty. 15th century | ||
| - Context: | - Context: | ||
| - | - Fora- open city | + | - Palace operated for over 500 years; was originally built to solidify power |
| - | - Were found in any Roman city at the heart | + | - The 4th son of the Ming Emperor usurped power from his older brother and seized control |
| - | - Always included a temple | + | - In order to solidify his power he moved the capital from Nanjing to Beijing |
| - | - Trajan had expanded the Roman Empire to all over the Mediterranean | + | - The Qing dynasty which ruled after Ming Dynasty continued after Ming Dynasty continued this as HQ of the royal court |
| - Content: | - Content: | ||
| - | - Commemorate the Trajan�s victories | + | - Palace is divided into an inner and outer court |
| - | - Highlights of when the Trajan defeated the Dacians {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846:image46.jpeg}} | + | - Outer: used for state affairs and only men were allied inside |
| - | - Shows his proud military acts | + | |
| - | - Full of Greek and Roman literature | + | - Main building in the outer court is the hall of supreme harmony where the important decisions of state are made |
| + | - Main buildings from the inner court are the emperor’s residence known as the Palace | ||
| - Form: | - Form: | ||
| - | - Apollodorus of Damascus was the engineer | + | - Red walls and yellow glazed rood tiles located in the heart of beijing |
| - | - Had a massive entrance way | + | - City=960 meters ling and 750 meters wide |
| - | - Column of Trajan 1. | + | - 98 buildings and a moat that is 50 meters wide |
| - | - Past the forum was Basilica Ulpia | + | - The design of the Forbidden city follows the ideal cosmic order in confucian ideology |
| - | - Was filled with structures, carving | + | - Living quarters were determined by social status |
| - | - Laid the foundation of modern cruciform church | + | |
| - Function: | - Function: | ||
| - | - Commemorate | + | - Palace served as hime to the Chinese emperor |
| - | - Solidified power and greatness | + | |
| - | - Worked as civic, ceremonial space | + | |
| - | - Pantheon | + | - Ryoan-ji. Kyoto, Japan. |
| + | | ||
| + | - Inspired by the aspects of Japanese and Chinese cultures | ||
| + | - Shinto: worship of deities in nature | ||
| + | - Zen Buddhism: emphasize meditation as a part toward enlightenment | ||
| + | - Content: | ||
| + | - Zen Dry Garden: | ||
| + | - Japanese rock gardens characterized by minimalistic perspectives and abstracted forms | ||
| + | - Enclosed courtyard small stones white sand with series of moss islands from which rocks protrude | ||
| + | - Asymmetrical arrangement | ||
| + | - The white sand racked in wavy patterns: acts as water/ | ||
| + | - Wet Garden: | ||
| + | - Contains a tea house | ||
| + | - Water symbolizes purification: | ||
| + | - Hojo=main building of the monastery, the abbot’s residence | ||
| + | - Form: | ||
| + | - Zen Buddhism Temple with 23 sub temples | ||
| + | - Function: | ||
| + | - Built under the patronage of the Kosokana family | ||
| + | - Zen dry garden served as centers for meditation; encourages contemplation | ||
| + | |||
| + | - Jahangir Preferring a Sufi Shaikh to Kings. (Bichitr. c. 1620 C.E. Watercolor, gold, and ink on paper) | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Jahangir wanted to bring together distant lands | ||
| + | - Used many different aspects of European art | ||
| + | - Artists wants to sign his name so he put himself in the painting | ||
| + | - Very strong belief in religion so that they made the two holy men bigger and more important than everyone else | ||
| + | - Content: | ||
| + | - Shows the 4th emperor of the Mughal Dynasty Jahangir: gold flames come out of his head which lead into a gold circle | ||
| + | - Moon and sun= represents the ruler' | ||
| + | - Seated on a stone inlaid platform and is connected to a hourglass | ||
| + | - Embroidered blue carpet | ||
| + | - Has the Shaikh or the holy man, who has been put on almost the same level as Jahangir himself | ||
| + | - Form: | ||
| + | - Mixture of gold, ink, watercolor on traditional asian paper | ||
| + | - Function: | ||
| + | - Was in an album that had alternating patterns and calligraphy scriptures | ||
| + | |||
| + | - Taj Mahal. (Agra, Uttar Pradesh, India. Masons, marble workers, mosaicists, and decorators working under the supervision of Ustad Ahmad Lahori, architect of the emperor. 1632--1653 C.E. Stone masonry and marble with inlay of precious and semiprecious stones; gardens) | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Built by Shah Jahan (5th Mughal ruler) | ||
| + | - Tomb for his favorite wife=mumta 2 who died in childbirth | ||
| + | - Content: | ||
| + | - Enter via forecourt; pass through the gateways inlaid red sandstone | ||
| + | - Long water channel (with fountain jets leads to Taj; surrounded by gardens | ||
| + | - Taj set on raised panel at north end of gardens | ||
| + | - Exterior: topped by bulbous dome and 4 minarets of equal height: minarets are usually for mosques, here they are ornamental instead of functional | ||
| + | - Interior: hasht bihisht (8 levels) floorplan references eight levels of muslim paradise; eight halls and side rooms connect to a central space in a cross axial form | ||
| + | - Form: | ||
| + | - Decoration: walls are inscribed with quranic verses; white marble is carved and inlaid with semi-precious stones: pietra dura technique using italian methods | ||
| + | - Mughal architecture tended to use red stone for exterior and white marble for decorations or interiors of tombs or holy places | ||
| + | - Function: | ||
| + | - Mausoleum and gardens for mumta Jahan | ||
| + | |||
| + | - White and Red Plum Blossoms. (Ogata Korin. c. 1710--1716 C.E. Ink, watercolor, and gold leaf on paper) | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Epitomizes Japanese Art | ||
| + | - Part of what is known as the Rimpa movement or school of korin | ||
| + | - Movement is known for the combination of naturalistic monumental presence, dynamism and sensuality | ||
| + | - Initially inspired by chinese literature but shifted to nature nad naturalistic chinese motifs | ||
| + | - Invented by Honami and Koetsu: painted on screen and fans | ||
| + | - Content: | ||
| + | - Painting is abstract and naturalistic | ||
| + | - The gold leafs background denies viewers of any sense of the time or geographic location | ||
| + | - The stream has an un-naturalistic metallic color but has swirls that show that water is moving | ||
| + | - Sharp tapered contour lines gives the work and non-naturalistic upward tilt | ||
| + | - Form: | ||
| + | - Pair of 2 folds screens | ||
| + | - Colors and gold leaf on paper 156x172.2 cm | ||
| + | - Techniques=ink and watercolor | ||
| + | - Tarashikomi-diluting/ | ||
| + | - Function: | ||
| + | - Establish Korin’s reputation | ||
| + | - To preserve and perpetrate the values and characteristics of the Rimpa movement | ||
| + | - Traditional Japanese folding door | ||
| + | |||
| + | - Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as the Great Wave, from the series Thirty-six Views of Mount Fuji. (Katsushika Hokusai. 1830--1833 C.E. Polychrome woodblock print; ink and color on paper) | ||
| - Context: | - Context: | ||
| - | - Commissioned | + | - Part of series of prints done by Hokusai: called 36 views of Mount Fuji |
| - | - Most influential building | + | - Kasuchika Hokusai: went by many names; discovered western prints from Dutch trade; created Japanese variant of linear perspective {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: |
| - | - Inscription above doorway, reads tribute to Marcus Agibba | + | - Dutch influence |
| + | - Mount Fuji: highest mountain in Japan; considered sacred | ||
| - Content: | - Content: | ||
| - | - Fitted in bronze, pediment-sculpture that acted out the battle | + | - Composition arranged to frame Mount Fuji |
| - | - Statues | + | |
| - | - Huge amount | + | - Juxtaposition |
| - | - Almost all of it's mathematically proportioned | + | - Personification |
| - | - Hole in the Dome=oculus | + | |
| - | - One great window, when it rains water comes in | + | |
| - Form: | - Form: | ||
| + | - Polychrome woodblock print made of ink and color on paper | ||
| + | - Ukiyo-e print style | ||
| + | - Function: | ||
| + | - Hokusai responding to boom in domestic travel and corresponding markey for images of Mount Fuji | ||
| - | - Reflects the movement of the heavens because of how sharp circle of light moves across building | + | - Chairman Mao en Route to Anyuan. (Artist unknown; based on an oil painting by Liu Chunhua. c. 1969 C.E. Color lithograph) |
| - | - Corinthian columns= monolithic | + | - Context: |
| - | - porch = rectilinear, | + | - This painting was used as a way for the communist party in China to thank Chairman Mao for his support throughout the years {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed:image38.jpeg}} |
| - | - Structural system looks like it is based on a series | + | - At this time there was a large amount of conflict over power so Mao had these paintings done to help regain control |
| - | - Lighter materials used at the top of the dome | + | - SHows Mao on his way to lead the miners strike |
| - | - 141 feet tall | + | |
| + | - Content: | ||
| + | - Shows young Mao Zedony (at the time of the painting he was in his seventies): youth makes him more revolutionary | ||
| + | - Has a determined face; makes him a strong leader; standing on top of a mountain which shows he is ready to conquer anything in his way | ||
| + | - Form: | ||
| + | - This is based on an oil painting that was done on canvas | ||
| + | - Color lithograph: method of printing using a smooth stone or metal | ||
| - Function: | - Function: | ||
| - | - Originally used as a temple | + | - The communists party in China wanted to portray Mao as a new revolutionary leader; wanted |
| - | - Hadrian would hold court | + | |
| - | - Pope used as a Catholic Church | + | |
| - | - Expression of Hadrian wealth | + | |
| - | - Oculus�s light functions as sundial. | + | |
| - | | + | ====== Unit 9: The Pacific ====== |
| + | |||
| + | | ||
| - Context: | - Context: | ||
| - | - Sarcophagus start to appear more commonly in the beginning | + | - Saudeleur Dynasty: an early example |
| - | - Found near a tomb near porta tiburtina | + | - Sacred sea deity (Killed Turtles for them) |
| - | - More focus on interaction between the people | + | - Inhabitants= Reef of Heaven |
| - | - Typical style of Late Imperial rome=emotional subject matters | + | - Dynasty fell in 1628 |
| - | - Borrows from Greeks | + | |
| - Content: | - Content: | ||
| - | - Roman=good guys in this piece, idealized, confident, young looking | + | - A system of crisscrossing canals, Luxurious palaces |
| - | - The goths=Barbarians/ | + | |
| - | - The hero=center, clear focal point, open-chested, strong, armoured, no weapon, no helmet=invincible | + | for the rulers and smaller houses surrounding for servants |
| - | - Movement is key in this piece | + | |
| - | - Narrative piece | + | - Contained a variety of specialized islets: some for constructing canoes, holding sacred eels, and preparing coconut oil for sacred ceremonies |
| + | |||
| + | | ||
| + | - Carved basalt from volcanic plugs, transport stones 5-50 tons from mountain to reefs | ||
| + | - Nan Model translates to space between | ||
| + | - Did not use concrete, used a criss crossing pattern of horizontal logs called stethoscope and perpendicular to post and lintel. | ||
| + | |||
| + | - Function: | ||
| + | - Served as a home to over 1000 inhabitants | ||
| + | - Remote Location meant not many resources were used towards military | ||
| + | |||
| + | - Moai on platform (ahu). (Rapa Nui (Easter Island). c. 1100--1600 C.E. Volcanic tuff figures on basalt base) | ||
| + | - Context: | ||
| + | - Easter Island is called Rapa Nui by the people who lived there {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed:image40.jpeg}} | ||
| + | - Maoi means statue; Ahu means platform | ||
| + | - Original Location: shown on a stone platform, orongo-stone village on Rapa Nui, by the ocean | ||
| + | - All statues are turned with back to the sea | ||
| + | - Content: | ||
| + | - Carvings on the back of some statues that are believed to have been made at a later time | ||
| + | - Low relief; a red top red hat-higher status, coral shell eyes | ||
| - Form: | - Form: | ||
| - | - Very high relief | + | - Made from chiseled stone, 14 are made from basalt while the rest are made from volcanic tuff, about 887 moai on Easter Island |
| - | - Detailed carving, at some point the piece has 4 layers of figures | + | - Originally painted with red and white designs, height of the statute range from 8-70 feet tall; old statue |
| - | - The figures along bottom are physically smaller, makes viewer feel like they are looking down upon them | + | - Majority |
| - | - Uses contrast | + | |
| - Function: | - Function: | ||
| - | - Created to mark the grave of a rich, unidentified Roman | + | - Represent human spirits ancestors, made by a high status |
| + | |||
| + | - ‘Ahu ‘ula (feather cape). (Hawaiian. Late 18th century C.E. Feathers and fiber) | ||
| + | - Context: | ||
| + | - This cape was retained by Captain Cook’s widow and inherited by the descendants | ||
| - | ====== Unit 3: Early Europe & Colonial Americas: ====== | + | Smith |
| + | |||
| + | - Cook arrived in Kealakekua Bay on 01.26.1779 which was at the same time as Makahiki seasonal festivals | ||
| + | |||
| + | - Kalaniopuu (chief) greeted cook in a ceremonial way and gave him his cloak | ||
| + | |||
| + | - Last bird spotted in 1930 | ||
| - | - Catacomb | + | - Content: |
| + | - A feather cloak-yellow and red: Red associated with Gods and chiefs across Polynesia, Yellow= valuable because | ||
| + | - Feather cloaks and capes were symbols of power and social standing Hawaiian culture | ||
| + | |||
| + | - Form: | ||
| + | - Made with feathers and olona fiber | ||
| + | - Feathers were attached to the nesting in overlapping rows | ||
| + | - Exterior=red feathers from the’ iui bird; black and yellow feathers are from the oo bird | ||
| + | - Dimensions: 64x15.5 inches | ||
| + | - 500,000 feathers=some birds had only 7 usable feathers | ||
| + | - Coconut fiber were used as the based | ||
| + | |||
| + | - Function: | ||
| + | - Male nobility wore feathers cloaks/ | ||
| + | |||
| + | - Staff god. (Rarotonga, Cook Islands, central Polynesia. Late 18th to early 19th century | ||
| - Context: | - Context: | ||
| - | - Underground, | + | - Wooden and humanistic head on top and end has naturalistic phallus |
| - | - The oldest part of the catacombs: closest to the entrance of Priscilla�s villa {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-1_1f4fce7193fd4bb0a46eef5e11c5d846:image49.jpeg}} | + | - Missionary cut of the phallus bc it’s indecent; they also convinced Rartongan people to embrace christianity and abandon their own faith |
| - | - A place where the earliest Christians were buried | + | - Producing barkcloth was a demanding complicated process |
| - Content: | - Content: | ||
| - | - 10km or more than 5 miles wide | + | - 12 feet long; elongated body topped by carved head; head makes up about |
| - | - At least 40,000 tombs | + | |
| - | - Multiple sarcophagus for family members | + | ⅓ of wood carving: smooth, stylized large eye, pointed chin, closed mouth |
| - | - Scenes | + | |
| - | - Book of Daniel | + | - A line of smaller figures were carved just below the head |
| + | |||
| + | - Small figures alongside larger ones=characteristic of Polynesian Art | ||
| + | |||
| + | - Most of the figures are encased in Barkcloth: clothing and protection | ||
| + | |||
| + | - Form: | ||
| + | - Reference to Tangaroa as a god of fertility | ||
| + | - Barkcloth wrapping: polynesian believed cloth was needed to protect deity’s spiritual force; | ||
| + | - Red feathers and pearls on the wooden head act as a symbol of mana | ||
| + | - If wrapping was off then deity would leave and staff god would be useless | ||
| + | |||
| + | - Function: | ||
| + | - Symbol of manara | ||
| + | |||
| + | | ||
| + | - Context: | ||
| + | - Nukuoro is a micronesian atoll (ring shaped coral reef) in western pacific | ||
| + | - It was settled in the 8th century C.E. by polynesians traveling in Canoes | ||
| + | - Nukuoro culture retained Polynesian influences such as social structures and the practice of carving humans | ||
| + | - Content: | ||
| + | - Deities were believed to inhabit animals, piece of woods, and wood figures called tino aitu {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Sacrifices to the figurine occurred each year during harvest | ||
| + | - Lack of facial details and the flexed legs provide a “blank canvas” ready to take on a deity’s vital force | ||
| + | - Stylized human figures | ||
| - Form: | - Form: | ||
| - | - Cubiculum | + | - Sculpture, wooden, 40 cms |
| - | - Passageways are stacked on top of each other | + | - Made from the BreadFruit Tree, Pumice was used to make it shiny |
| - | - Roman first style painting: Building up of plaster on wall to look like marble | + | |
| - Function: | - Function: | ||
| - | - Burial location for the actual members of Priscilla�s family | + | - Religion purposes |
| - | - Not a place for worship | + | - Used for a special annual harvest rituals |
| + | - Placed in temples, decorated with jewels | ||
| - | - Santa Sabina | + | - Buk (mask) (Torres Strait. Mid- to late 19th century |
| - Context: | - Context: | ||
| - | - In Rome, atop a hill | + | - Torres strait is between Australia and Papua New Guinea and has many small uninhabited islands |
| - | - Example | + | - Diego de Prado found turtle shell in 1606 {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: |
| - | - Roman Chrisitians chose it as the basis of their new churches | + | - Very dependent on ocean life so fishing was vital to survival |
| + | - Language of the island is Kala Lagaw Ya | ||
| + | - Island became Christianized: | ||
| + | - Content: | ||
| + | - Significant performances | ||
| + | - Honoring/ | ||
| + | - Bird could be a mythological totem connected to a family | ||
| + | - Form: | ||
| + | - Heated individual hawk bill, sea turtles shell plates so they become flexible and could be bent to create desire shape | ||
| + | - Each plate then had to be pierced around the edges so that maker could use fiber to thread plates together | ||
| + | - Connected plates=formed 3D appearance | ||
| + | - Function: | ||
| + | - Ceremonial significance; | ||
| + | |||
| + | - Hiapo (tapa). (Niue. c. 1850--1900 C.E. Tapa or bark cloth, freehand painting.) | ||
| + | - Context: | ||
| + | - Cloth is from Niue, a small polynesian island country located 1500 miles northeast of New Zealand, located next to Tongo, Samoa and Cook Islands; allowed for lots of trade with Christian missionaries in the region {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Tapa cloth traditionally seen as women’s art as it is a type of weaving and works with soft materials | ||
| + | - Content: | ||
| + | - Certain designs were designed for people with high social status/ | ||
| + | - Different culture and islands would present similar pieces of cloth to places they travel to by boat | ||
| + | - Form | ||
| + | - Fine lines, detailed geometric design such as spirals, concentric circles, squares, triangles, and diminishing motifs | ||
| + | - Along the edge=representation of plants | ||
| + | - Function: | ||
| + | - Tapa used for clothing bedding and wall hangings, displayed on special occasions | ||
| + | |||
| + | - Tamati Waka Nene (Gottfried Lindauer. 1890 C.E. Oil on canvas) | ||
| + | - Context: | ||
| + | - Lindauer and his patron: Henry Patridge | ||
| + | - He tend to paint well known Maori in Maori clothing for Europeans purchases but painted unknown Maori in European clothing when commissioned by their families {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Painted in 1890-3years after he died | ||
| + | - Content: | ||
| + | - Maori man-indifenous people of New Zealand | ||
| + | - A Rangatira or Chief of the Ngati Hao ppl in Hokianga-from the Ngapuhi tribe | ||
| + | - Important war and peacetime leader | ||
| + | - Estimated to be born in 1780s and died in 1871 | ||
| + | - He converted to the Wesleyan faith and baptised in 1839 choosing to become Tamati Waka after Thomas Walker | ||
| + | - Form: | ||
| + | - Cloak: a Kahu Kiwi: from Kiwi birds | ||
| + | - Earring of Greenstone or pounamu | ||
| + | - Both are considered prestigious treasures | ||
| + | - weapons=tewhatewha which are adorned with feathers and has a finely carved hand grip with an abalone or paua eye | ||
| + | - mana=connection to power and prestige | ||
| + | - moko=facial tattoos | ||
| + | - Background=foliage mountains and sky | ||
| + | - Function: | ||
| + | - Preserving the person in history | ||
| + | - Bring the presence of ancestors into the living world-so the painting does not only show the image/ | ||
| + | |||
| + | - Navigation chart (Marshall Islands, Micronesia. 19th to early 20th century C.E. Wood and fiber) | ||
| + | - Context: | ||
| + | - Micronesians in Northwest Pacific are renowned for navigational skills {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Religiously guarded their charts | ||
| + | - Showed that they traded between different tribes and islands | ||
| + | - Content: | ||
| + | - Chat is form of a Rebbelib | ||
| + | - Composed of wooden sticks: horizontal and vertical | ||
| + | |||
| + | acts as supports and the diagonal and curved ones represents wave swells | ||
| + | |||
| + | - Shells represents where the islands are | ||
| + | |||
| + | - Form: | ||
| + | - Wooden sticks bound leaves and connected by shells representing Marshall islands | ||
| + | |||
| + | - Function: | ||
| + | - Used for navigation | ||
| + | - Different charts represents differing degrees of geographical measurements | ||
| + | |||
| + | - Malagan display and mask. (New Ireland Province, Papua New Guinea. c. 20th century C.E. Wood, pigment, fiber, and shell) | ||
| + | - Context | ||
| + | - Malagan are concerned with honoring/ | ||
| + | - Often used representation of fish/birds since it alludes to specific myth | ||
| + | - Figures were collected by Hughe Hastings family, Deputy commissioner for western Pacific while he was on tour of New Ireland in 1882-83 | ||
| + | - Content: | ||
| + | - Mask can represents many things: Dead ancestors, spiritual double of an individual or the various bush spirits associated with the area | ||
| + | - Form: | ||
| + | - Different mask made of same materials and pigment | ||
| + | - Function: | ||
| + | - Commonly used at funeral sites; send a farewell off the to the dead; celebrate the achievements/ | ||
| + | - Also used as a sort of copyright; when someone buys a piece, | ||
| + | |||
| + | - Presentation | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - On Dec. 1753, queen visited kingdom of Tonga, which was the only pacific nation to retain a Monarchy and was protected by british government | ||
| + | - Cloth is presented as a gift in special ceremonies | ||
| + | - Queen Elizabeth witnessed many Fijian traditions and participated in Kava Ceremony | ||
| + | - Content: | ||
| + | - Procession of women: skirts made of barkcloth and mats | ||
| + | - Tapa mats were made from bark of mulberry tree | ||
| + | - Mend tend to the trees but only women can make the actual fabric | ||
| + | - Bark is cut into strips and beat with a hammer | ||
| + | - Women beat them together to form long plain sheets | ||
| + | - Designs were painted onto cloth by hand | ||
| + | - Form: | ||
| + | - Black and white photo of women wearing skirts | ||
| + | - Women skirts=painted with geometric patterns; men are wearing white clothing | ||
| + | - Function: | ||
| + | - Presented as gifts to important people | ||