Art History

Venus of Willendorf

25,000 BCE

a well-rounded, abstracted female figure in Austria, represented the power of female fertility with her bulbous anatomy. This sculpture aided reproductive rituals in the Paleolithic era. Ancient artist-carver believed that the power of fertility was contained in the natural egg shape of the stone.

Hall of Bulls, c. 15000–10000 BCE. Cave painting, left wall, Lascaux, Dordogne, France. French Government Tourist Offi ce.

15,000 BCE

The paintings' exact purpose is
unknown, but some anthropologists propose that rituals
could be performed on the animals’ likenesses to ensure
a successful hunt.These paintings may have been part of ancient rituals linked to the
bounty of nature.

Hall of Bulls

15,000 BCE

The paintings' exact purpose is unknown, but some anthropologists propose that rituals could be performed on the animals’ likenesses to ensure a successful hunt. Spears and arrows were painted in or perhaps actually thrown at the image of the prey, ritualistically killing it. However, other scholars argue that the painted “arrows” are few and could be plant forms.

Rock Art from the Acacus Mountains, Western Libya, c. 10,000 BCE.

10,000 BCE

This image is one of hundreds of ancient rock art images from the Acacus Mountains in western Libya, in what is now the Sahara Desert. However, at the beginning of the Holocene Era around 10,000 BCE, the area supported vegetation and large animals, like the elephant shown in our example. There are also paintings and carvings of humans, giraff es, antelopes, and domesticated animals.

Newgrange

3200 BCE

It is part of a complex of tombs and huge rock structures which contains 220000 tons of loose stone, a long passageway inside leads to a cross-shaped interior. This ancient mound is oriented so that during the winter solstice, sunlight radiates through a passage that illuminates a patterned stone.

Palette of King Narmer, Egypt, c. 3000 BCE. Slate, 25" high.

3000 BCE

The carving records the forceful unifi cation of Egypt, when Narmer (also called Menes), king of Upper Egypt, was victorious in war over Lower Egypt. At top center, the horizontal fi sh above a vertical chisel are pictographs for “Narmer.” Flanking Narmer’s name are two images of Hathor, the cow goddess of beauty, love, and fertility, who was the king’s protector.

The Stepped Pyramid of Djoser and Tomb Complex

2650 BCE

most art works are the product of both artists and the broader culture, more than one artist's effort to build. Works of art are the products of artistic vision and the cultural environment that foster it.

Menkaure and His Wife, Queen Khamerernebty, Gizeh, Egypt, Fourth Dynasty, c. 2600 BCE. Slate, approximately 4' 6 1/2" high.

2600 BCE

They stand side by side, united by the queen’s embrace, placing the same foot forward. Young, strong, and confi dent, they display the Egyptian ideal of beauty and maturity. Khamerernebty is shown as large as Menkaure, as pharaonic succession was traced through the female line. The compact pose makes the sculpture more durable and permanent, befi tting the pharaohs as divine descendants of the Sun God, Re.

Ziggurat at Ur (partially reconstructed), Third Dynasty of Ur, Iraq, c. 2150–2050 BCE.

2050 BCE

It is a sacred artifi cial mountain erected by the Sumerians of the city of Ur to honor their special deity from among the Sumerian pantheon of gods. Its corners point toward the four points of the compass, refl ecting the movement of the sun.

Stonehenge, Wiltshire, England, c. 2000 BCE. Diameter: 97'; upright stones with lintel, approximately 24' high.

2000 BCE

It was built at a time when religion and science were not separate but were a single unifi ed means of understanding natural forces. Thus, Stonehenge is likely an altar for religious rituals as well as an astronomical device that maps solar and planetary movement upon the earth.

Plaque with Warrior and Attendants, Nigeria, 17th or early 18th century. Benin. Brass, 19 1/4" high

1700 BCE

Larger than his two attendants, the king displays classic African fi gurative proportion, approximately three heads high. His apron and shield have leopard imagery, a regal symbol made more important because of the artistic attention given to it. Dominating the composition are the warrior’s spear, helmet, and shield. Often, armor and weapons were protection for both the body and the spirit.

The Great Wall, China. Construction began during the Qin Dynasty in 206 BCE, with major work occurring during the Ming Dynasty, 1368–1644 CE. Brick faced, average height 25', 1,500 miles long.

1644 BCE

New pieces of it are still being discovered, and the section near Beijing has been restored. The brick-faced wall averages twenty-fi ve feet in height and width, and it creates a light-colored, undulating line on the brown and green hills. Strategically placed watchtowers provide points of visual emphasis. The towers contained embrasures for cannons and were used as signal stations, with smoke by day and fi res by night.

Jan Bruegel. A Stoneware Vase of Flowers, c.1607–8. Oil on Panel, 23.75" × 16.5". Fitzwilliam Museum, University of Cambridge, UK/The Bridgeman Art Library

1607 BCE

This bouquet is realistic in detail but not in the grouping of flowers, because the blossoms shown here come from various places and bloom in different seasons.

Snake Goddess, Minoan, from the palace at Knossos, c. 1600 BCE. Glazed earthenware, 13 1/2" high. Archeological Museum, Heraklion.

1600 BCE

This goddess has likely evolved from the Earth Mother deity; she represents male and female regenerative powers of a snake shedding its skin.

Crowned Head of an Oni, Wunmonije Compound, Ife, Nigeria, 12th–15th centuries. Yoruba. Zinc, brass; smaller than life size. Museum of the Ife Antiquities, Ife, Nigeria

1500 BCE

The delicately detailed portrait is in a naturalistic style that contrasts with the more abstracted art from much of Africa. The face has a remarkable sense of calm and serenity, with beautiful fl owing features, making it an outstanding example of an idealized royal portrait. Scholars still debate the exact identity and use of these portrait heads, but many believe each head represents a Yoruba or Benin ruler, who traced their rule back to the mythic fi rst human ancestor.

Nefertiti, Egypt, c. 1350 BCE. Portrait bust, approximately 1' 8" high. Aegyptisches Museum, Staatliche Museen zu Berlin, Berlin, Germany

1350 BCE

Her features are defi nitely individualized but also idealized, with a perfectly symmetrical face, long nose, full lips, fl at ears, and graceful neck, all below the tall royal crown. Beyond her likeness, however, Nefertiti displays the new aesthetic canon, which is eased, fl owing, naturalistic, and elegant, diff erent from the rigid, more abstract style found

Jayavarman VII, Cambodia, province of Siemreap, Angkor region, late 12th or early 13th century CE. Bayon style. Sandstone head, 16" × 9" × 12". Musée des Arts Asiatiques-Guimet, Paris, France.

1300 BCE

He was a mighty military leader who conquered invaders and fought back rival states; one campaign lasted twenty years. Jayavarman VII was also well known for his amazing building projects, including the great Temple of Bayon at Angkor Wat that boasts fi fty towers, each side with a large face of Buddha. Yet in this portrait, Jayavarman chose to be represented almost as a mystic, and in fact his own conversion from Hinduism to Buddhism spread that religion in the area.

Wallpainting from the tomb of Nakht in Thebes, Egypt; 18th dynasty (1540–1300 BCE). Copy by Francis Sydney Unwin, 1915. Photo: Knud Petersen. Location: Tomb of Nakht, Sheikh Abd el-Qurna, Tombs of the Nobles, Thebes, Egypt

1300 BCE

Nets, wine presses, and ceramic jugs, all the product of ancient technologies, help in the processing of food and creating the sense of plenty pervading these scenes. Figures are arranged in an orderly fashion, using their handcrafted tools, giving a sense of cooperation arising from human labor, human technology, and nature. Paintings from all over the world record similar scenes.

Gislebertus. The Last Judgment, France, c. 1130. Stone carving, 21' wide, 12' high. West tympanum of the Church of St. Lazare, Autun, France.

1130 BCE

Unlike the muscular body of Laocoön, here the human bodies are depicted as miserable. The scene illustrates the end of time, when every person rises from the ground to be judged forever as worthy of heaven or condemned to hell. In the lower section of this carving, the cowering humans rise from their boxlike graves and huddle in line until a pair of large hands, clamps around their heads. All are then plucked up and deposited on the scales of Judgment.

Shiva as Nataraja, or Lord of the Dance. Naltunai Isvaram Temple, Punjai, India, c. 1000. Bronze.

1000 BCE

Shiva’s body is shown as supple, sleek, and graceful. Cobra heads form the ends of his hair, and he stands in perfect balance. As the Lord of the unending dance, he is the embodiment of cosmic energy, yet the balanced pose also contains the concept of eternal stillness. The multiple arms tell of his power, and his divine wisdom is shown by the third eye in the middle of his forehead.

Lamassu, Khorsabad, Iraq, 720 BCE. Limestone, 14' high.

720 BCE

The Assyrians, known for their ruthlessness and brutality, dominated the Near East for more than three hundred years. With enormous size and glaring stare, two large Lamassu guarded the palace gate, to terrify and intimidate all who entered.

Ashurbanipal II Killing Lions, Assyria, c. 650 BCE. Limestone relief, approx. 60" high. From the Palace of Ashurbanipal, Nineveh (northern Iraq). The British Museum, London.

650 BCE

The lion’s muscles, veins, and bones show its tremendous strength, fi erceness, and agility. Although they greatly admired the beauty of the living lion, the Assyrian elite slaughtered the animals in a public spectacle, the royal lion hunt. Lions in cages were released in an enclosed arena, where the king, Ashurbanipal, accompanied by bowmen and spearmen, would face them to show his courage.

Spider, Nazca, Peru, c. 200–600. Henri Stierlin

600 BCE

The earliest drawings were of animals, such as birds, whales, monkeys, or dogs. Our example, Spider, dates from around 200–600. Later drawings consisted of large geometric shapes, spirals, and long, straight lines that extend for miles or radiate from center points. Many drawings were made right on top of previous ones.

Emperor Justinian and His Attendants, Church of San Vitale, Ravenna, Italy, c. 547. Mosaic on the north wall of the apse. Canali Photobank.

547 BCE

The clergy hold sacred objects: the crucifi x, the book of Gospels, and the incense burner. Even a soldier’s shield displays the Chi-Rho, an ancient symbol of Christ. A similar mosaic (not pictured here), Empress Theodora and Her Attendants, faces the Justinian mosaic in the church’s sanctuary. Theodora, Justinian’s wife, was an able and eff ective co-ruler, and her image indicates her equal rank and power.

Women at the Fountain House

510 BCE

Women at the Fountain House (Fig. 6.8), dated 520–510 BCE from the Archaic Greek era, This is an example of black fi gure painting, in which a thin coating of black-fi ring clay covers the red clay of the vessel itself. Details are scratched in with a needle. Graceful women eff ortlessly collect water from the fountainhead, reiterating the purpose for the vessel. The scene is framed with fl oral and geometric designs.

Imperial Throne Room, in Hall of Supreme Harmony, Forbidden City, Beijing, China.

450 BCE

The grandeur of this royal room helped sustain the emperor’s rule, because its magnificence supported his claim to be the Son of Heaven and the father of the people.The majestically high ceiling is covered with elaborate patterns subdivided by grids. The focus of the room, the throne, is framed by columns and elevated on a stepped platform.

Horsemen (from the Parthenon frieze), Athens, Greece, c. 440 BCE. Marble, 42" high

440 BCE

The carving on the sculptural frieze is very high quality, an especially amazing feat given that the sculpture is almost twice the length of a football fi eld and was completed in less than a decade. Overlapping, crisscrossing diagonals— horses legs, waving hands, drapery—communicate the bustle early on. Gods and humans are similarly rendered as rounded and lifelike, with carefully carved muscles. They are dignifi ed, composed, well-proportioned, and idealized.

Polykleitos. Doryphoros (Spear-bearer), Rome, c. 450–440 BCE. Marble after a bronze original, 6' 11" high. Museo Nazionale, Naples.

440 BCE

This sculpture by Polykleitos is a slightly largerthan-life-size nude male that refl ects the Greeks’ deep appreciation of the human body. The fi gure is idealized in several ways: (1) in the balanced pose; (2) in the internal proportions; (3) in the restrained emotions; and (4) in the roles depicted—youth, athlete, and warrior. This work was executed in the Greek Classical art style.

Iktinos and Kallikrates. Parthenon, Athens, Greece, 447–432 BCE. Pentelic marble; columns 34' high, dimensions of structure 228' × 104'.

432 BCE

It is more graceful and refi ned than older temples, but, like them, was covered using the post-and-lintel system. This particular style (or “order”) of temple was called Doric and could be easily identifi ed by its column. The Doric column had no base, a simple cushion capital, and a shaft that was fl uted, or carved from top to bottom with thin, vertical channels. High-quality marble blocks were carefully stacked and fi nished so that the columns originally appeared seamless.

The Marathon Boy

330 BCE

The Classical Greek sculpture made of cast bronze. Assembled works are made of various parts that are then put together. The wax is then melted out of the mold and replaced with molten metal.

Persepolis, general view, Persia (Iran), 559–330 BCE

330 BCE

On top were elaborate capitals with curving scrolls and foreparts of bulls or lions. Some had human heads. A grand staircase, cut directly from natural rock formations, was covered with reliefs depicting subjects presenting tribute to the king.

Soldiers from Pit 1(Warrior)

221 BCE

A huge team of terracotta army which is the funerary complex built for the First Emperor of China, each warriors is made from a combination of standardized and hand-crafted parts.

The Equestrian Statue of Marcus Aurelius

175 BCE

hollow-cast bronze, a costly material sculpted using a difficult process (material significant), material of bronze is essential in this truly royal portrait.

Agesander, Athenodorus, and Polydorus of Rhodes. Laocoön and His Sons, Greece, late 2nd–early 1st century BCE. Marble, 7' 10" high. Hellenistic (Roman patronage). Vatican Museums, Rome.

100 BCE

This sculpture was created during the centuries that followed the idealized image of Doryphoros, when Greek art turned to depicting humans engaged in violent action, vulnerable to age, injured, diseased, and subject to feelings of pain, terror, or despair. Two cults were particularly infl uential in this era known as Hellenistic Greece: Stoicism, in which individuals were urged to endure nobly their fate and state in life; and Epicureanism.

Arch of Titus, Rome, Italy, 81 CE. Marble on concrete, 50' high, 40' wide.

81 BCE

The Arch of Titus was built along the Via Sacra (the Holy Road) in Rome, by Titus’s brother Domitian, to record Titus’s apotheosis. The inscription at the top reads roughly, “.2.2. dedicate this arch to the god Titus, son of the god Vespasian.”

Great Pylon of the Horus Temple at Edfu, Egypt, c. 237–57 BCE. The pylons are 118' high and the façade is 230' wide. Unlike most Egyptian cult temples, this one is located on the west side of the Nile River.

57 BCE

The image may have been derived from the Nile River fl owing between cliff s. Visually, the pylons both defi ne the entrance and act as barriers; indeed, the lower classes of the Egyptian population were forbidden to enter. Statues and carvings animated the great surfaces, and they were painted to make the temple facade very colorful. The four vertical niches once held tall poles with fl ying banners.

Mandala of Samvara (Kharamukha Cakrasamvara Mandala), Tibet, c. 16th century.Water-based pigments on cotton cloth. 23" high, 18" wide.

16 BCE

Vajravarahi. Samvara, an angry emanation of the Absolute Being, is shown with blue skin and multiple arms, symbols of his power and divinity. He is pictured here with a donkey face, because those meditating on this image learn the illusory nature of the physical body.

Red Figure Kylix

15 BCE

By the Greek painter Douris, made on clay vessels, The images produced with colored clays on Greek vases are the only record of Greek painting that has survived to the present day.

The Goddess Hathor and the Overseer of Sealers, Psamtik. Saqqara, Egypt, Late 26th Dynasty, 6th century BCE. Gray stone; base: 11 1/2" × 43 1/4"; height of cow to horns, 33". Cairo Museum, Egypt.

6 BCE

she encompasses and hovers protectively over Psamtik, an Egyptian offi cial. Her horns surround the head of a cobra, a sign of royalty, and the sun disk with a crown of feathers. Even in images of Hathor as a woman, her head is usually topped by the same combination of horns and sun disk, which symbolize royalty and divinity.

Tlalocan Painting. From Tepantitla compound, Teotihuacán, Mexico. Copy by Agustin Villagra. Original: pigment on stucco.

5 BCE

A large frontal fi gure at the center is a water god with green water droplets springing from her hands. Plants populated with butterfl ies and spiders grow from her head, while two priests, shown symmetrically andsmaller in scale, attend and make off erings. The colors in this restored version are bright, with an especially intense red background.

Great Stupa. Sanchi, India, third century BCE–fi rst century CE. Dome, 50' high. Robert Harding Picture Library.

3 BCE

The form of the mound represented the cosmos as the world
mountain, the dwelling place of the ancient gods and a sacred womb of the universe. The structure is encircled with a low balustrade wall containing four heraldic gates, all highly adorned with rich carvings. The gates, called toranas, are located at the four cardinal points in the circular wall.

The Ark of the Covenant and sanctuary implements. Hammath, near Tiberias, 4th century. Mosaic. Israel Antiquities Authority, Jerusalem.

4

Moses constructed the Ark according to instructions from Yahweh, so that the prophet could communicate with and receive revelations from him during the exodus from Egypt. Our image is a mosaic from the fourth century CE, which depicts the Ark in the center of the composition. Sanctuary implements, including elaborate seven-branched candelabra, fl ank the tabernacle.

Ara Pacis Augustae, Rome, 13–9 BCE. Marble; outer wall, 34' 5" × 38' × 23'.

9

It sits on a podium with twelve steps, enclosed by walls covered with reliefs of the Earth Mother, Tellus; Aeneas, the legendary founder of Rome; and two long processions led by Augustus. Carved foliage and fruit garlands symbolize the golden age of plenty as well as fecundity, ripeness, and peace, all under the rule of Augustus.

Glass Bowl with Fruit

79

a Roman painting from the first century CE that survived 2,000 years despite being buried by the eruption of Mount Vesuvius in 79 CE. two kinds of fresco-- fresco secco, paint is applied to a dry plaster wall. In buon fresco, or true fresco, the plaster on the wall is wet, and wet pigment suspended in water is applied to and soaks into that surface, which results in a very durable painting.

Synagogue at Dura-Europos, Syria, 245–256 CE. Interior, with wall paintings of biblical themes. National Museum, Damascus.

256

The paintings on the walls were didactic, illustrating stories found in the Hebrew Bible. The fi gures have stylized gestures, lack expression, mass, and depth, and, for the most part, stand in frontal rows, as a means to explain a concept or illustrate a story. Action was not depicted. Yahweh was shown as a hand emerging from the top of the panels. Evidently, this kind of image making was not forbidden for the Jews, but the worship of images was.

Zeus or Poseidon

450

Zeus'right hand probably once held a thunderbolt, an attribute of Zeus, who is associated with the sky and storms (if the fi gure once held a trident, then he likely is Poseidon, God of the Sea). The over-life-size fi gure appears monumental, muscular, and ideally proportioned. It conveys a sense of action and energy and, at the same time, poise and dignity. Fully extended, Zeus’s mighty body is balanced between the backward movement of his arm.

Three-Legged Ting with Cover

600

Three-Legged Ting with Cover, Zhou Dynasty, China, c. 6th century BCE. Cast bronze, 5 3/4" high.
The design of this bronze vessel, which was used in rituals to receive blessings from deceased ancestors, features circular details that complement the overall spherical form.

Seated Buddha. Sarnath, Uttar Pradesh, India, late fi fth–early sixth centuries. Sandstone, 63" high. Sarnath Museum.

600

The red sandstone of the Seated Buddha, late fi fth to early sixth centuries (Fig. 8.9), has been carved and polished to a smooth, fl awless fi nish. The statue seems to represent a generalized holy being rather than a specifi c person. The body seems almost weightless. The face is rendered as a perfect oval, and the torso and limbs are simplifi ed into graceful lines and elegant shapes. Clothing is sheer and clinging, unworldly in its draping and its perfection.

Ceiling of Cave 26

700

Ceiling of the cave 26, one of the many caves at Ajanta dating back to 700CE.

The Water and Moon Guanyin Bodhisattva, China, Song Dynasty, c. 1100. Painted wood, 7' 11" high. The Nelson-Atkins Museum of Art, Kansas City.

1100

The Water and Moon Guanyin Bodhisattva, c. 1100 (Fig. 8.10), is the most powerful Bodhisattva, with a great capacity for salvation. Depictions of Guanyin vary radically, with two to twelve arms, often crowned, sometimes with a muscular male body and sometimes with an eff eminate body. In our example, the body is graceful and the face beautiful and serene. The elegance of the body and right hand, along with the lavish carving and rich colors, make this sculpture sensually appealing.

Angkor Wat

1113

Angkor Wat, Central Temple Complex, Cambodia, c.1113-1150 CE
Symmetry and radial balance add to the grandeur of this enormous templr complex.

Zen Stone Garden

1192

Japan, Kamakura period, to provide a spiritual tradition of Buddhism, dry landscape means to aid quiet meditation, which buddhists believe is essential for spiritual growth.

Xilonen, Goddess of Young Corn. Huastec. Tuxpan (Veracruz), Mexico, 1000–1200. Limestone, 33" high.

1200

In our image of her, dating from 1000–1200, the head is rounded, very humanlike, and grandly adorned. She wears a headdress with ornamental bands and ears of corn, a collar with sunrays, heavy ear pendants, and a jade necklace that symbolizes crop fertility.

Burning of the Sanjo Palace, from the Heiji Monogatari, hand scroll (detail), Japan, Kamakura period, late 13th century. Ink and color on paper, 16 1/4" high, 22' 9" long.

1200

As fl ames and smoke erupt dramatically, the raiders dash away to the left, trampling their victims or leaving them trapped in the burning rubble. Strong visual contrasts heighten the sense of chaos. Jumbled shapes diff er from the clean lines of the palace roof. Groups are juxtaposed with single fi gures to build and then diff use dramatic moments.

Ma Yuan. Apricot Blossoms, China, Southern Song Dynasty, early 13th century. Album leaf with ink and color on silk, 10' high. National Palace Museum, Taiwan.

1200

This painting was not done from direct observation, but from memory after the artist had repeatedly practiced the necessary brushstrokes.

Blanket, Tlingit people, Chilkat style

1204

This black and yellow patterns are abstracted from human or animal features and have a geometric quality. The pattern on it also shows form of protection and power.

Six Persimmons

1269

This painting reflects Zen Buddhism, which emphasized the importance of meditation and simplicity in life. This simple arrangement, with contrast between the plump fruits and the angular stems, and the spare richness of their color, is orderly yet irregular. Empty space isan important visual element. Many Zen masters chose to make ink paintings because of the form’s spontaneity and simplicity, in contrast to the lushness of oil painting.

Lotus Flowers and Ducks

1300

13th century, China. Visual perception---making art focus and concentrate; Artists' response ---their point of view, values and individual experiences. Expression of spiritual traditions

Moctezuma’s Headdress, Mexico, c. 1319. Aztec. Quetzal and cotinga feathers, gold plaques. Kunsthistorisches Museum, Vienna.

1319

It is made of hickory wood, silver, iron, and lead. The name “Ottokee,” a member of the Great Lakes Ottawa tribe in 1820, is engraved in silver inlay on the handle, along with naturalistic fi sh and an abstract curvilinear pattern. On the head and blade of the tomahawk are engraved an acorn, a heart, and a half moon.

Allegory of Good Govern- ment: The E ects of Good Government in the City and in the Country

1338

By Ambrogio Lorenzetti who want to shows how common citizens prosper when justice, prudence, temperance and fortitude region. Italy was a patch- work of city-states regularly thrown into turmoil by civil strife, unstable governments, and petty tyrants.

Lorenzo Ghiberti. Sacrifi ce of Isaac (detail), Florence, Italy, 1401–1402. Gilded bronze, 21" × 17 1/2". Museo Nazionale del Bargello, Florence

1402

It shows the emotionally intense moment when the youthful Isaac is bound on an altar of sacrifi ce, as his fi erce-faced father Abraham holds the knife to his son’s throat. The curves of their bodies echo each other, with Isaac pulling away as Abraham is poised to lunge forward.

The Expulsion from Paradise

1427

By Masacci, on the wall of the Brancacci Chapel in the Church of Santa Maria del Carmine in Florence, Italy. Adam and Eve are the first couple of the Jewish, Christian, and Muslim religions. This chapel mural depicts the beginning of their scriptures with the pair’s exile from the Garden of Eden.

Emerald Buddha

1434

Thailand, a figurine of the meditating Buddha seated in yogic posture

Wedding Portrait

1434

by Flemish artist Jan van Eyck, This Renaissance oil painting visually certifies the wedding of an Italian businessman living in Bruges. It is full of both obvious and hidden symbolism giving meaning to this important event.

Portrait of Federico da Montefeltro

1465

by Piero Della Francesca, the colors and details remain clear and bright even after 550 years ago. Gouache is watercolor with white chalk added to create an opaque paint.

The Birth of Venus---Sandro Botticelli

1482

celebrate Ancient Greek myth and glorifies the beauty of the human body---female, reflect Italian Renaissance,depiction of a pagan deity was at odds with the Catholic Church, more realistic

Andrea del Verrocchio. Equestrian Monument of Bartolomeo Colleoni, Italy, c. 1483–1488. Bronze, 15' high. Campo Ss. Giovanni e Paolo, Venice.

1488

Colleoni was a condottiere, or mercenary soldier, who fought many campaigns for the city-state of Venice during the fi fteenth century. The fi fteen-foot-tall statue is raised on a high pedestal, so that viewers are vulnerably placed under the horse’s raised hoof. The animal’s tense, bulging muscles, Colleoni’s twisted pose, and his scowling face are the very embodiment of aggression.

Last Supper

1498

The composition is very formal and symmetrical, with the most important fi gure, Jesus, at the center, framed by the distant doorway. His hands, arms, and head form a triangle. The perspective lines in the ceiling and wall radiate from Jesus’ head. All are on one side of a long table like a head table; this seating arrangement implies that many witnesses, not shown, are also present at the meal, of which we as viewers are part.

Ryoanji Zen Garden of Contemplation, Japan, c. 1488–1499. Walled garden, 99' wide ! 33' deep. Daijuin Monastery, Kyoto.

1499

The rock garden refl ects Zen Buddhist beliefs that the world is full of change and disorder, but meditation can lead to an understanding of the oneness of the universe. Visitors do not walk through the garden, but sit along the edge meditating on the raked quartz gravel that represents the void both of the universe and of the mind, while the dark rocks represent material substances and worldly events that fl oat through those voids.

Saltcellar

1500

Ivory, 17" high. AfroPortuguese, Sherbro Peninsula Sierra Leone.
This saltcellar was carved by African artists for export to Europe. This was carved by African artists for export to Europe. The salt is held in the orb that is topped by an execution scene, showing a victim about to be sacrifi ced. Alligators serve as vertical supports below. The style refl ects both African and Portuguese tastes, and both cultures valued the warmth and luster of ivory and used it for diplomatic gifts.

Michelangelo Buonarroti. David, Italy, 1501–1504. Marble, 14' 3" high. Galleria dell’Accademia, Florence. The youthfulness of David is expressed in the oversized hands

1504

the medieval beliefs persisted regarding the enduring soul versus the corruptible body. David, dated 1501 to 1504 , represents the Israelite youth who
fought the giant warrior, Goliath, saved his people, and later became the greatest king of the Old Testament.

Raphael. Madonna of the Meadow, Italy, c. 1505. Panel painting, 44 1/2" × 34 1/4". Kunsthistorisches Museum, Vienna.

1505

All fi gures are totally human, but their dignity and serenity seem divine. The blues, reds, and greens add to the sense of harmony. Mary and the two children fi t into an implied triangle—a stable, symmetrical, sacred shape recalling the Trinity. Mary’s silhouette completely contains the form of Jesus, attesting that she is Jesus’ mother and establishing her as a symbol for the Christian church, through which Jesus remains present on earth.

Michelangelo. Ceiling of the Sistine Chapel, The Vatican, Rome, Italy, 1508–1512. Fresco, approximately 128' × 45'.

1512

The artist felt that he was a sculptor and that painting was a less noble art form. Originally, the work was to consist only of the twelve apostles with some other ornamentation. But as Michelangelo proceeded, he changed the imagery from the apostles to nine scenes from Genesis, along with seven prophets and fi ve sibyls. Illusionistic marble frames subdivide the broad expanse of the ceiling.

Knight, Death, and the Devil

1513

By Albrecht Durer, amazing wealth of detail, fine tools were used to engrave thin lines into the printing plate. Engraving produces thin, precise lines create both detail and rich values.

Crucifi xion from The Isenheim Altarpiece

1515

The dark, gloomy background obliterates all landscape detail. The grisly details of Jesus’ sore-ridden and scraped skin, convulsed body, and drooping head are meant to be a realistic picture of a terrible death. At the same time, the Isenheim Altarpiece is a conceptual rather than a realistic representation.

Rosso Fiorentini's Recumbent Femal Nude Figure Asleep

1530

In 1530, Rosso Fiorentini's Recumbent Femal Nude Figure Asleep clearly shows the value range of reddish-brown chalk from dark to light.

Silver Representation of a Maize Plant

1532

Maize was a food staple for the Incans and also was used to make beer, which was used in religious festivals. This silver replica glorifi es the food so important to the Incans. It was a food staple and was also used for making the most valued chicha (beer) that was consumed during religious festivals, such as the important eight-day celebration of the maize harvest.

Venus of Urbino

1538

oil painting, by Titian, slow-drying paint allows artists to easily blend colors and paint details. glazing with oil color result in intense colors.

Mohammed’s Ascent into Heaven. From Nizami’s Khamsa (Five Poems), Tabriz, Iran, 1539–43. Ms. Or. 2265, fol. 195a. Made for Tahmasp. Safavid dynasty. British Library, London, Great Britain.

1539

Mohammed’s face is veiled, as was customary in such depictions, out of respect for the holy and for fear they could never be rightly portrayed. Prior to Mohammed’s ascent into heaven, he embarked on a night journey on Buraq, a white winged horse that carried him through various stages of heaven, where he met several Jewish and Christian prophets, and also visited hell. Mohammed’s night journey is important in Islamic thought, and is seen as symbolizing each man’s spiritual journey

Andreas Vesalius of Brussels. The Fourth Plate of Muscles, Flanders, published in 1543. Engraving from De Humani Corporis Fabrica.

1543

There, Andreas Vesalius of Brussels published De Humani Corporis Fabrica, a study of bones, muscles, and internal organs based on the dissection of human bodies, which is considered the beginning of modern science. Before that time, Western knowledge of the human body was based on ancient Greek, Roman, and medieval Arabic writings. Vesalius’s studies corrected errors in old sources and added a tremendous amount of new knowledge.

Bishndas (Portraits by Nanha). Babur Supervising the Layout of the Garden of Fidelity, India, c. 1590. Manuscript painting, gold and gouache on paper, 8 3/4" ! 5 3/4". Mughal. Victoria and Albert Museum, London.

1590

This image illustrates many key concepts of Islamic gardens that represent Paradise. Water is channeled in four directions, representing the rivers of Paradise. The four resulting squares can be repeated or subdivided and yet maintain the integrity of the original layout.

Gopura, Sri Meenakshi Amman Temple

1600

a destination for thousands of pilgrims who attend the Hindu festivals, embodies the Hindus’ celebration of the divine force that animates the abundant life forms on earth.

Scribe and Painter at Work

1600

From the Hadiqat by Hakim Sana'i, show the palace-like conditions where the best artists worked. Kitab Khanas was a forerunner (precursor) of art academics that provide systematized art instruction , and were workshops and libraries that produced Islamic manuscripts.

Tea Bowl

1600

Humble items often embody beauty, and their designs gracefully combine opposites.
The Tea Bowl, from the seventeenth century, gracefully combines
a series of opposites: smooth glazes and textured glazes, round and square shapes, horizontals and diagonals and verticals.

Abduction of the Daughters of Leucippus

1617

By Peter Paul Rubens, reflects culture’s ideals about femininity and masculinity, all figures represent ideal body types.

Rubens. Abduction of the Daughters of Leucippus

1617

By Peter Paul Rubens, reflects culture’s ideals about femininity and masculinity, all figures represent ideal body types.

The Taj Mahal (India)

1632

The most famous Islamic mausoleum, the final resting place of a memorial to the wife of a great Shah, symbolizes the throne of Allah

Masjid-i-Shah, or Royal Mosque, Isfahan, Iran, 1612–1637. The arch of the main portal, to the left in this picture, is 90' high; the minarets are 110' high.

1637

The portals, for example, became separate, large structures distinguished by elaborate decoration and pattern to awe and draw in the viewer. The once-simple courtyard evolved into a two-story arcade covered with blue-patterned tiles, with four huge, porch-like portals, where schools of Islamic theology could be assembled. The covered prayer hall is physically and conceptually separate from the open courtyard.

de Heem. A Table of Desserts

1640

This reflects cultural and religious beliefs. In Europe, seventeenth-century still life paintings often were lavish displays boasting of wealth and
abundance, in which food had become an aesthetic experience for refi ned taste. This was the Baroque era in art, known for exaggeration, artifi ce, and theatrics. Paintings of food take on almost a fetish quality, detailed and lovingly painted, like de Heem’s sumptuous fruits and sweets on silver platters, laid on velvet.

Sheng Maoye. Beyond the Solitary Bamboo Grove, China, c. 1625–1640. Ink and color on silk, 11 1/4" ! 12". From an album of six leaves; landscapes inspired by Tang poems. The Metropolitan Museum of Art, New York.

1640

In China and Japan, landscape paintings were especially popular among upper- and middle-class urban populations, especially in noisy and polluted areas. The booming city of Suchou, wealthy from the European silk trade and tourists, had one park that was so overcrowded that a local artist called it “squalid,” with “visitors [who] fl ock there like fl ies swarming on meat” (Cahill 1966:87). Paintings like Beyond the Solitary Bamboo Grove made pristine nature once again available.

the Ecstacy of St. Teresa.

1645

topic of installation---are usually mixed-media artworks designed for a specific interior or exterior space. a dramatic stage by Gianlorenzo Bernini, here installations transform the entire space of a room.

The Milkmail

1657

By Johannes Vermeer, just a women works at home, breakfast preparation

Rembrandt van Rijn. Self-Portrait, Netherlands, 1669. Oil on canvas, 23 1/4" ! 20". The Hague, Mauritshuis.

1669

Rembrandt records both a human face and a human soul. His lit face emerges from the void of the background. Light seems both to refl ect off the surface of his face and to emanate from inside his head. His dark, piercing eyes express gentleness, pain, and knowledge. The left side of his face is in soft shadow, a fi tting visual metaphor for a man of wisdom facing his own death.

the Badshahi Mosque in Lahore, Pakistan

1672

Badshahi Mosque, main entrance. 1672–1674. Lahore, Pakistan. This is a mosque translated into a Pakistani architectural style. Both are impos- ing, dramatic buildings with towers, yet each design is
influenced by its cultural preferences and by locally avail- able building materials.

GheordezPrayerRug,Turkey

1700

This rug is an example of an object that could be classified as fine art or as craft. it is craft, but its aesthetic qualities and ritualistic uses carry it beyond utilitarian function. 18thcentury.Whitemihrab (prayer niche) with two Turkish floral columns.

Cloak and Feather Hat, Hawaii, 18th century. Museo de America, Madrid, Spain.

1700

Although feather work is common in many Pacifi c islands, the Hawaiian work is the most developed and intricate. Colors have symbolic value, with red representing royalty, while yellow signifi es a prosperous future. Hawaiian royalty also enjoyed large, elaborate feathered fl y whisks called kahili, which were common objects transformed into luxury items and used for special occasions.

Cathegral of Dubrovnik

1713

Andrea Buffalini made Cathrdral of Dubrovnik: Nave Groin Vault. Construction finished in 1713, Croatia.
Groin vaults cover the ceiling, except the top place.

Hall of Mirrors, Germany

1734

By François de Cuvilliès, The nobility favored decorative architecture called Rococo, Rococo architecture was seen as female, with its emphasis on delicate, curving, colorful decoration. French citizens were about to overthrow the oppressive, parasitic French monarchy and aristocracy.

Breakfast Scene

1745

by William Hogarth who satirized the English upper classes, a comedy mixed with criticism and condemnation

Giovanni Battista Piranesi. Prison, 1745, from Le Carceri, No. XIV (fi rst state). Etching.

1745

From 1745, does not focus on the human form like Munch’s Scream, but the complicated, dreary spaces of the dungeon act as a metaphor for the darker, twisted side of the human mind. The fantastic gloominess of this prison is pervaded by hopelessness and a lack of meaning, and exit seems impossible. Small humans are dwarfed as they move through the oppressive space. These complex, dark chambers are the exact opposite of sunny landscapes, but each can be seen as a metaphor for human.

Oath of the Horatii, France

1784

By Jacques-Louis David, this painting illustrates an event from Roman history, it shows the behavior that reflected femininity and masculinity in eighteenth century France. The Neoclassical architecture was associated with masculinity and revolution. The men hold weapons as their job is war, while women’s jobs are concerned with chil- dren.

A Pair of Lovers

1788

By Kitagawa Utamaro (the best of Japan’s Golden Age woodblock designers), frontispiece from Poem of the Pillow, Japan. which depicts lovers engaged in sexual intercours. The work reflects the ukiyo or “floating world” theme, which includes provocative, erotic subject matter.

Printmaking Diagram

1800

Lithography---a drawing created with an oily crayon, pencil, or liquid on a limestone slab or a metal surface. relevant to Intaglio prints, drypoint prints, Printmaking is the process of making multiple artworks or impressions, progress used for (A) Relief, (B) Intaglio, (C) Lithography, and (D) Serigraphy.

The Printmaker’s Workshop

1800

In Japan, Edo period, School of Yokohama, 19th century. Color woodblock print. Woman are making the preliminary drawing for the print, carving the wood block, grinding inks, and taking place, a standing woman is hanging finished prints to dry.

the Standing Female Figure

1800

This figures was made of wood and brass and were brought out for public display or for elaborate rituals to aid women who were having di culties in conceiving and childbearing

Tyi Wara (or Chi Wara) Dancers with Headdresses

1800

That photo is from the late nineteenth or early twentieth century, consist of male and female antelope masks, with the female bearing a baby antelope on her back. While the ground is being prepared for planting, young male dancers with masks and costumes
perform the leaping movement of the antelope dance, a ritual that causes the return of the mythical antelope who fi rst gave humans the knowledge of agriculture.

Grande Odalisque

1814

by Jean-Auguste-Dominique Ingres, The nude Turkish harem woman was intended to be an erotic image for European men--—who gazes upon her and “consumes” without being seen or consumed himself. In the 19th century because only the female is present in a sexual scene is significant.

The Executions of May 3

1814

By artist Francisco Goya, made from actual event that was a pivotal protest against Napoleon’s occupational army in 1808 Madrid. Soldiers captured many rioters and executed them, the picture shows their horror when they face the firing line.

Théodore Géricault. The Raft of the Medusa. Oil on canvas, Louvre, Paris.

1819

Paul Cezanne broke conventions in the ways that space and form are depicted. this painting to be a work of art when it was first made, because it did not conform to the concept of fine art at that time.

Figure of a Deity: A’a Rurutu

1820

A figure of a male deity carved in the contained style depicting the abundance of his progeny as seen clinging to his entire body.

John Constable. The Haywain, England, 1821. Oil on canvas, 4' 3" ! 6' 2". The National Gallery, London.

1821

The composition seems casual, direct, natural, and unstudied, but Constable carefully observed everything, especially the clouds. Tranquility pervades all, as a warm mellow light washes over the land, and brilliant clouds play against the blue sky.

Liberty Leading the People

1830

By Eugène Delacroix painted in 1830, Liberty has been personified as a partially nude woman but reminiscent of a Greek goddess in her profile and her idealized body.

The Legislative Belly

1834

Honoré Daumier was known for his pointedly satirical caricatures. members of the French legis- lature are mean-spirited, sleeping, or arrogant. The curv- ing walls echo their fat bellies.

John James Audubon. Carolina Paroquet, USA, 1827– 1838. Watercolor, 29 1/2" ! 21 1/4". Original for Plate #26 of Birds of America. North Carolina Museum of Art.

1838

Audubon eliminated the background to emphasize the birds’ defi ning silhouettes. The birds are arranged in two arcs, one that echoes and one that opposes the direction of the main branch. The entire work is a decorative pattern that is enhanced by the bright colors.

Shoki the Demon Queller

1849

In 1849-1953, It was showed that the human's upper body leans to the left, which shows the movement,

Ophelia

1852

By John Everett Millais in 1852, depicts a romantic image of death in repose within a picturesque scene, permeated with tragedy and poetic feeling.

Frederick Douglass

1855

This is an example of a daguerreotype, the first commercially avail- able photographic process. An early form of photography,
indicated by the elaborate frame. The glass was necessary to protect the fragile surface.

Potawatomi Male Figure

1860

The sculpture functioned as a “love doll” and was used as a charm to cast a spell on someone whose attentions were desired. It is carved in wood and partly adorned in wool fabric. lacking arms, were used as “medicine” to control human behaviors and health.

Mesquakie Bear Claw Necklace, Tama, Iowa, USA, c. 1860. Otter pelt, grizzly claws, glass beads, silk ribbon, 16 1/4" long, 14 1/4" wide, 3" high. Photo archive of the National Museum of the American Indian.

1860

The Mesquakie Bear Claw Necklace represented the strength and tenacity of the bear, which added to the dignity of the owner. The unassembled materials—claws, colored glass beads, otter pelts, and silk ribbons—would be given to those who owned the rights to create the neckpiece. The striking repetition of delicate curves suggests the lethal potential of each claw. The decorated otter pelt is attached to the necklace to become an elegant train.

Charles Barry and A. W. N. Pugin. Houses of Parliament, London, 1840–1860. 940' long.

1860

A new design was sought that would reinforce England’s desires to create a “national identity” and express patriotic spirit. Architect Charles Barry designed the general plan in the Gothic Revival style, while A. W. N. Pugin was responsible for suitable ornamentation. They felt that the style of the soaring medieval cathedrals appropriately represented a Christian nation. New building materials, such as cast iron, enabled the Gothic Revival style to fl ourish on a grand scale

Olympia

1863

By Edward Manet, Victorine Meurant (Olympia), was a famous Paris courtesan. In nineteenth-century Europe, the concepts of prostitute, courtesan, and goddess were combined. Mythological paintings of goddesses were an acceptably distant way to present the nude woman for the pleasure of the male viewer. Wealthy men euphemized their “companions” as embodiments of beauty, like goddesses.The wealthy were horrified that their sex- ual dalliances could be seen in that light.

Tipi coverr, North American Sioux, c. 1880. Decorated with images of tipis and equestrian warrior fi gures.

1880

Originally a small tent used during hunting season. When later used as year-round housing, tipis were built as large as twentyfi ve feet high and were moved by horses. Animal skins, buff alo hide, or canvas covered the framework of slender poles. Adjustable fl aps kept out wind or rain and ventilated smoke.

Red Horse. Battle of Little Big Horn, USA, 1880. Sioux. National Anthropological Archives, Smithsonian Institution, Washington, D.C.

1880

The Sioux had been given land in a treaty with the U.S. government, but gold prospectors, settlers, and the railroads wanted it revoked. The fl amboyant Lt. Col. George Custer attacked the Sioux and their leader, Sitting Bull, thinking this would help Custer to be elected U.S. president.

At the Milliner’s

1882

By Edgar Degas, Pastels are sticks of almost pure pigment, colored materials held together by wax or glue and shaped into sticks, pastel drawings have an intensity that surpasses most other media. can be used both pre- cisely and expressively.

Te Mana O Turanga

1883

in New Zealand, Is the Entrance doorway of a Maori meeting house, carved by Raharuhi Rukupo. A carved work starts from a large block of material, cuts away what is extraneous to reveal the artwork. Artists find wood is a versatile medium for carving, allowing them to achieve deeply rounded forms and exact surface detail.

Paul Gauguin. Woman in a coffeehouse

1888

Note the similarities and differences between Gauguin’s and Vincent van Gogh’s paintings of Madame Ginoux. applied paint in a direct, bold manner. They often chose subject matter from everyday life.

Vincent van Gogh. Portrait of Mme.

1889

Vincent Van Gogh is well known for his unique painting style. Galleria Nazionale d’Arte Moderna, Rome.
even his work reflects cultural and artistic influences.

Vincent van Gogh. Portrait of Dr. Gachet, Netherlands, 1890. Oil on canvas, 26 1/4" ! 22".

1890

Vincent van Gogh painted a free-thinking, eccentric, homeopathic doctor with the foxglove fl ower to symbolize his profession. With a melancholy face and pose, Gachet leans on
43780two nineteenth-century novels about tragic and degenerate life in Paris.

Edvard Munch. The Scream, Norway, 1893. Oil painting, 35 3/4" ! 29". National Gallery, Oslo, Norway

1893

At this time, Sigmund Freud had propagated his theories of repression and neurosis as both social and personal ills, which infl uenced Munch and other artists. The central character glances back at distant fi gures, but it is unclear whether they are part of the scene or disinterested bystanders. Whatever the situation, the foreground fi gure is overcome by fear that has twisted the body and reduced the face to a near skull.

Mary Cassatt. Mother and Child

1897

This artwork is representational in style. It mimics the appearance of things in the natural world

Power Figure (Nkisi n’kondi), Kongo, Zaire, 1998. Wood, nails, blades, medicinal material with cowrie shell, 46 1/4" high. Detroit Museum of Art.

1900

This example is dated c. 1875–1900. Sculptors carve the power fi gure with an open mouth, indicating that the sculpture will “speak out” on behalf of anyone who is beset by evil. Shamans activate them, fi rst by ritually placing medicines in cavities in the fi gure’s abdomen or in the back or head. Then they release the fi gure’s power by driving in one metal nail or blade for each request for help.

The Ceremonial Mask (Mboom)

1900

has own obvious and hidden content, used in African masquerades, traditional celebrations, reenactment of creation events, spirit works, and ancestor stories.

Royal Linguist's Staff from Ghana

1900

In 1900s, The length of the Royal Linguist's Dtaff from Ghana shouws obvious linear quality, which include flowing, meandering, calligraphic and jagged.

God Te Rongo and His Three Sons

1900

it is from Rarotonga, part of the Cook Islands in Polynesia. a figurine of a male god depicts both his virility and divine lineage. It is cleanly carved in the frontal contained style. this picture endowed with a large penis in comparison to the rest of the figure, visually giving emphasis to the virility of Te Rongo

Palm Wine Calabash

1900

Palm Wine Calabash, Bamileke people, Cameroon, Africa. Late 19th century. Beads on a cloth foundation, gourd, cowrie shells, 23 1/2" h. Collection of The Newark Museum, Newark, New Jersey, U.S.A.
The shape of an ordinary gourd is evident beneath the beaded cloth, but the high quality of handwork and the decorative motifs mark this as an object for a ruler’s use.

Te Papaiouru Marae, Maori Meeting House, Ohinemutu Maori Village, Rotorua, North Island, New Zealand, late 19th century.

1900

It represented the body of a powerful ancestor, and, once inside, the living became one with their ancestor. The porch is considered to be the ancestor’s brain, the bargeboards are the ancestor’s arms and hands, and the roof’s ridgepole represents the ancestor’s backbone, terminating at the front with a face mask. Inside, the rafters and wall slabs represent the ancestor’s ribs and are covered with carved and painted vines that symbolize the clan’s generations.

Mathew B. Brady (or staff). Dead Confederate Soldier with Gun, USA, 1865. Civil War photograph.

1900

We begin our focus here. The fi rst to photograph war, Brady made 3,500 photographs covering both sides of the U.S. Civil War. Brady often arranged props, such as the rifl es, to enhance both the composition and the sense of tragedy. Rough textures fi ll the image, except for the smooth planes of the soldier’s face and rifl e stock. The fallen tree forms a horizontal barrier separating the dead soldier from the living.

Tomika Te Mutu of Coromandel, New Zealand, 19th century. Maori chief.

1900

The tattoos also identifi ed the individual. Among the Maori, facial tattoos were often considered more memorable than the person’s natural features, which is true of Tomika Te Mutu. The chiseled whorls emphasize his scowl, piercing vision, hot breath, and fi erce mouth. Traditional Maori tattooing is done with chisels, which gouge deep grooves in the skin. Curves and spirals are similar to the patterns in Maori woodcarving.

Claude Monet. Water Lily Pool, France, 1900. Oil on canvas, 35" ! 39 3/4". The Art Institute of Chicago

1900

In Monet’s later career, his paintings approached abstraction, as brushstrokes became more important than imagery. The Impressionists’ emphasis on observation paralleled the ideas of scientists and philosophers of the day, who posited that reality was only that which could be sensed, measured, and analyzed.

Double mask, Ejagham People, Cross River, Cameroon, 19th–early 20th century CE. Wood, hide, pigment, rope, beads; height: 13.75". Ethnologisches Museum, Staatliche Museen, Berlin.

1900

The Double Mask from the Ejagham people of the Cross River area of Cameroon, is an example of masks that in many African cultures are intended to be psychologically potent, either by giving the wearer extra power, or by intimidating the audience witnessing a performance with the mask. This Double Mask, which is just one example of the great variety of African masks, was carved and then covered with fresh antelope hide, which when dried gives the mask a startlingly life-like fi nish.

Two Marquesans

1902

By Paul Gauguin, relevant to Monotype---process makes only one impression of an image, (Some artists produce a second ghost image from an inked monotype plate, but usually the ghost image needs to be finished in some other medium.)

The Outbreak

1903

By Käthe Kollwitz, in Germany. This work depicts an uprising Peasant War in the 16 century which mainly shows the destructive energy of war, propelled by their wretched living condition.

Paul Cezanne. Landscape at Aix, Mount Sainte-Victoire

1905

Different style in different period, keep changing. When Cezanne made this painting, he broke with the traditional ways of depicting space and form. 1905, is a fractured, disjointed representation of a scene. By the mid-twentieth-century, avant- garde art had broken away from representation at all. The critic Clement Greenberg defined avant-garde art as “art for art’s sake” and “pure poetry.”

Grand Mosque at Djenne

1906

Grand Mosque at Djenne, in Mali, Africa. All mosques have certain necessary features, but here they are translated into architectural styles favored by North Africans and using materials readily available to them.

Demoiselles d' Avignon

1907

Pablo Picasso---female nudity, painting with multiple figures, radical changes in progress: images of intertwined figures and spaces: art movement known as Cubism.

Las bravisimas calaveras guatemaltecas de Mora y de Morales

1907

by José Guadalupe Categories of Visual Arts 13 Posada
popular culture as part of a continuum, It reflects the values and structures of our social systems, political hierarchies, and religious beliefs. The boundary between fine art and popular culture are often blurred. This poster, which was inexpensive and widely distributed at the time it was made, is now collected in libraries and museums.

Egon Schiele

1910

by Tote Mutter (call dead mother)

Leo, 48 Inches High, 8 Years Old

1910

exposing child labor in mines and textile mills, picks Up Bobbins at 15¢ a day. It shows children were working at the most tedious, dangerous, lowest-paying jobs.

Basket

1910

This sculpture intricate weaving, precious feathers, and beads mark this vessel, which was made by mothers and given to their daughters Mothers in California tribes made these special ceremonial gifts to mark signifi cant moments in their daughters’ lives, such as birth or puberty. Women treasured the baskets and were cremated with them at death. Though extremely delicate-looking, baskets such as this were used in everyday life and developed stains on the inside.

Wassily Kandinsky. Jüngster Tag

1912

The Veranda Post, This painting is expressionistic in style, with its bold colors and the immediacy with which it was painted. In idealized art, natural imagery is modified in a way that strives for perfection within the bounds of the values and aesthetics of a particular culture.

Ronald W. Davis. Cube and Four panels

1912

Ronald W. Davis. Cube and Four panels. In 1975. Acrylic on canvas, support： Albright-Knox Art Gallery, Buffalo, New York.
Two-point perspective creates the illusion of an enormous, cavern-like interior space.

Marcel Duchamp. Nude Descending a Staircase

1912

In 1912, Marcel Duchamp created a painting shows nudes on the stairs, which implied by the repeating shapes in a dowload direction.

The Passion of Sacco and Vanzetti

1913

By Ben Shahn, shows two Italian immigrants who were active in labor organizations but finally be executed because of unjust conviction for robbery and murder.

Umberto Boccioni. Unique Forms of Continuity in Space, Italy, 1913. Bronze (cast 1931), approx. 43" high. The Museum of Modern Art, New York; acquired through the Lillie P. Bliss Bequest.

1913

To him, the body is a mass of wave energy defi ned by its movement through a fl uid atmospheric medium. Signifi cantly, the body is considered less as a human and more as a form that is continuous with others in space. Muscle and bulk are implied, but the sculpture resembles a map of aerodynamic turbulence and the distorting eff ects of air currents on forms.

Olowe of Ise. Palace Sculpture, Ikere, Nigeria, 1910–1914. Yoruba. Wood and pigment, 60" × 13 1/4".

1914

His conical crown is topped by a bird, a symbol for the reproductive power of mothers, female ancestors, and deities. The interlocking forms of king and queen visually convey monumentality and elegance. Details, such as the pattern of body scarifi cation, add authenticity to the sculpture.

Over Vitebsk

1915

By Marc Chagall, re-creates and memorializes the experiences of Jewish people, Jewish village life in Russia in 19th century, re-created Jewish village life at the turn of the twentieth century, which was in fact disintegrating as a result of political, religious, and economic pressures.

Fit for Active Service

1918

By George Grosz, a pen-and-ink drawing, self-absorbed and bloated doctors who sent elderly, sick, or young men to the front lines to fight for Germany near the end of the World War I

Cut with the Kitchen Knife Dada through the Lost Weimar Beer Belly Cultural Epoch of Germany

1919

By Hannah Hoch, a Berlin Dadaist artist,example of photomontage, a collage or combination of many photographs to create a new image. A collage of photographic images can have an absurd quality, because of disjunctions in the imagery and in the space.

Fernand Léger. The City, France, 1919. Oil on canvas, 91" ! 117 1/2". Philadelphia Museum of Art.

1919

This painting suggests the newness and excitement of geometric industrial structures and the precision and effi ciency of machines, all of which struck Léger as forms of beauty. The city of Léger’s painting is rendered in abstract forms but speaks of its concrete, steel, electrical power, and transportation systems.

Marcel Duchamp

1920

Joseph Stella’s 1920 portrait of Marcel Duchamp---silverpoint holds a point longer, silverpoint drawings are distinguished by very delicate lines made with precision and control.

Shimomura Kanzan. Study for the Portrait of Okakura Tenshin, Japan, 1922. Pigment on paper, 53 1/2" × 26". Art Museum, Tokyo National University of Fine Arts and Music.

1922

the portrait mirrors the social, political, and aesthetic controversies in Japan during his time. Okakura was a writer, aesthete, educator, and art curator who lived when rulers of Japan were ending three hundred years of isolation and embarking on a period of rapid Westernization. Easterninfl uenced music, and medicine were suppressed and Western modes were introduced. The one exception was the visual arts, in which traditional and Western styles—and mixtures of the two—flourished.

Sergei M. Eisenstein. The Battleship Potemkin, Russia, 1925. Film stills.

1925

A great admirer of U.S. fi lmmaker D. W. Griffi th, Eisenstein used many cinematic devices: full views; extreme close-ups; panned shots; iris (blurred edges); traveling (moving from front to back or back to front); fl ashbacks; and crosscutting (two events interwoven for dramatic eff ect).

Artichoke, Halved

1930

The emphasis in this photograph is more on structure and form than on refl ections of morality or philosophy. Weston’s photograph reveals the complex design and grace of natural forms, but it also shows off the technical achievement of photography, with the capacity to zoom in close and instantly capture minutely detailed images.

Salvador Dalí. The Persistence of Memory, Spain, 1931. Oil on canvas, 9 1/2" ! 13". Museum of Modern Art, New York.

1931

However, here the watches are limp and useless. The landscape stretches out, vast and empty. The sky glows in splendid blues and golds, while the still water refl ects the sun-bathed cliff s like a fl awless mirror. Nothing makes sense, but Dalí has painted everything with rigorous detail and convincing realism so that book-learned knowledge fades in importance, and we enter the eerie scene with a kind of intuited knowing. Swarming ants and a fl y allude to the horror dimension in dreams.

Goering the Executioner

1933

By John Heartfield, he dedicated his work to condemn the horrors of Nazi Germany. It is a photomontage depicts the Nazi Field Marshal as a butcher to forewarn the public of the party’s bloodshed that was to come in Germany during World War II.

José Clemente Orozco. Gods of the Modern World, Mexico, 1932–1934. Fresco, 126" ! 176". Twelfth panel in a cycle of murals entitled An Epic of American Civilization. Baker Memorial Library, Dartmouth College, Hanover, New Hampshire.

1934

This painting is a warning against the academic who is completely occupied with sterile research or learning that has no value outside of academia. The black-clad university scholars line up like midwives to watch a skeleton give birth to miniature scholar-skeletons and stacks of obscure books. Orozco believed that sterile education passes for knowledge, but it actually keeps the young busy without giving them any real wisdom or understanding.

Meret Oppenheim. Object (Le Dejeuner en fourrure)

1936

Surreal refers to art with a bizarre or fantastic arrangement of images or materials, as if tapping into the workings of the unconscious mind. The surreal style in art often features bizarre or fantastic combinations of elements.

Object

1936

By Meret Oppenheim, The "surrea"l style in art often features bizarre or fantastic combinations of elements.

The Weeping Woman

1937

By Pablo Picasso, etching---a metal plate is coated with a sticky pro- tective ground, Gray tones are produced by aquatint. Etching produces a variety of line qualities, while drypoint gives the finest lines.

Echo of a Scream (Mexico)

1937

By David Alfaro Siqueiros, in response to the horror of the Spanish Civil War. The child’s head repeated—a massive cry that sym- bolizes the combined pain of all the victims we do not see and human suffering through the screaming pained child sitting amid the debris of modern warfare.

Pablo Picasso. Guernica, Spain, 1937. Oil on canvas, 11' × 28' 8". Prado Museum, Madrid. Institut Amatller d’Art Hispanic

1937

German Nazi planes bombarded the city, which burned for three days and left more than 1,000 people dead. In Paris, shocked and outraged, Picasso immediately set down sketches for the painting, blending the nightmarish aspects of Surrealism with his own style of Cubism. The bull represents Fascist Spain, doomed to be tortured and suff er a slow, inevitable death.

The Unicorn in Captivity, South Netherlandish, 1495–1505. Wool warp, wool, silk, silver, and gilt wefts, 12' 1" × 8' 3". Gift of John D. Rockefeller Jr., 1937. The Metropolitan Museum of Art, New York, Cloister Collection.

1937

The unicorn is a horse with some goat features and a long, single horn projecting from its forehead. Ancient Greeks and Romans fi rst described it, but it was very popular in late medieval literature. “Unicorn” horns were expensive, prized possessions (they were actually the spiral tusk of a narwhal, an arctic whale) that could purify water and remove poison.

Veranda Post

1938

visual form help fulfill its function and enhance its visual appeal, minimize horizontal and vertically emphasize the authority of the king on top.

Frida Kahlo. Self-Portrait with Monkey, Mexico, 1938. Oil on masonite, 16" ! 12". Albright-Knox Art Gallery, Buff alo, NY.

1938

In this image, Lush foliage from the Mexican landscape surrounds her head. For Kahlo, the monkey was her animal alter ego. In other self-portraits, Kahlo uses such symbols as hummingbirds, which stood for the souls of dead Mayan warriors, and blood, which alludes to the crippling injuries she suff ered in a bus accident, to Mayan bloodletting ceremonies, and to the Christian crown of thorns.

Roberto Matta-Echaurren. Listen to Living, 1941. Oil on canvas, 29 1/2" ! 37 7/8". Inter-American Fund.

1941

Matta’s paintings are called “inscapes,” as he sought to create in pictorial space an image of the workings of the human mind. His work is marked by vivid colors, luminous patterns, and bold lines, all against a vague, unspecifi c background. Although he does not depict realistic scenes, Matta’s work is often preoccupied with primordial creation and cycles of destruction. During and after World War II, his surrealistic abstractions also refl ected the horrors of war.

Jimmie Kewanwytewa. Ahola Kachina, Hopi, Third Mesa, Oraibi, 1942. Cottonwood, paint, feathers, wool, 13" high. Museum of Northern Arizona.

1942

It is identifi able by the dome-shaped mask, yellow on one side and gray on the other, covered with small crosses. Other identifying attributes of the costume include the large, inverted black triangle on the face and the feathers from an eagle’s tail that project from the head.

Ansel Adams. Clearing Winter Storm, Yosemite National Park, California, 1944, USA.

1944

In our example, the mist- and cloud-covered mountains are the focal point, while the texture of clouds and trees balance each other. The center seems to recede into infi nite space.

Jackson Pollock. Lucifer, USA, 1947. Oil, aluminum paint, and enamel on canvas, approx. 3' 5" ! 8' 9". Collection of Harry Ward and Mary Margaret Anderson.

1947

The “action” came from the movement of the artist. The canvas was laid down on the ground, and Pollock poured, dripped, and fl ung paint upon it as he stood at the edges or walked across the surface. He lunged and swirled about in furious outbursts, which were followed by periods of refl ection. His body movements were fi xed and recorded in the paint surface, which is a rhythmic mesh of drips, congealed blobs, and looping swirls.

Tree of Life

1950

by Henri Matisse, combined with a spare and light-colored interior. religious spaces are often carefully use installation designed to transform the entire interior and, in this case, to provide a spiritual experience.

Flag

1954

Jasper Johns’s Flag is translucent encaustic---most ancient forms of painting media, pigments are mixed into hot beeswax, the paints can be blended until they cool, over a layer of newspaper scraps and photographs, allowing the viewer to see the imagery embedded in the flag.

Felix W. Weldon. USA Marine Corps War Memorial, Arlington, Virginia, USA, 1954. Cast bronze, over life-size.

1954

This sculpture is a copy of an Associated Press photograph that captured the recreation of the fl ag raising after the Marines’ charged up Iwo Jima’s Mt. Suribachi. Weldon’s bronze sculpture is larger than life-size, grand, and dramatic. The soldiers form a triangle to indicate strength and solidity, while the numerous diagonals suggest tumbling haste. The past blends with the present, as every day, a real fl ag is raised and lowered on the memorial.

Mark Rothko. Green, Red, Blue, USA, 1955. Oil on canvas, 81 1/2" ! 77 3/4". Milwaukee Art Museum.

1955

Rothko fi rst applied thin “veils” of paint that soaked into and stained the canvas. He then applied many layers on top to create shapes that seem present and yet hard to defi ne, hovering in a space that is real and yet not wholly knowable.

Richard Hamilton. Just What Is It That Makes Today’s Homes So Diff erent, So Appealing? England, 1956. Collage, 10 1/4" ! 9 3/4". Kunsthalle Tubingen, Germany.

1956

In an era of consumerism, people often gauge their worth by the purchases they can make, not by character, deeds, fate, or karma. Body shape becomes something that can be bought, too. In this Pop Art collage, we see the aestheticized body ideals of the late twentieth century: the buff , muscular man of amazing sexual prowess (the Tootsie pop) and a super-thin, sexy woman with a fashion-model pout on her face.

Suzy’s Sun

1957

by Joseph Cornell, This artist is well-known for his artworks that were assembled from cast-off materials. The worn quality of the elements adds to the overall feeling of things lost or remembered. the sun cut out from an antipasto tin which implies passing time and life cycles. The box is dedicated to a young actress who was killed in a car crash after filming Jailhouse Rock with Elvis Presley.

Maya Ying Lin. Vietnam Veterans Memorial, Washington, D.C., USA, 1982. Black granite, 492' long; height of wall at center, 10' 1".

1959

The Vietnam Veterans Memorial, 1982, by Maya Lin is located on the Mall in Washington, D.C. The names of nearly 58,000 men and women who died in the Vietnam War, from 1959 until 1975, are carved in chronological order on its black granite face. Its polished surface refl ects the faces of the living and superimposes them on the names of the dead, which forces a personal connection between the two.

Retablo of Maria de la Luz Casillas and Children, Central Mexico, 1961. Oil on metal, 7" × 10".

1961

The Virgin of San Juan de los Lagos is a small statue of Mary, the Mother of Jesus, in a shrine in the central Mexican state of Jalisco. Multiple scenes are common on retablos, and, in this example, we see Maria twice, both as a helpless and vulnerable patient on the operating table in a foreign land and as the supplicant with her children imploring the help of the Virgin.

Campbell's Soup Cans

1962

Pie Counter

1963

It deals with food as a visual display and as a popular icon, rather than as nutrition for the body. Pie Counter It deals with food as a visual display and as a popular icon, rather than as nutrition for the body. Pie Counter. Thiebaud also alludes to the fact that for many, the abundance of fattening food has become something to resist rather than something to eat, while mass-media advertising pushes it.

Heinz 57 Tomato Ketchup and Del Monte Freestone Peach Halves

1964

This work blurs the distinction between art and commercial packaging, and celebrates the simple colors, bold graphics, and clean layout of advertisements. The ivory has been worked very skillfully, with intricate patterning relieved by smooth areas, and with solid shapes punctuated by empty spaces.

Bridget Riley. Current, Great Britain, 1964. Synthetic polymer paint on composition board, approx. 58 1/2" ! 58 1/2". The Museum of Modern Art, New York.

1964

The work seems to pulsate and fl icker, similar to experiments by psychologists who test the limits of visual perception to better understand how our vision works. The painting is also related to mathematics, as each line is a sinusoidal curve, in which the interval between each dip increases as your eyes move away from the central horizontal axis.

David Smith. Cubi XXVI, USA, 1965. Steel, approx. 10' ! 12' 6" ! 2' 3". Alisa Mellon Bruce Fund.

1965

David Smith’s Cubi XXVI, 1965 is abstract art imitating some qualities of machines. Smith used industrial fabrication to create this stainless steel sculpture and others in this series. He learned this technology as a factory worker.

Jacqueline Kennedy or Marilyn Monroe

1967

Andy Warhol popularized screen printing images with his multiple versions of celebrities, silkscreen is possible to get broad areas of intense color.

A Bigger Splash

1967

by David Hockney, Acrylic paint can produce large areas of flat color, applied primarily alla prima, similar to the effect of latex wall paint.

Moshe Safdie. Habitat. Designed for Expo ‘67 in Montreal, Canada.

1967

Safdie created low-cost housing that minimized land use and provided privacy and individualized living within a group setting. The prefabricated units are building blocks that can be stacked and arranged in many unique confi gurations, providing garden spaces on roofs. The structure was meant to be (1) energy effi cient, due to compact design; (2) constructed of available natural resources; and (3) comfortable for many people living in a relatively small space.

Frank Stella’s Abra III

1968

Nonobjective (nonrepresentational) art contains imagery that is completely generated by the artist. Nonobjective art contains invented imagery that does not imitate the appearance of things in the natural world.

Edward Hicks. The Peaceable Kingdom, USA, 1830–1840. Oil on canvas. 17 7/16" × 23 9/16". Brooklyn Museum of Art.

1968

Hicks was also inspired by the Quaker William Penn and his treaty with the Indians, which is visible in the background as a copied detail from a famous painting by U.S. artist Benjamin West. This moment came to signify a utopian new world. Hicks’s visual metaphors have become standard language for expressing the concept of peace. A luminous sky glows in the background, while lush vegetation frames the foreground fi gures.

Louise Nevelson's Mirror Image I

1969

In 1969, Louise Nevelson's Mirror Image I with carved wooden forms inside of the stacked boxes.Everying is painted black, but the light boucing off of various surfaces appears as gray or as black.

Louise Nevelson Mirror Image I

1969

Louise Nevelson Mirror Image I,1969, shows a completely black sculpture, but we can see the range of dark gray values, caused by light hitting and reflecting off the raised areas.

Crinkly

1970

by Alexander Calder, In kinetic works, actual movement is part of the piece. made of metal, wire, and paint and is suspended so it moves randomly in the natural airflow.

Robert Smithson. Spiral Jetty, USA, 1970. Earthwork; black rocks, salt crystals, earth, red water (algae), 1,500' long ! 15' wide ! 3 1/2' high. Great Salt Lake, Utah.

1970

This sculpture was made of rocks, dirt, salt, and water, extending into the fl at, still surface of the Great Salt Lake. Smithson thought the spiral suggested an incredible potential force, like a dormant earthquake or a raging cyclone immobilized. Located in a remote site, Spiral Jetty was seen by few people and now is often invisible because of the rising lake level

Christo and Jeanne- Claude

1972

Running Fence, Sonoma and Marin Counties, California. The fabric visually emphasized the undulating contours of the land, especially when the sun was low and the land was dark, but the cloth reflected the warm-colored rays. this means various materials at a specific site to enhance its natural beauty.

The Liberation of Aunt Jemima

1972

By Betye Saar, she uses three versions of Aunt Jemima to question and turn around such images.This work protests the ways that African Americans were often depicted in folk art and in commercial imagery.

Las Tres Marias

1976

by Judith Baca, Pencil and colored pencil are capable of producing near- photographic detail

Dogon Primordial Couple

1977

By Mali, Africa, c.19th–20th century. The union also appears to represent their fertility as well as their roles in life. The male unites the figures with his arm embracing the female at her neck and his hand resting on the upper part of her breast. His other hand is resting on his penis, symbolizing their sexual union. Dogon’s first male and female are depicted in their defining roles in life, their fertility is gestured with his left hand on her breast and his other on his penis.

Ana Mendieta. Arbol de la Vida, No. 294, Cuba/USA, 1977. From the series Arbol de la Vida/Silueta (Tree of Life/Silhouette).

1977

She posed against a tree in a manner reminiscent of ancient fertility goddesses, leaving traces of mud on the bark. The site of her performance was very dramatic, with a massive tree growing at the edge of a deeply cut creek bed. In other works in the Silueta series, Mendieta sculpted the mud or used stones or fl owers to trace the outline of her body on the earth.

Walter De Maria. The Lightning Field, USA, 1971–1977. Four hundred stainless steel poles, average height: 20' 7"; land area: 1 mile ! 1 kilometer in New Mexico.

1977

The work consists of a large, fl at plain surrounded by mountains in New Mexico, and four hundred stainless steel poles arranged in a rectangular grid measuring one kilometer by one mile.

Self-Portrait with Model

1979

This realistically detailed sculpture often fools viewers into thinking they see actual people eating in a dinerlike setting.This imagepresents the meal as a site for companionship. Yet there is more here. His life-size sculptures seem real at fi rst. Hanson glorifi es his subjects, but without idealizing them. The woman is very ordinary, and the artist is not an exalted genius but rather part of the sculpture, “breaking bread” with the model.

Witchetty Grub Dreaming

1980

Witchetty Grub Dreaming, by Paddy Carroll Tjungurrayi is a kind of contour map with symbols, indicating the location of precious food and water in arid central Australia. The work is strongly patterned, with alternating lights and darks and curving and straight lines, all radiating from a circle in the center point showing the source of the ancestor grub.

Cindy Sherman. Untitled Film Still #35, USA, 1979. Gelatin silver print, 8 ! 10. Collection of Eli and Edythe Broad, Los Angeles.

1980

They were all black and white, eight by ten inches, the exact format of B-movie stills. She wears a wide range of costumes and poses in all kinds of settings, with a vast array of props, as if unaware of the camera. Sherman often reveals the mechanics of her self-portraiture; in this picture, the shutter release cable that Sherman operates is visible on the fl oor at the left.

Golf Bag

1981

by Marilyn Levine, made of rolled and modeled clay slabs. The ceramic sculpture is an example of trompe l’oeil (“fool the eye”) artwork, clay is capable of extremely fine detail, because it looks like an actual leather bag. A high degree of control over the surface and the details are possible with ceramic sculptures.

Sun Mad (1981)

1981

By Ester Hernandez,the raisin growers heavily used insecticides that contaminated the groundwater used for drinking and bathing. It shows the dangerous chemical pesticides used in vineyards to grow grapes leach into the public drinking water.

Bruce Nauman's neon sculpture

1983

In 1983, Bruce Nauman's neon sculpture, Human/Need/Desire, totally illuminated,alternates betwwen"desire" and "need" to suggest the fluctuating motivations for human behavior.

Mierle Laderman Ukeles. The Social Mirror, USA, 1983. A 20-cubic-yard New York City garbage collection truck fi tted with hand-tempered glass mirror with additional strips of mirrored acrylic. The New York City Department of Sanitation.

1983

Ukeles had a clean New York City garbage truck fi tted with gleaming mirrors, which transform it into a piece of sculpture. The Social Mirror also has a performance element, as in this photograph taken when the truck was part of a parade. The mirrors refl ect the faces of the public, making them aware that they make trash and are responsible for its impact.

The Binocular Entrance to the Chiat BUilding

1985

Claes Oldenburg,Coosje Van Bruggen, And Frank O. Gehry did the Binocular Entrance to the Chiat Building in 1985-1991 in Venice, California. The binoculars are on a larger scale than everything else around them.

Off ering with Cili-Shaped Crown, Bali, c. 1985. Flowers, fruit, and palm leaves, approximately 24" tall.

1985

This intricate sculpture of fruit and fl owers is cut and woven with palm leaves. An ancient symbol of wealth, fertility, and luck, the cili is a simplifi ed woman’s head with a large, fanlike headdress radiating from it. In temple rituals, the gods accept the essence of the off ering; afterward, any foodstuff that has not touched the ground is eaten in the temple or by the family making the off ering.

Chuck Close. Fanny (Fingerpainting), USA, 1985. Oil on canvas, 120" ! 84". National Gallery of Art, Washington, D.C., donation of Lila Acheson Wallace.

1985

The scale is enormous. Her head is more than nine feet high. Her face fi lls the foreground space of the painting, pushing toward us her lizard-like eyelids, her watery eyes and cracked lips, and the sagging skin of her neck. With this painting, we can stare curiously at a person’s face, an action considered impolite in U.S. culture.

There Is No Escape

1987

Sue Coe. There Is No Escape, Britain, 1987. Watercolor and graphite on paper, 22" × 30".
The stark black-and-white work is a critique of food industries in contemporary industrial societies. This is unmistakably a harsh indictment of the contemporary meat industry. It is part of a large series entitled “Porkopolis,” in which Coe shows living animals being transformed into packaged cuts of meat.

The Bitter Nest

1988

by Faith Ringgold, he used quilting to tell stories of her childhood I Halem. The Harlem Renaissance Party, he creates a gathering of some of the luminaries of African American culture in the 1920s and 1930s.

Your body is a battleground

1989

Sexuality is politicized, which encapsulates both the shifting attitudes and the heated conflicts that surround women, sexuality and reproduction

I. M. Pei and Partners. Bank of China, 1989. Hong Kong.

1989

The base is subdivided into four equal triangular sections, and more triangles are created by the diagonal braces that stabilize the skeletal frame, a necessary addition because of earthquakes and high winds. Pei emphasized rather than hid the braces.

Anselm Kiefer. Breaking of the Vessels, Germany, 1990. Lead, iron, glass, copper wire, charcoal, and aquatec, 17' high. St. Louis Art Museum.

1990

The piece consists of a three-tiered bookshelf fi lled with massive volumes whose pages are made of sheets of lead. The books sag perilously, some about to fall from the shelf. Glass shards from the books have fallen, and their shattering has covered the fl oor all around. Above, written on a half-circle of glass, are the Hebrew words Ain Soph, meaning “the Infi nite.” Dangling copper wires connect thick stumps projecting from the sides.

Male Torso (Ancestor fi gure), Africa, c. 19th–20th century. Wood, 20 1/2" high. Baule. The British Museum, London.

1990

Internal proportions, idealized character, harmony of parts, and restraint are important elements here as in Doryphoros, but the visual result is very diff erent. In most traditional African sculpture, the front view of the human fi gure was sculpted symmetrically; arms are in parallel positions, legs both on the ground, head facing forward.

Mask of the Swan and the White Whale, Inuit, early 20th century. Wood, 19.25 high. Musée du Quai Branly, Paris.

1990

In Inuit beliefs, the swan leads the white whale to the hunter. Traditionally, the Inuit culture has depended on whale hunting to provide many necessities, so during rituals the wearer of this mask would receive added powers in whale hunting. The mask is visually striking. It is asymmmetrical and eccentric, with a grinning half-face. Its shape suggests whale fi ns, and it is adorned with bird feathers.

Ngere Girl Prepared for a Festival, Africa, late 20th century. Body painting

1990

The patterns of color are similar to the way the face can be abstracted and broken down into parts in sculpture, while the parallel lines in the white paint echo both chisel marks and sculptural hair patterns. Body painting, like tattooing, makes the living body into a work of art, expands its power and its protection, announcing the status of the person in the community—in this case, an initiated girl.

Nara Convention Hall

1992

By the architect Arata Isozaki, is a computer- generated print, created with the assistance of a computer- aided design program, 3D solids, use the computer to create image of things that do not exits.

Gnaw

1992

Janine Antoni. Gnaw, 1992. Three-part installation. Chocolate: 600 lbs. of chocolate gnawed by the artist; lard: 600 lbs. of lard gnawed by the artist; display: 130 lipsticks made with pigment, beeswax, and chewed lard removed from the lard cube; 27 heart-shaped packaging trays made from the chewed chocolate removed from the chocolate cube, dimensions variable.
This work is about the act of eating as a sculptural process.

Bamboo and Rock vs Puffy girl/Screen memory

1992

By Mi Wanzhong, Ink is a versatile medium which can be applied to paper with a pen. For controlled lines or with a brush for gray washes or bold, dramatic lines. Pen and brush each leave distinctive marks, with a wide range of e ects resulting from diluting the ink. it was classified as a monochromatic painting.///
By Yoshimoto Nara, a Japanese, used Felt-tipped pen on postcard, use whatever is available among their ordinary pens and pencils.

Smith’s Genesis

1993

700-year-old, contains aspects of innovation and self-expression, at the same time as she is re-creating old forms. creativity can be a complex mix of old and new showing the importance of re-creating and preserving old forms. Culture valued the re-creation of old forms more than innovation

Hannah Wilke. Intra-Venus, USA, 1992–1993. Chromogenic supergloss photographic prints (13); each panel: 26" ! 39 1/2".

1993

Her glance implies the presence of a sexual partner, as she poses herself as the object of voyeurism. Her posture speaks of narcissistic pleasure. She is Venus, the goddess of love and beauty, even with the ravages of disease and surgery. Wilke reclaims sexuality for herself in sickness and, thus, challenges conventional ideas of attractiveness. In doing so, her last work continued her earlier art.

The Knot

1994

By Miguel Antonio Bonilla, The two ominous figures represent the country’s police and politicians that conspired in the 1980s to create an oppressive regime. political risk for its criticism of the political status quo, referred to the chauvinism in his culture to oppress others and also causes domestic violence.

Lucian Freud. Leigh under the Skylight, Britain, 1994. Oil on canvas, 90" ! 48". Acquavella Contemporary Art, New York.

1994

The fi gure of Leigh is massive, and from the low point of view assumed by the artist, he appears to be almost gigantic. Yet the fl esh is soft. The crossed legs, deeply lined face, and furrowed brow communicate a sense of tightness. The fi gure appears almost stuff ed up against the space of the skylight, wary and exposed. The paint is thick and buttery below the knees and the top of the belly, but congealed and clotted around the jaw, nipples, navel, and genitals.

Robert Gober. Untitled

1995

Pencil work, The pencil is probably the most familiar art medium, and also one of the most versatile.

The Smithsonian Institution’s 150th Anniversary Float in the RoseParade

1996

Artwork that is sentimental or calculated to please may be considered as kitsch. is meant to appeal to all and o end none. A subcategory of popular culture, called kitsch, is by comparison shallow or pretentious, or overly calculated to be popular. Objects or images are kitsch if they display an emotional appeal that is generalized, superficial, and sentimental.

Martin Puryear. That Profile

1997

In 1997-1999, Martin Puryear's profile, Stainless steel, bronze, encompasses a larger volume has little mass.

Mariko Mori. Star Doll, 1998 (edition for Parket 54, 1998–1999). Multiple of doll, 10 1/4" ! 3" ! 1 9/16" (irregular). Publisher: Parkett, Zurich and New York. Manufacturer: Marmit, Tokyo. Edition: 99.

1998

Its identity is a totally fabricated hybrid, her work raises the question, “What is ‘self’?” Mori’s work collapses distinctions among the categories of art, toy, fashion, kitsch, frivolity, and serious inquiry.

Chris Ofili. Monkey Magic—Sex, Money and Drugs, Great Britain/Nigeria, 1999. Acrylic, collage, glitter, resin, pencil, map pins, and elephant dung on canvas, 96" × 72". Museum of Contemporary Art, Los Angeles.

1999

The monkey is again a stand-in for human behavior, and here it holds an empty turquoise vessel and tries to capture three powerful elements of life: sex, money, and drugs, represented by three clumps of dried elephant dung attached to the canvas. The surface is colorful and shiny with thick beads of paint and layers of glitter, which emphasizes the imagined rather than the real. A British artist of Nigerian descent, Ofi li uses dried elephant dung to reference the African ritual use of it.

Bill Viola. Dolorosa (production stills from the video installation), USA, 2000. Courtesy of the Artist.

2000

At fi rst glance, the videos look like paintings, because the color is so saturated, the picture so sharp, and the movement so excruciatingly slow. Only after a few minutes of study do we see the subtle changes in their faces, expressing a deep, almost unbearable sorrow. Viola made this study of emotional states and more than twenty others in a series titled The Passions, based on Renaissance and Baroque paintings of fi gures in sorrow, ecstasy, or astonishment.

Tan Tan Bo

2001

2001, is by the contemporary Japanese artist Takashi Murakami, His work is a blend of U.S. and Japanese fine art, popular culture, and animé (contemporary Japanese animation), and always reflects a self-conscious consumerism. He want to occupy the space between high art and popular culture

Huang Yong Ping Bat Project I

2001

In 2001, Huang Yong Ping did the Bat Project I in Shenzhen. (Replica of an American spy plane from milldle of body to tail.

Easy to Remember

2001

As digital technology develop, An audio song by LornaSimpson, Artists use new technologies for pieces combining imagery and sound.

Stone God Forbidden City

2002

Using Charcoal on paper with gold leaf and color, the rich blacks created by charcoal creates visual drama---a carbon stick created from burnt wood.

Born

2002

Kiki Smith’s lithograph, Lithography is the printmaking process that produces results that most resemble drawings. his work often uses folk tales and mythologies as subject matter; life, death, and resurrection are fre- quent themes.

Seaform Pavilion

2002

by Dale Chihuly, fills the ceiling on the Bridge of Glass in the Museum of Glass in Washington. This work is installed in the ceiling of a bridge between two buildings and the installation is composed of hundreds of individual pieces of blown glass.

Hayao Miyazaki. Still from Spirited Away, Japan, 2002. Feature-length animated movie.

2002

The story concerns Chihiro, a ten-year-old girl separated from her parents in a fantastic and sometimes frightening land. In the process of reuniting with them, she grows up. Miyazaki created scenes with fantastic structures and broad vistas that are amazingly beautiful, are often vast and ornate, and draw from a variety of historical and global sources. Likewise, lush landscapes abound. Miyazaki is known for his elaborate hand-drawn architectural interiors and diverse characters.

Transient Rainbow

2003

By Cai Guo-Qiang, made with gunpowder, is related to the events he stages around the world, Gunpowder is one of the more unusual media used to make a drawing.

One Hundred Lavish Months of Bushwhack

2004

by Wangechi Mutu, watercolor synthetic polymer paint, Watercolor and gouache work well when combined with other media.

Tim Hawkinson. Bear

2005

This work is a cross between a toy and monumental art. There is an interesting association between the surfaces of a soft, fuzzy childhood companion and the rounded, weathered surfaces of ancient stones.

Black-Rainbow

2005

Chinese artist Cai Guo-Qiang's Black Rainbow: Explosion Project for Valencia, Spain, 2005) is one of a series that occurs in cities such as Edinburgh and Beijing.

The Matter of Time

2005

by Richard Serra, it is a steel site-specific sculpture---a work that has been designed and arranged for this space in such a way that the space becomes part of the experience of the artwork. The slightly tilting walls of the sculpture make the space seem to move.

Halibut Feast Dish

2005

Traditionally, carved animal forms were abstracted and rendered as geometric patterns, usually symmetrically around a vertical axis. Certain features, such as eyes, beaks were emphasized, and black outlines establish the skeletal framework for the entire design. Contemporary pieces like this are brightly colored, because the artists used commercially available paints instead of natural dyes and pigments

petit Homage – Stack VIII

2010

Use New 3D dimensional printer technology and were modeled using computer- aided design software. Mixed with Redwood cube with prototyped, infiltrated, gypsum modules materials,

Boy Controlling a Robot. 2010.

2010

This instance of interactive play shows a boy steering and manipulating a looming, almost frightening, robot twice his size. Robotic toys are increasingly popular in the toy market, including new robotic versions of the old, such as stuff ed pets, model cars, dolls and warriors, plus a huge assortment of characterlike robots that come in all sizes and shapes.

Ziggurat at Ur (partially reconstructed), Third Dynasty of Ur, Iraq, c. 2150–2050 BCE.

2050

The word ziggurat means “mountain” or “pinnacle.” Surrounded by fl at land, this terraced tower of rubble and brick seemed to reach into the heavens. The Ziggurat at Ur has three broad staircases each with one hundred steps, leading to a temple-shrine forty feet above the ground, dedicated to protective gods and goddesses and attended to by special orders of priests and priestesses.

Idol from Amorgos

2500

is thought to be a reclining figure. Slender and delicate, this abstract nude emphasize feminine youth. figures were found in burials so their purpose may have been to give new life to the dead, just as the young woman has the potential to give life.