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| ============= AP Art History Study Guide ============= | ============= AP Art History Study Guide ============= | ||
| + | * 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 One: Prehistoric Arts ====== | + | ====== Unit 1: Prehistoric Arts ====== |
| - Apollo 11 Stone (Namibia. 25000 B.C.E Charcoal on stone) | - Apollo 11 Stone (Namibia. 25000 B.C.E Charcoal on stone) | ||
| Line 1036: | Line 1038: | ||
| - Example of an ancient Constantinian basilica | - Example of an ancient Constantinian basilica | ||
| - Roman Chrisitians chose it as the basis of their new churches | - Roman Chrisitians chose it as the basis of their new churches | ||
| - | ====== 60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-2 ====== | ||
| - | |||
| - 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 2107: | Line 2108: | ||
| - Content: | - Content: | ||
| - Two symmetrical square madrasas | - Two symmetrical square madrasas | ||
| + | - Square prayer hall at the end of porticoed courtyard {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | |||
| + | - 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: | ||
| + | - Inspiration : Titan from the Renaissance period | ||
| + | - Known for painting the body in dramatic and contorted positions | ||
| + | - The 6th painting in a series of 24 paintings | ||
| + | - King Henry IV was assassinated in 1610 | ||
| + | - Led to the rule of Louis XIII | ||
| + | - Marie was exiled in 1617 | ||
| + | - Divisions in the french court | ||
| + | - Marie had these paintings do for propaganda | ||
| + | - Marrie and Henry’s actual marriage was filled with cheatings/ | ||
| + | - Henry IV was under attack by the Catholic church | ||
| + | - Henry IV was in debt to the Medicis | ||
| + | - Content: | ||
| + | - Winged Gods of marriage ( hymen which is on the left) and Love (cupid on the right) | ||
| + | - Hymen hold a flaming torch in his left hand( symbol of passion or love) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - 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 and blue robe with fleur- de-lys | ||
| + | - 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: | ||
| + | - Oil on canvas | ||
| + | - Strong vertical axis running through the painting from Juno( Hera) to Marie de’Medici | ||
| + | - Classical style | ||
| + | - Function: | ||
| + | - Propaganda idealizes Marie’s actual life | ||
| + | - Political reasons | ||
| + | - Religion reasons | ||
| + | |||
| + | - Self-Portrait with Saskia (Rembrandt van Rijn. c. 1636 C.E. Etching) | ||
| + | - Context: | ||
| + | - Rembrandt was a famous etchere during his time | ||
| + | - He was a very experimental artist | ||
| + | - His style changed throughout art career | ||
| + | - He did not often create self portraits {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Content: | ||
| + | - Is a portrait of Rembrandt and his wife Saskia, two years after they got married | ||
| + | - It seems to be an intimate moment | ||
| + | - Has two circles in the background | ||
| + | - Form: | ||
| + | - Used a copper plate eroded by acid | ||
| + | - Etching plate | ||
| + | - Illusion of depth with body placement | ||
| + | - Function: | ||
| + | - Private artwork | ||
| + | |||
| + | - San Carlo alle Quattro Fontane(Rome, | ||
| + | - Context: | ||
| + | - Baroque style: undulating movements and sculptural effects, eliminated the corner in architecture | ||
| + | - Borromini built it for free | ||
| + | - Commissioned in 1634 | ||
| + | - Built from 1638-1646 | ||
| + | - Borromini was an Italian architect who suffered from melancholia (a type of depression with ill-founded fears) | ||
| + | - Content: | ||
| + | - Facade: undulating waves, upper part=concave bays, sectioned entablature {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Center is oval shaped, held up by asymmetrical placed angels | ||
| + | - Upper facade completed after Borromini’s death | ||
| + | - Lower stories consist of 2 outer concave and convex center | ||
| + | - Connected with an entablature | ||
| + | - Has a central niche above one portal | ||
| + | - Has a statue of St. Charles Borromeo which was created by Antonio Raggi | ||
| + | - Beside the statue are the founders of Trinitarian order (St. John of Matha and Saint Felix of Valios) | ||
| + | - 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: | ||
| + | - Facade with 3 Bays | ||
| + | - Plan | ||
| + | - A diamond inscribed into a oval | ||
| + | - Intersecting circles | ||
| + | - Numerous curves ( no right angles) | ||
| + | - Stacking three distinct units | ||
| + | - Middle zone is an original Greek cross plan | ||
| + | - Combination of precedent and novelty | ||
| + | - Oval dome | ||
| + | - Illusionistic effects | ||
| + | - Function: | ||
| + | - Dedicated to St. Charles Borromeo and the Holy Trinity | ||
| + | |||
| + | - Ecstasy of Saint Teresa(Cornaro Chapel, Church of Santa Maria della Vittoria. Rome, Italy. Gian Lorenzo Bernini. c. 1647--1652 ce. Marble (sculpture); | ||
| + | - Context: | ||
| + | - Artist: Gian Lorenzo Bernini | ||
| + | - 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 {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Content: | ||
| + | - Golden arrow pointed at the heart of Saint Teresa | ||
| + | - Rays of sun (holy light of God) | ||
| + | - Saint Teresa with an angel | ||
| + | - St. Teresa body’s contorted, twisting feet and hands | ||
| + | - Rocks surrounding the base to support and add a buffer | ||
| + | - Expressive folds of fabric | ||
| + | - Form: | ||
| + | - White marble that was carved with a chisel | ||
| + | - Realistic | ||
| + | - Wet drapery look | ||
| + | - Expressive and emotional | ||
| + | - Function: | ||
| + | - Virtual representation of Saint teresa when she was brought to god | ||
| + | |||
| + | - Angel with Arquebus, asiel Timor Dei (Master of Calamarca (La Paz School). c. 17th century ce. Oil on canvas. ) | ||
| + | - Context: | ||
| + | - Made in the late 17th century in the viceroyalty of Peru (a Spanish colonial administration) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Created after the first missionizing period( forcing indigenous people to convert to Christainity) | ||
| + | - Most likely apart of a series | ||
| + | - Content: | ||
| + | - Depictions of androgynous angel waering stunning clothes holding a harquenas (a type of gun) | ||
| + | - Harquenas is a gun with a large barrel | ||
| + | - Form: | ||
| + | - Oil on canvas | ||
| + | - Function: | ||
| + | - Made to represent celestial, aristocratic and military beings all at the same time | ||
| + | - Used to represent the power, connection to god, and political power of the Spanish government | ||
| + | |||
| + | - Las Meninas (Diego Velázquez. c. 1656 ce. Oil on canvas.) | ||
| + | - Context: | ||
| + | - Used to be housed in the royal palace called Royal Alcazar of Madrid | ||
| + | - He was inducted into the Catholic organization called the Order of Santiago | ||
| + | - To compensate for the family’s incest he put them in elaborate clothes | ||
| + | - Velazquez was the court artist | ||
| + | - Content: | ||
| + | - The characters stare into the eyes of the viewer | ||
| + | - Painting of Ovid’s the metamorphosis hangs in the background ( story of gods wrestling with mortals) | ||
| + | - 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: | ||
| + | - Her pinky is the vanishing point | ||
| + | - Center of the painting =center of the balance | ||
| + | - Has a lot compositional control ( in color means) | ||
| + | - Soft swirl painting style | ||
| + | - Muted colors | ||
| + | - Function: | ||
| + | - Showed wealth and piety (worldly possessions and Christ in the back) | ||
| + | - Sign of self knowledge and truth | ||
| + | |||
| + | - The Palace of Versailles(Versailles, | ||
| + | - Context: | ||
| + | - Construction began in 1661 completed around 1682 | ||
| + | - The staff: | ||
| + | - Louis le Vau - chief architect | ||
| + | - Built the Grand facade and the Queen and King apartments | ||
| + | - 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 of the gardens | ||
| + | - 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: | ||
| + | - Satellite city to the East of the palace | ||
| + | - Housed a court and government officials, military and guard detachments, | ||
| + | - Extremely detailed and ornate {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Hall of mirrors ( a.k.a Galerie des Glaces) | ||
| + | - 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 of 700 rooms | ||
| + | - 2153 windows | ||
| + | - 2000 acres of garden | ||
| + | - Function: | ||
| + | - Emphasized the importance and power of King Louis XIV | ||
| + | - Used to host parties and military agreements | ||
| + | - To compared the king’s wisdom to the God, Apollo | ||
| + | - 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 {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - 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: | ||
| + | - Style: Spanish Colonial, Flemish, Dutch | ||
| + | - Function: | ||
| + | - To be placed in the viceroy' | ||
| + | - Intended to be viewed by two different audiences | ||
| + | |||
| + | - The Virgin of Guadalupe (Virgen de Guadalupe) (16th century, oil and possible tempera on maguey cactus cloth and cotton. Basilica of Guadalupe, Mexico City) | ||
| + | - Context: | ||
| + | - Found everywhere in Mexico | ||
| + | - Made during Spanish colonization and missionary period | ||
| + | - Content: | ||
| + | - May represent Mary because of grey skin color | ||
| + | - Acts as a devotion to Guadalupe {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - The virgin of Guadalupe was thought to have stopped the flooding of Mexico city | ||
| + | - 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) | ||
| + | - Sunlight beams behind her | ||
| + | - 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: | ||
| + | - Oil and maybe tempra on cactus cloth and cotton | ||
| + | - Function: | ||
| + | - For religious purposes and dedication | ||
| + | |||
| + | - Fruit and Insects (Rachel Ruysch. 1711 ce. Oil on wood.) | ||
| + | - Context: | ||
| + | - During renaissance | ||
| + | - Rachel Ruysch was born to the wealthy family in Amsterdam {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - First successful female artist during the Baroque period | ||
| + | - She specialized in still life | ||
| + | - Content: | ||
| + | - A still life of fruits, vegetable and insects | ||
| + | - In the Autumn | ||
| + | - Grapes =blood of christ | ||
| + | - animals= naturalism | ||
| + | - Illusion and realism throughout painting | ||
| + | - Form: | ||
| + | - Oil on wood | ||
| + | - Still life painting | ||
| + | - Realistic | ||
| + | - Vibrant colors | ||
| + | - Uncommon subjects | ||
| + | - Function: | ||
| + | - For Rachel Ruysch Cosimo II = a sign of friendship and commonwealth | ||
| + | - Was sold | ||
| + | - Painting was for widening merchant class | ||
| + | |||
| + | - Spaniard and Indian Produce a Mestizo(Attributed to Juan Rodríguez Juárez. c. 1715 ce. Oil on canvas.) | ||
| + | - Context: | ||
| + | - Metizo- a person of European and Indigenous descendant ( most types with father and idigenous mother) | ||
| + | - First of a series showing mix of races and cultures {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Casta painting- focus on bad living conditions for families that are mixed racially | ||
| + | - Also appear darker as they become more racially mixed, | ||
| + | - Content: | ||
| + | - Spanish father and Indigenous mother with a boy | ||
| + | |||
| + | 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 figure in the middle ground | ||
| + | - 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 in arches) throughout painting | ||
| + | |||
| + | - 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: | ||
| + | - Oil on canvas | ||
| + | - Function: | ||
| + | - Was just a portrait of Sor Juana | ||
| + | |||
| + | - 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: | ||
| + | - Wealthy and lavish living | ||
| + | - Women were major patrons of the arts | ||
| + | - Art became exclusive to the rich | ||
| + | - Content: | ||
| + | - Depicts a lady on a swing above her lover and a s bishop | ||
| + | - Nature scene = dense garden with flowers and cupid status | ||
| + | - Form: | ||
| + | - Epitome of Rococo | ||
| + | - Realism and Naturalism | ||
| + | - Use of soft colors | ||
| + | - Ornate details | ||
| + | - Lighting = woman bathed in sunlight | ||
| + | - Function: | ||
| + | - For ownership of the rich | ||
| + | |||
| + | - Monticello (Virginia, US. Thomas Jefferson [architect] 1768-1809 C.E.) | ||
| + | - Context: | ||
| + | - Thomas Jefferson hated British architecture and loved french architecture | ||
| + | - He studied at William and Mary but had no formal training to become an architect | ||
| + | - Made in virginia | ||
| + | - Content: | ||
| + | - Basilica plan | ||
| + | - Used inspiration from classical and neoclassical french art | ||
| + | - Remodeled the two- story pavilion based on Hotel de Salm | ||
| + | - To a symmetrical one story brick home under an austere Doric entablature {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - West garden | ||
| + | - A deep two column portico with doric columns that support a triangular pediment which is decorated with a semicircle window | ||
| + | - Has colonnades | ||
| + | - Has pediment | ||
| + | - Has dome | ||
| + | - Perisan windows | ||
| + | - transept | ||
| + | - Steps | ||
| + | - gardens= french inspiration | ||
| + | - Form: | ||
| + | - Greek marble looking portico | ||
| + | - Marble fencing | ||
| + | - Long, rectangular windows | ||
| + | - Symmetrical around central axis | ||
| + | - Made out of brick, glass, stone and wood | ||
| + | - Function: | ||
| + | - Meant to be a home | ||
| + | |||
| + | - The Oath of the Horatii (Jacques-Louis David. 1784 C.E. Oil on Canvas) | ||
| + | - Context: | ||
| + | - The patron: the French royals | ||
| + | - 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: | ||
| + | - Deception of a Roman myth | ||
| + | - Three sons swearing their swords to their father | ||
| + | - Women sitting in to right grieving | ||
| + | - People were placed in a column | ||
| + | - Form: | ||
| + | - Simplistic and symbolic | ||
| + | - Organized and structured | ||
| + | - Men- geometrical shapes | ||
| + | - Women - organic shapes | ||
| + | - Function | ||
| + | |||
| + | - 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 of George Washington | ||
| + | - Form: | ||
| + | - Neoclassicism | ||
| + | - White marble | ||
| + | - Contrapposto | ||
| + | - Symbolic details | ||
| + | - Form | ||
| + | - Symbolized power and authority as holds his sword | ||
| + | - Function: | ||
| + | - Sculpture | ||
| + | |||
| + | - Self-Portrait. (Elisabeth Louise Vigée Le Brun. 1790 C.E. Oil on canvas) | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - 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 | ||
| + | |||
| + | - 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 | ||
| + | |||
| + | - 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: | ||
| + | |||
| + | - Peacock fan | ||
| + | |||
| + | - Turban | ||
| + | |||
| + | - Enormous pearls | ||
| + | |||
| + | - A hookah | ||
| + | |||
| + | - 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 the eye of the public | ||
| + | |||
| + | - Liberty Leading the People. (Eugène Delacroix. 1830 C.E. Oil on canvas.) | ||
| + | - Context: | ||
| + | - Romanticism | ||
| + | - Based on July Revolution of 1830 | ||
| + | - Content: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - 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 | ||
| + | |||
| + | - 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: | ||
| + | - 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 | ||
| + | |||
| + | - Function: | ||
| + | - humanity’ s insignificance in the grand scheme of things compared to nature | ||
| + | - Westward expansion | ||
| + | |||
| + | - Still Life in Studio. (Louis- Jacques-Mandé Daguerre. 1837 C.E. Daguerreotype) | ||
| + | - Context: | ||
| + | - Daguerreotype accompanied the invention of photography | ||
| + | - 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 | ||
| + | |||
| + | - 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 | ||
| + | |||
| + | - 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: | ||
| + | - Serves as a House of Parliament | ||
| + | - To reinforce traditional values | ||
| + | - Today as the seat of government | ||
| + | |||
| + | - The Stone Breakers. (Gustave Courbet. 1849 C.E. (destroyed in 1945). Oil on canvas) | ||
| + | - Context: | ||
| + | - Painted one year after the published Communist Manifesto | ||
| + | - Went against normal french techniques which was refined during this time | ||
| + | - Content: | ||
| + | - Two figure(one very old and one very young) breaking stone with different tools | ||
| + | - Breaking stone for rubble to be used as pavement | ||
| + | - Both wear tattered clothing( symbol of poverty ) | ||
| + | - Form: | ||
| + | - Rough brushwork | ||
| + | - 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 ( held to the same status of high art) | ||
| + | - Nadar taking an aerial picture of paris | ||
| + | - Form: | ||
| + | - Lithograph- the process of printing from a flat surface treated so that it repeals ink except where it is wanted | ||
| + | - realism | ||
| + | - Function: | ||
| + | - Used to mock Nadar | ||
| + | - Tried to show how ridiculous and dangerous Nadar art was | ||
| + | |||
| + | - Olympia. (Édouard Manet. 1863 C.E. Oil on canvas) | ||
| + | - Context: | ||
| + | - A salon painting or a academic painting | ||
| + | - During the time of the industrialization | ||
| + | - Received backlash from it because a naked white woman and a black maid were seen as animalistic sexaulity and inferior( was seen as disrespectful) | ||
| + | - He recreated the Venus of Urbino with this painting {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Model (white naked lady) :Victorian Meurent | ||
| + | - Olynpia was a common name for prostitutes | ||
| + | - Manet was considered the father of impressionism | ||
| + | - Content: | ||
| + | - a nude white woman (prostitute) sitting on a chaise lounge with a black cat at her feet | ||
| + | - Stares at viewer coldly and indifferently | ||
| + | - Black woman servant behind her giving her a gift sent from a client | ||
| + | - Stark contrast against the black woman’s dark skin and the white woman’s white skin | ||
| + | - 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 | ||
| + | |||
| + | - 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 of the painting | ||
| + | - 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 | ||
| + | |||
| + | - The Horse in Motion. (Eadweard Muybridge. 1878 C.E. Albumen print) | ||
| + | - Context: | ||
| + | - Taken at a horse racing track | ||
| + | - Content: | ||
| + | - 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 | ||
| + | |||
| + | - 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) | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - Velasco was a astamed landscape painter | ||
| + | - Content: | ||
| + | - Mountains, | ||
| + | - All seen from a point on the mountain | ||
| + | |||
| + | top that overlooks the valley of Mexico and the village | ||
| + | |||
| + | - Form: | ||
| + | - Oil on canvas | ||
| + | - Realism | ||
| + | - Atmospheric perspective | ||
| + | - Viewer stands above the mountains | ||
| + | |||
| + | - Function: | ||
| + | - Wanted to show the beauty of Mexico | ||
| + | |||
| + | - The Burghers of Calais. Auguste Rodin. 1884--1895 C.E. Bronze | ||
| + | - Context: | ||
| + | - The town council of Calais rejected the statue because they wanted a statue of one symbolic man {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | - 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 | ||
| + | |||
| + | - 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 his time at the mental hospital (st. Remy) | ||
| + | - 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 | ||
| + | |||
| + | - The Coiffure. Mary Cassatt. 1890--1891 C.E. Drypoint and aquatint. | ||
| + | - 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: | ||
| + | |||
| + | - 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 into the sky | ||
| + | - 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 | ||
| + | |||
| + | - 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 | ||
| + | |||
| + | - 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: | ||
| + | |||
| + | - 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: | ||
| + | |||
| + | - Steel-frame skyscraper | ||
| + | |||
| + | - Art Nouveau decorative program | ||
| + | - Cast-iron ornamentation covers the entryway and ground level | ||
| + | - floral , intricate designs | ||
| + | - Function: | ||
| + | - Department store | ||
| + | - Highlights the ground level entryway to entice shoppers into the building | ||
| + | |||
| + | - 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: | ||
| + | - Wanted to capture the beauty of the mountain from close to where he lived | ||
| + | |||
| + | - 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 the twentieth century | ||
| + | - 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 | ||
| + | |||
| + | - 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: | ||
| + | |||
| + | - Diagonals and framing effects of ladders, | ||
| + | |||
| + | - Depicts the poorer travelers on the ship from the US to Europe | ||
| + | |||
| + | - 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 | ||
| + | |||
| + | - The Kiss. (Gustav Klimt. 1907--1908 C.E. Oil and gold leaf on canvas) | ||
| + | - Context: | ||
| + | - Art Nouveau | ||
| + | - 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: | ||
| + | - A kissing couple | ||
| + | - Her face is calm and passive | ||
| + | - His bowed neck shows a sense of desire and passion | ||
| + | - Big intricate patterns on the clothing | ||
| + | - Male is rectangular while the women is more circular | ||
| + | - Reminds the viewer of religious symbolism and byzantine art because of the excess gold | ||
| + | - Form: | ||
| + | - Oil on canvas with gold leaf | ||
| + | - Function: | ||
| + | - To show all consuming love and passion | ||
| + | |||
| + | - The Kiss. (Constantin Brancusi. Original 1907--1908 C.E. Stone) | ||
| + | - Context: | ||
| + | - Cubism- breaking down the human form into angles and shapes | ||
| + | - Brancusi was a romanian born french sculptures | ||
| + | - Romania had a long tradition of stone/wood carving | ||
| + | - Content: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| + | |||
| + | - Intertwined figures | ||
| + | |||
| + | - Woman on the right | ||
| + | - Slightly thinner | ||
| + | - Eyes slightly smaller | ||
| + | - Bulge suggest breast | ||
| + | |||
| + | - Two eyes become one | ||
| + | |||
| + | - Raw surface and archaic | ||
| + | |||
| + | - 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: | ||
| + | - Used vibrant colors | ||
| + | - Violent contrast colors | ||
| + | - Thinly applied color | ||
| + | - Energetic brushstrokes | ||
| + | |||
| + | - Function: | ||
| + | - Contemplative exaltation for the viewer | ||
| + | |||
| + | - Improvisation 28 (second version). (Vassily Kandinsky. 1912 C.E. Oil on canvas) | ||
| + | - Context: | ||
| + | - Expressionism inspired by Fauve movement | ||
| + | - Big part of Der Blaue Reiter | ||
| + | - He is Russian {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - One of the first non- objective paintings | ||
| + | - Content: | ||
| + | - Abstract painting of music composition | ||
| + | - Inspired by Der Blaue reiter | ||
| + | - Form: | ||
| + | - Strong balck lines | ||
| + | - Colors shade around lines | ||
| + | - abstract | ||
| + | - 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 ( the Bridge) | ||
| + | - 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: | ||
| + | - Representation of injury as an artist | ||
| + | |||
| + | - Memorial Sheet for Karl Liebknecht. (Käthe Kollwitz. 1919--1920 C.E. Woodcut) | ||
| + | - Context: | ||
| + | - The artist does ot depict people often | ||
| + | - 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 to pay their respects to the deceased person | ||
| + | - 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: | ||
| + | - Represents the cumulation of modern architecture | ||
| + | - Located outside of Paris | ||
| + | - Apart of a series of housesf | ||
| + | - Free facade | ||
| + | - Ribbon windows | ||
| + | - Ribbon terraces {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Ground floor painted green | ||
| + | - Ramp winds from entrance up to a salon | ||
| + | - Integration of indoor and outdoor spaces | ||
| + | - Form: | ||
| + | - Usedsteel and reinforced | ||
| + | - Function: | ||
| + | - Offered an escape from the city for wealthy patrons | ||
| + | - Both a functional house and a architectural sculpture | ||
| + | |||
| + | - Composition with Red, Blue and Yellow. (Piet Mondrian. 1930 C.E. Oil on canvas) | ||
| + | - Context: | ||
| + | - 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 of her husband and artist Rivera | ||
| + | - 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: | ||
| + | - Kivas = underground circular rooms used for ritual purposes {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Wooden roof held up by sandstone columns | ||
| + | - Firepit in the center | ||
| + | - Had a small hole in the ground called sipapu for ceremonial purposes | ||
| + | - Plastered and painted murals, many are now fragmented | ||
| + | - Other paintings also decorated the walls | ||
| + | - Geometric depictions of plants and animals | ||
| + | - Were used to depict the geography of the land | ||
| + | - Form: | ||
| + | - Built into the cave | ||
| + | - Dwellings built on the top and bottom of the Mesas | ||
| + | - 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: | ||
| + | - Used for ceremonies and residential | ||
| + | - Were covered but now have no roofs | ||
| + | - The space around the buildings were used as a plaza | ||
| + | - Circular and rectangular for living space | ||
| + | - One room facing the plaza for family gatherings | ||
| + | - Smaller rooms were used for storage | ||
| + | |||
| + | - Yaxchilán. (Chiapas, Mexico. Maya. 725 C.E. Limestone (architectural complex)) | ||
| + | - Context: | ||
| + | - Yaxchilan dynasty 4th century | ||
| + | - Lord shield Jaguar II who ruled for 60 years beginnings in 681 | ||
| + | - He commissioned famous sculpture work at site | ||
| + | - Bird Jaguar IV followed his father ( built famous buildings and sculpture) | ||
| + | - Bloodletting was common | ||
| + | - Lintels | ||
| + | - Lady took burned the paper to allow the blood to ascend to the gods | ||
| + | - Content | ||
| + | - Carved lintel | ||
| + | - Stairs with carved hieroglyphs writing and steeles | ||
| + | - 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: | ||
| + | - A snake (probably a rattlesnake) that is slightly crescent shaped | ||
| + | - Snake’s head is pointed to the east while the tail is pointed to the west | ||
| + | - 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 a solar eclipse | ||
| + | - In some Native American cultures, snakes are believed to be a powerful deity from the underworld | ||
| + | - Form: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Dirt | ||
| + | - Largest snake effigy mound in the world | ||
| + | - The mound confroms into the natural topography in the area | ||
| + | - National historical landmark | ||
| + | - 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 | ||
| + | |||
| + | - Templo Mayor (Main Temple). (Tenochtitlan (modern Mexico City, Mexico). Mexica (Aztec). 1375--1520 C.E. Stone (temple); volcanic stone (The Coyolxauhqui Stone); jadeite (Olmec-style mask); basalt (Calendar Stone)) | ||
| + | - 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 of ritual objects have been recovered | ||
| + | - The Aztec invasion in which its purpose was spread their Aztec | ||
| + | |||
| + | ideas and religions to neighboring territories | ||
| + | |||
| + | - Could hold 200,000 people by the 16th century | ||
| + | |||
| + | - Trade center (gold, pottery, food exports) | ||
| + | |||
| + | - 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 an altar and chacmool sculpture to receive offerings | ||
| + | - 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: | ||
| + | - 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: | ||
| + | - A place of worship of their gods | ||
| + | - Rituals, ceremonies, and reenactment of their myths | ||
| + | - Represented Aztec warfare and conquest as well as their power | ||
| + | |||
| + | - Ruler' | ||
| + | - Context | ||
| + | - Belonged to Motecuhzoma II, ruler of the Aztec Empire | ||
| + | - Capital of Aztec empire Tenochtitlan | ||
| + | - Stolen by Hernan Cortes ( a spanish conquistador ) | ||
| + | - Europe called it a moorish hat {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Then was taken by Archduke Fredinad | ||
| + | - 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: | ||
| + | - Inca Empire | ||
| + | - Known for monumental architecture and extensive road networks | ||
| + | - Did not have a money system | ||
| + | - 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 and father | ||
| + | - 16th Century Spanish Conquest | ||
| + | - City of Cusco was preserved | ||
| + | - Temples, monasteries, | ||
| + | - Showed juxtaposition between the two cultures | ||
| + | - 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: | ||
| + | - Content: | ||
| + | - City may have been laid out in the form of a puma (a symbol of strength) | ||
| + | - The noble houses were isolated from the rest of the city | ||
| + | - The architecture showcased the city’s political power | ||
| + | - They had an extensive understanding of masonry | ||
| + | - Each stone was modified with tools to fit other stones | ||
| + | - Each stone had a bit of space in between so they wouldn’t collapse during an earthquake | ||
| + | - Gods (captured) and mummies were used to further control followers | ||
| + | - Qorikancha | ||
| + | - Cheques served as markers of time and “landscape calendar and cosmogram” | ||
| + | - Renovated by an emperor who had a divine revelation | ||
| + | - Doorways and wall niches are inca trapezoids | ||
| + | - Doorways are double jammed to indicate importance | ||
| + | - Form: | ||
| + | - Red roofs | ||
| + | - Buildings are close together | ||
| + | - Fertile land | ||
| + | - Technical stone structures | ||
| + | - Urban layout | ||
| + | - Function: | ||
| + | - Capital of Tawantinsuyu (“Land of the Four Quarters”) | ||
| + | - Divided into four quarters that represent the four divisions in the empire | ||
| + | - Axis Mundi = center of existence | ||
| + | - 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 | ||
| + | |||
| + | - Maize cobs. (Inka. c. 1440--1533 C.E. Sheet metal/ | ||
| + | - 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: | ||
| + | - Took over 30 years to complete | ||
| + | - Conical tower believed to be made to worship the god Mulan | ||
| + | - Built in a time of great wealth success of Great Zimbabwe | ||
| + | - Content: | ||
| + | - Zimbabwe=Judicial Center or Ruler’s court | ||
| + | - Clay structure, excavations have revealed interior furnishings such as pot- stands, elevated surfaces for sleeping and sitting as well as hearth | ||
| + | - Form: | ||
| + | |||
| + | - 3 areas: | ||
| + | - 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: | ||
| + | - Signs of the chiefs religious devotion to Islam | ||
| + | - Mosque=center for prayers and community | ||
| + | - Location of crepissage, a festival dedicated to the replastering of the mosque: communal effort | ||
| + | |||
| + | - Wall plaque, from Oba’s palace. (Edo peoples, Benin (Nigeria). 16th century C.E. Cast brass) | ||
| + | - Context: | ||
| + | - Beninese mainly traded Portuguese empire | ||
| + | - A new system of trade that was recently enabled due to the British imperial conquests of Benin | ||
| + | - Portuguese empire began declining around the 18th century and British began making inroads into Benin | ||
| + | - Portuguese seek mutually beneficial trade whereas British sought to dominate the local ppl and extract resources {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Content: | ||
| + | - Depicts the King attended by several court attendants; king depicted in the center=emphasize his power | ||
| + | - Attendants appear smaller than the king (Benin artists had not used depth yet) | ||
| + | - King is shown riding horse and wearing expensive necklaces and jewelry | ||
| + | - Hierarchical scale is used to show the relative importance of the Oba to the surrounding figures | ||
| + | - 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: | ||
| + | - Cast brass relief plaque | ||
| + | - Brass=valuable material | ||
| + | - Plaque combines traditional depictions of figures and brass work of European cultures | ||
| + | - Function: | ||
| + | - Decorated palace walls. Plaques were made in pairs and attached to pillars | ||
| + | - Shows court rituals that occurred in palace and the order of plaques in the palace show the history of the Kingdom | ||
| + | |||
| + | - Sika dwa kofi (Golden Stool). (Ashanti peoples (south central Ghana). c. 1700 | ||
| + | |||
| + | C.E. Gold over wood and cast-gold attachments) | ||
| + | |||
| + | - Context: | ||
| + | - The ashanti group is the largest ethnic group in Ghana today | ||
| + | - Their king Osei Tutu | ||
| + | - Believed the golden stool descended from the heavens to Osei Tutu and the chiefs {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - 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 C.E. Wood) | ||
| + | - 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: | ||
| + | - Spiritual importance and protection=important to kingo ppl | ||
| + | - Power figures were confiscated and destroyed by missionaries of the late 19th century when found because they were evidence of sorcery | ||
| + | - Carved by a spiritual specialist who activates the figure by driving nails, blades, and other metal objects into it's wooden surface to make it angry and rouse it into action | ||
| + | - Would be activated by a Shaman by the storage of medicinal combinations (bilongo) in the head to create a link between the spiritual and physical world | ||
| + | - Content: | ||
| + | - Wooden human figure meant to highlight it's function in human | ||
| + | - Elongated belly button with cowrie shell fertility link to ancestors and wealth | ||
| + | - 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 | ||
| + | - Form: | ||
| + | - Imposing figure leaning forward wide stance signifies strength and importance | ||
| + | - Contains different types of insertions | ||
| + | - Function: | ||
| + | - Used as reminders of social obligations and enforcers of proper behavior | ||
| + | - Brought healing and protection to the community | ||
| + | - Symbolize an honoring of contracts and agreements | ||
| + | - Served as a mediator between ancestral spirit world and the living world | ||
| + | |||
| + | - Female (Pwo) mask. (Chokwe peoples (Democratic Republic of the Congo). Late 19th to early 20th century C.E. Wood, fiber, pigment, and metal) | ||
| + | - Context: | ||
| + | - Chokwe is a matrilineal society | ||
| + | - Content: | ||
| + | - Cingelyengelye on forehead and cheeks {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Hairstyle = common chokwe women hairstyle called coat which includes a braided headband and heavy fringe coated with red earth (plaiting) | ||
| + | - Pwo- founding mother and deity who represents fertility | ||
| + | - 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: | ||
| + | - Neat lines and circles use of symmetric shape | ||
| + | - Glowing reddish brown surface represents healthy skin | ||
| + | - Slender nose, elliptical mouth and hemispherical ears | ||
| + | - Function: | ||
| + | - 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: | ||
| + | |||
| + | - Portrait mask (Mblo). (Baule peoples (Côte d’Ivoire). Early 20th century C.E. Wood and pigment) | ||
| + | - Context: | ||
| + | - Baule peoples: 400,000 lived in villages in Cote D' | ||
| + | - Known for wood sculptures and ceremonial masks | ||
| + | - Baule society=matriarchal | ||
| + | - Content: | ||
| + | - Mask is an idealized portrait of Moya Yanso: a women | ||
| + | |||
| + | known in Kami for her beauty and incredible dancing ability; mask displays her at her prime | ||
| + | |||
| + | - 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 were painted with white clay; made them unattractive because they have not become women yet | ||
| + | - Mende people = large ethnic group {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-4_41f6afa907b549869c3e8107c2f4321f: | ||
| + | - Patrilineal and patriarchal | ||
| + | - Religion: Ngewo-single creator of universe | ||
| + | - 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 to the white clay | ||
| + | - Sheen created by a coat of palm oil which helps to represent healthy and beautiful skil | ||
| + | - 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: | ||
| + | - Dark; painted wood materials forms a head that resembles a thimble | ||
| + | - A small face with small features is central and towards the bottom of the head | ||
| + | - A sharp point extends up from the face, possibly forming the forehead | ||
| + | - Geometric designs surround the pointed forehead on either side | ||
| + | - Folds extended from the face to the back of the head | ||
| + | - Fibers resembles hair extended from head | ||
| + | - Function: | ||
| + | - 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 | ||
| + | |||
| + | because they believe that ram fifth with the head and head initiates good actions | ||
| + | |||
| + | - Most Ikenga holds swords=to show power | ||
| + | |||
| + | - The figure is carved to resemble whoever commissioned it | ||
| + | |||
| + | - 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 of individual achievement | ||
| + | - A source of strength and power for the owner | ||
| + | - 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 (memory board). (Mbudye Society, Luba peoples (Democratic Republic of the Congo). c. 19th to 20th century C.E. Wood, beads, and metal) | ||
| + | - Context: | ||
| + | - Start of 1500s, Luba people began to emerge as a powerful nation in central africa | ||
| + | - Content: | ||
| + | - 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 {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Designed specifically to tell a story and remember the past easily for those who are trained to able to do so | ||
| + | - Form: | ||
| + | - Varied in size but small enough to hold | ||
| + | - Function: | ||
| + | - Used as a way to record and remember important times and events in Luba people’s society | ||
| + | - Men of memory could only read it | ||
| + | - Readers must hold it in their left hand and trace patterns with their right index fingers | ||
| + | |||
| + | - Aka elephant mask. (Bamileke (Cameroon, western grassfields region). c. 19th to 20th century C.E. Wood, woven raffia, cloth, and beads) | ||
| + | - Context: | ||
| + | - Kuosi-elite masking society that owned and wore these includes: royal family, wealth title holders and warriors | ||
| + | - Content: | ||
| + | - 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 and middle east represent great wealth and status | ||
| + | - Black beads- relationship between living and the dead | ||
| + | - White beads-ancestors and medicines | ||
| + | - Red Beads-life and women | ||
| + | - 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 | ||
| + | - Form: | ||
| + | - Composed of colored cloth and beads | ||
| + | - Round eyes with read beads and white cloth-strong navy blue tones in the cloth | ||
| + | - cowrie shells decorated on the face and rest of mask | ||
| + | - 2 long panels and represent the elephant trunk-woven raffia fiber adorns the edges of the trunch | ||
| + | - Geometric designs | ||
| + | - 2 circles=elephant ears | ||
| + | - Function: | ||
| + | - 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 was to emphasize the complete power and dominance of the Bamileke King | ||
| + | |||
| + | - Reliquary figure (byeri). (Fang peoples (southern Cameroon). c. 19th to 20th century C.E. Wood) | ||
| + | - 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: | ||
| + | - 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. | ||
| + | - Content: | ||
| + | - Their architecture reflects the diverse and different cultures with which the Nabateans traded, interacted | ||
| + | - Many of the tombs contain niches or small chambers for burials, cut into the stone walls {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - 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 for its figurative detail and ornate Hellenistic architectural orders | ||
| + | - Form: | ||
| + | - 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: | ||
| + | - Functioning city that had all the necessary facilities to be one | ||
| + | |||
| + | - Buddha. (Bamiyan, Afghanistan. Gandharan. c. 400--800 C.E. (destroyed in 2001). Cut rock with plaster and polychrome paint) | ||
| + | - Context: | ||
| + | - Bamiyan Valley in Afghanistan was a stop on the Silk Route: along with fertile land, ideal location for merchants and missionaries to stop {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - plurality and lax nature of buddhist worship created pretext for buddhist cave architecture : 1000 buddhist caves along 1300 meters of cliff face in Bamiyan | ||
| + | - destroyed in 2001: taliban' | ||
| + | |||
| + | 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 of Chinese monk as covered in metal and other semi-precious decorative materials | ||
| + | - statues wore wooden masks covered in brass featuring facial features | ||
| + | - pigments were applied to the stucco | ||
| + | |||
| + | - 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 of the journey and triumph of Muhammed | ||
| + | - 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: | ||
| + | - The stone is thought to have been given to Ibrahim by the Angel Gabriel | ||
| + | - Content: | ||
| + | - interior of the Kaaba is fitted with a marble and limestone floor. | ||
| + | - This black brocade cloth that is hung around the Kabba is known as the Kiswah. | ||
| + | - The Kiswah is elegant and coated in elegantly done Calligraphy. | ||
| + | - The Calligraphy is of important verses “ayats” from the Quran. | ||
| + | - Intense modifications have been done to the Kaaba | ||
| + | - The area around it is has been expanded multiple times to compensate for the growing amounts of people participating in the pilgrimage | ||
| + | - 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: | ||
| + | - The medium is black granite masonry | ||
| + | - It is about 13 meters high and the sides are 11 meters long | ||
| + | - Function: | ||
| + | - Every Muslim faces the direction of the Kaaba and Mecca when they are praying and they pray five times a day. | ||
| + | - establishes the universal direction of prayer for all Muslims. | ||
| + | - It is also the location where the Muslim population takes a very important religious pilgrimage. Hundreds of Thousands of Muslims travel to Mecca and circumvent the Kaaba five times. | ||
| + | - Most Muslims hope they can take this pilgrimage once in their lives and it is one of the five pillars of Islam. | ||
| + | |||
| + | - 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: | ||
| + | - Buddha Shakyamuni aka Siddhartha Guatama {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - The sculpture has undergo restoration/ | ||
| + | - Content: | ||
| + | - Rinpoche=”Precious One” in Tibetan | ||
| + | - Housed in the Jokhang temple in Lhasa tibet | ||
| + | - Seated against a resplendent gold and jeweled throne and with his legs in the lotus position or padmasana | ||
| + | - Left hand is in mudra of meditation | ||
| + | - His right hand is the gesture of calling the earth to witness | ||
| + | - Signifies Buddha’s enlightenment | ||
| + | - Form: | ||
| + | - Statue is made of gilt metal | ||
| + | - The effect is an image of gold hue with blue hair | ||
| + | - Function: | ||
| + | - 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 | ||
| + | |||
| + | - Dome of the Rock. (Jerusalem. Islamic, Umayyad. 691--692 C.E., with multiple renovations. Stone masonry and wooden roof decorated with glazed ceramic tile, mosaics, and gilt aluminum and bronze dome) | ||
| + | - Context: | ||
| + | - A part of the ismalic religion | ||
| + | - Significant to the three of the albrahamic faiths | ||
| + | - The talmud | ||
| + | - The bible | ||
| + | - The Quran | ||
| + | - Dispute over the 3 religions about this structure | ||
| + | - Modified several times the Ottoman sultan {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - 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 the growing populous | ||
| + | - Content: | ||
| + | - Calligraphy covers the arches and walls | ||
| + | - Has towering minarets for the call for prayer | ||
| + | - Hypostyle hall and vaults (some ribbed to bring in light and ventilation) | ||
| + | - The undersides are carved with intricate geometric designs | ||
| + | - Bricks and stucco motifs and tilework along with calligraphy {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Isfhans’s covered bazaar connects to the mosque | ||
| + | - Form: | ||
| + | - Made up of a large central courtyard surrounded by two story arcade | ||
| + | - 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: | ||
| + | - To bring people to prayer away from busy streets | ||
| + | - Unite the community | ||
| + | - The location makes it the center gathering and transportation | ||
| + | - Commercial activity | ||
| + | |||
| + | - Folio from a Qur’an. (Arab, North Africa, or Near East. Abbasid. c. eighth to ninth century C.E. Ink, color, and gold on parchment) | ||
| + | - Context: | ||
| + | - Huge part of daily Muslim’s lives | ||
| + | - Very high value and prosperity in Islam | ||
| + | - It was a luxury have such a fine inscripted object | ||
| + | - The scribes illustrated them were highly valued in the community | ||
| + | - Content: | ||
| + | - Human and animal form depictions wee considered inappropriate on sacred objects and motifs | ||
| + | - The Qur’an consists of the divine revelation to the Prophet Muhammad in Arabic {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - The words on the Qur’an translate as rays of light for the people who read and recite the recitations Piece from “The Spider” a text in the Qur’an | ||
| + | - Form: | ||
| + | - It is part of the Qur’an which is the sacred text of Islam | ||
| + | - The Qur’an is written on parchment in blank ink with a broad-nibbed reed pen | ||
| + | - Kufic is the type of calligraphy used in the manuscript | ||
| + | - The Qur’an is read from left to right | ||
| + | - Function: | ||
| + | - Used for sacred rituals and recitations | ||
| + | - Heavily decorated for ceremonial purposes | ||
| + | - The Qu’ran is the central part of Islam and the Islamic faith revolves around this book | ||
| + | |||
| + | - 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 of the two groups | ||
| + | - Decorated with fish,eels, crab, frogs and crocodiles | ||
| + | - Form | ||
| + | - Brass inlaid with gold and silver ( difficult task) | ||
| + | - Very expensive materials at the time | ||
| + | - 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. (Islamic; Persian, IlKhanid. c. 1330--1340 C.E. Ink and opaque watercolor, gold, and silver on paper) | ||
| + | - 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 Asia: ====== | ||
| + | |||
| + | - 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: | ||
| + | - Located on a hill in the countryside; | ||
| + | - 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: | ||
| + | - Exterior parts: Chatra-triple umbrella structure symbolizing the 3 jewels of Buddhism: the Buddha, Dharma (doctrine) and Sangha (community) | ||
| + | - Central pillar symbolizes the cosmic axis; supports the chatra | ||
| + | - Dome symbolizes dome of heaven enclosing the earth | ||
| + | - Upper level walkway: aka medhi; elevated terrace; 16 ft above ground | ||
| + | - Form: | ||
| + | - Stone and sandstone (stupas)=domed structured; evolved from earthen mounds containing relics | ||
| + | - The Stupa evolved into a pagoda form | ||
| + | - Function: | ||
| + | - Site for worship and meditation | ||
| + | - Devotees walk around in clockwise fashion | ||
| + | - Venerated as a symbol of the Budda’s final movements | ||
| + | |||
| + | - Terracotta warriors from the mausoleum of the first Qin emperor of China. (Qin Dynasty. c. 221--209 B.C.E. Painted terra cotta) | ||
| + | - Context: | ||
| + | - During Emperor Qin reign, he introduced standardization of currency, writing measurements and more {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - He connected cities and states with advanced systems of road and canals | ||
| + | - He was also credited with continuing the construction of the Great Wall | ||
| + | - Content: | ||
| + | - Army includes warriors, infantry men, horses, chariots, and all their attendant armour and weaponry | ||
| + | - There are unusually high amount of mercury around this place | ||
| + | - Historians may have believe that the emperor may have set up a system of mercury rivers: some evidence points to the fact that he believed in the life-giving power of mercury | ||
| + | - Form: | ||
| + | - Emperor Win lined his burial complex with a treasury of riches and piles of precious gemstones said to represent the star, moon and sun | ||
| + | - All had unique faces | ||
| + | - Function: | ||
| + | - 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/ | ||
| + | - Made to guard the tomb | ||
| + | |||
| + | - 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 of 4 horizontal registers | ||
| + | - 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. (Luoyang, China. Tang Dynasty. 493--1127 C.E. Limestone) | ||
| + | - Context: | ||
| + | - 800,000 people worked on site | ||
| + | - Inscription states that Empress Wu Zetian was the patroness; used her private funds to finance the project {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Buddhism transmitted to China by chance and intermittently | ||
| + | - Content: | ||
| + | - Includes 110,000 Buddhist stone, statues, and more than 60 stupas and 2800 inscriptions on steles | ||
| + | - Central Binyang cave-508 C.E.; previously painted | ||
| + | - Fengxian Temple: Vaircana Buddha has monk attendants (bodhisattvas) and guardians | ||
| + | - Form: | ||
| + | - Bodhisattvas- enlightened ppl who delayed entrance to paradise to help others reach enlightenment | ||
| + | - Smiling Buddha/ | ||
| + | - high relief: sculpture are carved into existing limestone | ||
| + | - Function: | ||
| + | - Record the lineage of the patriarchs who passed on Buddhism | ||
| + | - Asserted sovereignty and power | ||
| + | - Used for assimilation | ||
| + | |||
| + | - Gold and jade crown. (Three Kingdoms Period, Silla Kingdom, Korea. Fifth to sixth century C.E. Metalwork) | ||
| + | - 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 and wood (sculpture); | ||
| + | - Context: | ||
| + | - Has been destroyed during military unrest {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Reflects combination of Buddhist and politics | ||
| + | - Great Buddha took 6 years to complete: annual ritual cleaning ceremony of statue | ||
| + | - Content: | ||
| + | - Massive hall (hondo) is located at its center or the daibutsuden=great buddha hall | ||
| + | - Supported by 84 cypress pillars | ||
| + | - 2 nine story pagodas (multi-tiered towers; an evolution of stupa) a lecture hall and quarters were added later by the monks | ||
| + | - 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 which contains historical content; reflective of the elegant naturalistic style of the Nara era | ||
| + | - South Gate: 2 stones are the same size; roof supported by huge pillars; nandai men | ||
| + | - Form: | ||
| + | - Great Eastern temple: referred to its location: on eastern edge of city of Nara (Japan’s capital) | ||
| + | - Function: | ||
| + | - Commissioned by emperor Shomu; promote spiritual unity among Japanese provinces to unite them under his rule | ||
| + | |||
| + | - Borobudur Temple. (Central Java, Indonesia. Sailendra Dynasty. c. 750--842 C.E. Volcanic-stone masonry) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Context: | ||
| + | - at one point in the year, the sun comes up and perfectly aligns with top dome- not on equinox | ||
| + | - Content: | ||
| + | - stupas on top have buddhas inside, buddhas face outward, base = kamadhatu- 160 reliefs of sin, middle = radhitu- | ||
| + | |||
| + | 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 and khmer texts say that temples should be in harmony with nature | ||
| + | - they planned it accordingly to sun and moon; the central axis should be aligned with planets; plan of the universe or mandala | ||
| + | - Structure: expansive enclosure wall separates the | ||
| + | |||
| + | temple grounds from the moat; temple is comprised of 3 passageways running around temple | ||
| + | |||
| + | - galleries and central sanctuary marked by 5 stone towers | ||
| + | |||
| + | - 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 of Khajuraho | ||
| + | - Content: | ||
| + | - Central deity is Vishnu in his 3 headed form known as Vaikuntha who sits inside the temple inner womb chamber {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Sculpture has a harmonious integration with the architecture | ||
| + | - Figures=sensuous with revealing clothing | ||
| + | - Depicts idealized female beauty; sculptures of loving couples=mithuna (state of being a couple); erotic poses symbol his regeneration | ||
| + | - Form: | ||
| + | - Made of five store and ashlar masonry | ||
| + | - Nagara style Hindu Temple | ||
| + | - Consist of a shrine known as vimana and a flat roofed entry porch known as mandapa | ||
| + | - Shrine of Nagara temples includes a base platform and large superstructure known as sikhara which viewers can see from a distance | ||
| + | - Function: | ||
| + | - Residence of a God | ||
| + | - Devotees approach the temple from the east and walk around (Circumambulation) | ||
| + | |||
| + | - Travelers among Mountains and Streams. (Fan Kuan. c. 1000 C.E. Ink and colors on silk) | ||
| + | - Context: | ||
| + | - Only surviving work by Fan Kuan; painted during Song Dynasty | ||
| + | - Neo-Confucianism: | ||
| + | - Content: | ||
| + | - Boulders in foreground; rocky outcroppings covered in trees; 2 men driving donkeys with firewood | ||
| + | - Temple partially hidden in forest; Gritty rick takes up ⅔ of picture; in the background central peak flanked by smaller peaks | ||
| + | - Contains immense details | ||
| + | - Long waterfall on right balanced by mountain on left | ||
| + | - Man seen as small and insignificant in vast natural world | ||
| + | - Form: | ||
| + | - 7 feet long hanging scroll | ||
| + | - Take advantage of seale to increase grandeur and monumentality of mtns by decreasing the size of ppl. | ||
| + | - Function: | ||
| + | - Expresses cosmic vision on man’s harmonious existence in vast/ | ||
| + | - Shows the Neo-Confucian search for absolute truth in nature | ||
| + | |||
| + | - Shiva as Lord of Dance (Nataraja). (Hindu; India (Tamil Nadu), Chola Dynasty. | ||
| + | |||
| + | c. 11th century C.E. Cast bronze) | ||
| + | |||
| + | - Context: | ||
| + | - 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 C.E. Handscroll (ink and color on paper)) | ||
| + | - 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: | ||
| + | - Blue porcelain was imported from Iran | ||
| + | - Vases were purchased by David {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Content: | ||
| + | - Tall white vessels decorated with blue stylized dragons, birds, clouds, and floral designs | ||
| + | - Elephant = head shaped handles | ||
| + | - Neck and food of vase= leaves and flowers | ||
| + | - Inscription: | ||
| + | - Form: | ||
| + | - Glazed: cobalt blue paint | ||
| + | - Porcelain= white ceramic | ||
| + | - Very fine white clay 1300 degrees shimmery finish | ||
| + | - Firing technique oxidizes it | ||
| + | - Function: | ||
| + | - 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 | ||
| + | |||
| + | - Portrait of Sin Sukju (1417--1475). (Imperial Bureau of Painting. c. 15th century | ||
| + | |||
| + | C.E. Hanging scroll (ink and color on silk)) | ||
| + | |||
| + | - Context: | ||
| + | - Sin Sukju is a scholar and politician that rose to status of Prime Minister in 1445 | ||
| + | - 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: | ||
| + | - The portrait is facing slightly to the right | ||
| + | - 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 C.E. and later. Stone masonry, marble, brick, wood, and ceramic tile) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Context: | ||
| + | - Palace operated for over 500 years; was originally built to solidify power | ||
| + | - The 4th son of the Ming Emperor usurped power from his older brother and seized control | ||
| + | - In order to solidify his power he moved the capital from Nanjing to Beijing | ||
| + | - The Qing dynasty which ruled after Ming Dynasty continued after Ming Dynasty continued this as HQ of the royal court | ||
| + | - Content: | ||
| + | - Palace is divided into an inner and outer court | ||
| + | - Outer: used for state affairs and only men were allied inside | ||
| + | - Inner: contained living spaces and was focused on domestic life for imperial family | ||
| + | - 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 of heavenly purity and the empress;s residence is known as the palace of Earthly Tranquility | ||
| + | - Form: | ||
| + | - Red walls and yellow glazed rood tiles located in the heart of beijing | ||
| + | - City=960 meters ling and 750 meters wide | ||
| + | - 98 buildings and a moat that is 50 meters wide | ||
| + | - The design of the Forbidden city follows the ideal cosmic order in confucian ideology | ||
| + | - Living quarters were determined by social status | ||
| + | - Function: | ||
| + | - Palace served as hime to the Chinese emperor and his court | ||
| + | |||
| + | - Ryoan-ji. Kyoto, Japan. (Muromachi Period, Japan. c. 1480 C.E.; current design most likely dates to the 18th century. Rock garden) | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - 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 with intricate designs | ||
| + | - 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: | ||
| + | - Part of series of prints done by Hokusai: called 36 views of Mount Fuji | ||
| + | - 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: | ||
| + | - Dutch influence in low horizon and prussian blue | ||
| + | - Mount Fuji: highest mountain in Japan; considered sacred | ||
| + | - Content: | ||
| + | - Composition arranged to frame Mount Fuji | ||
| + | - White top of great wave creates diagonal line leading viewers eye directly to peak of mountain top | ||
| + | - Juxtaposition of large wave in foreground dwarfing small mountain in distance; inclusion of men and boats amist powerful waves | ||
| + | - Personification of nature, seems intent on drowning the figures on the boats | ||
| + | - 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 | ||
| + | |||
| + | - Chairman Mao en Route to Anyuan. (Artist unknown; based on an oil painting by Liu Chunhua. c. 1969 C.E. Color lithograph) | ||
| + | - Context: | ||
| + | - 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: | ||
| + | - At this time there was a large amount of conflict over power so Mao had these paintings done to help regain control | ||
| + | - SHows Mao on his way to lead the miners strike of 1922 | ||
| + | - This created the bond of Mao with the communist party | ||
| + | - 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: | ||
| + | - The communists party in China wanted to portray Mao as a new revolutionary leader; wanted to gain more followers | ||
| + | |||
| + | ====== Unit 9: The Pacific ====== | ||
| + | |||
| + | - Nan Madol. (Pohnpei, Micronesia. Saudeleur Dynasty. c. 700--1600 C.E. Basalt boulders and prismatic columns) | ||
| + | - Context: | ||
| + | - Saudeleur Dynasty: an early example of centralized political system in western pacific, placed high importance on agriculture and God (fertile land) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Sacred sea deity (Killed Turtles for them) | ||
| + | - Inhabitants= Reef of Heaven | ||
| + | - Dynasty fell in 1628 | ||
| + | - Content: | ||
| + | - A system of crisscrossing canals, Luxurious palaces | ||
| + | |||
| + | for the rulers and smaller houses surrounding for servants | ||
| + | |||
| + | - Contained a variety of specialized islets: some for constructing canoes, holding sacred eels, and preparing coconut oil for sacred ceremonies | ||
| + | |||
| + | - Form: | ||
| + | - 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: | ||
| + | - 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: | ||
| + | - Made from chiseled stone, 14 are made from basalt while the rest are made from volcanic tuff, about 887 moai on Easter Island | ||
| + | - Originally painted with red and white designs, height of the statute range from 8-70 feet tall; old statue are larger and more detailed/ | ||
| + | - Majority of statues share features such as: elongated ears, heavy eyebrow ridge, oval nostrils, emphasized clavicle, protruding nipples, thin arms that lie against the body, barely any arms. Stern expression. | ||
| + | - Function: | ||
| + | - 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 of her cousins, Rear Admiral Issac {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | |||
| + | 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 | ||
| + | |||
| + | - Content: | ||
| + | - A feather cloak-yellow and red: Red associated with Gods and chiefs across Polynesia, Yellow= valuable because of their scarcity in the Hawaiian Island | ||
| + | - 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 C.E. Wood, tapa, fiber, and feathers.) | ||
| + | - Context: | ||
| + | - Wooden and humanistic head on top and end has naturalistic phallus {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Missionary cut of the phallus bc it’s indecent; they also convinced Rartongan people to embrace christianity and abandon their own faith | ||
| + | - Producing barkcloth was a demanding complicated process | ||
| + | - Content: | ||
| + | - 12 feet long; elongated body topped by carved head; head makes up about | ||
| + | |||
| + | ⅓ of wood carving: smooth, stylized large eye, pointed chin, closed mouth | ||
| + | |||
| + | - 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 or soul of the God; protects ancestral power of “mana” or deity of the society | ||
| + | |||
| + | - Female deity. (Nukuoro, Micronesia. c. 18th to 19th century C.E. Wood. | ||
| + | - 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 from Samoa | ||
| + | - 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: | ||
| + | - Sculpture, wooden, 40 cms | ||
| + | - Made from the BreadFruit Tree, Pumice was used to make it shiny | ||
| + | - Function: | ||
| + | - Religion purposes | ||
| + | - Used for a special annual harvest rituals | ||
| + | - Placed in temples, decorated with jewels | ||
| + | |||
| + | - Buk (mask) (Torres Strait. Mid- to late 19th century C.E. Turtle shell, wood, fiber, feathers, and shell) | ||
| + | - Context: | ||
| + | - Torres strait is between Australia and Papua New Guinea and has many small uninhabited islands | ||
| + | - Diego de Prado found turtle shell in 1606 {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - 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/rank | ||
| + | - 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, the seller gives up his right to use that particular style again | ||
| + | |||
| + | - Presentation of Fijian mats and tapa cloths to Queen Elizabeth II. (Fiji, Polynesia. 1953 C.E. Multimedia performance (costume; cosmetics, including scent; chant; movement; and pandanus fiber/ | ||
| + | - 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 | ||