PREHISTORIC
30,000-2500 B.C.E.
-Popular theme of fertility, food, basic human figures, and animals
-Prominent use of megaliths, lintels. etc
-Mostly cave paintings or portable figurines
-Popular material: stone
1. Apollo 11 stones. Namibia. c. 25,500 B.C.E. Charcoal on stone.
N: Apollo 11 Stones
D: 25,500 - 25,300 B.C.E P/S: Patheolic Era
A: Bushmen indigenous people
PA: Unknown
OL: Nile River
M: Stone, charcoal, and ocher T: Rock painting
F: Depict daily life
C: Homo sapiens at the time were able to create symbolic art and ha
2. Great Hall of the Bulls. Lascaux, France. Paleolithic Europe. 15,000-13,000 B.C.E. Rock painting.
Name: Great Hall of the Bulls
Date: 13000 B.C.E.
Artist: Uknown
Patron: Uknown
Original Location: Lascaux, France
Material: Chalk on Rock
P/S: Cave Drawing
Technique: Side Front view
Descriptive Terms: side front view, overcrossing drawings
Context: Most
3. Camelid sacrum in the shape of a canine. Tequixquiac, central Mexico. 14,000-7000 B.C.E. Bone. Pigment on rock.
N: Camelid Sacrum in the Shape of a Canine
D: 14,000-7,000 B.C.E P/S: Prehistoric
A: unknown
Pa: unknown
OL: Tequixquiac, central Mexico
M: Camelid bone Sacrum
T: no known technique, however it was carved
F: The function has been discussed over the years
4. Running horned women. Tassili n'Ajjer, Algeria. 6000-4000 B.C.E.
N: Running Horned Woman
D: 6000-4000 BCE
P/S: Prehistoric Cave Painting
A: unknown
Pa: n/a
OL: Tassili n' Ajjer, Algeria
M: pigment on rock
T: Cave painting
F: to describe a ceremonial tradition or to identify a religious significant figure
C: At this tim
5. Beaker with ibex motifs. Susa, Iran. 4200-3500 B.C.E. Painted terra cotta.
6. Anthropomorphic stele. Arabian Peninsula. Fourth millennium B.C.E. Sandstone.
7. Jade cong. Liangzhu, China. 3300-2200 B.C.E. Carved jade.
Name: Jade Cong
Date: 3300-2200 B.C.E.
Period/Style: Prehistoric
Artist: Unknown
Patron:
Original Location: Liangzhu, China
Material: Jade
Technique: It was crafted out of true jade, also known as nephrite, which is very hard to cut into due to its sturdi
8.Stonehenge. Wiltshire, UK. Neolithic Europe. c. 2500-1600 B.C.E. Sandstone.
N: Stonehenge
D: 3000 B.C.
P/S: Global prehistory (circular monument)
A: Celtic Priests
Pa: unknown
OL: located in England
M: Sarsen Stones
T: Symmetry
F: Used as a giant clock for the seasons most likely or could be an ancient burial site
C: The rocks ar
9. The Ambum Stone. Ambum Valley, Enga Province, Papua New Guinea. c. 1500 B.C.E. Greywack.
Context:It was discovered in 1960s, and it is one of the earliest known Pacific works of art from 3500 years ago. Although function of such artifact is unknown, considering that Papuan's ancient mortals and pestles were in forms of birds, this ambum stone
10. Tlatilco female figurine. Central Mexico, site of Tlatilco. 1200-900 B.C.E. Ceramic.
N: Tlatilco Female Figurines
D: 1200-900BCE
P/S: Pre-Classical period of Pre-Colombian Mesoamerican art
A: Unknown people of the Tlatilco region
PA: none
OL: Central Mexico at site of Tlatilco(The word tlatilco comes from the Nahuatl language which is the
11. Terra cotta fragment. Lapita. Solomon Islands, Reef Islands. 1000 B.C.E. Terra cotta (incised).
Name: Terracotta Fragment
Artist: Unkown, Lapita people
DOC: 1000 B.C.E
Period: Neolithic
Style:
Technique:
Material: Terracotta
Patron:
Origin: Lapita, New Caledonia
Context:
The patterns were incised into the pots before firing with a comblike tool used
MESOPOTAMIA
3500-500 B.C.E.
-Mesopotamian art was intended to serve as a way to
glorify powerful rulers and their connection to divinity
-Art was made from natural resources such as stone,shells,
alabaster and marble, and was often created as didactic
pieces.
-pieces were meant to e
12. White Temple and its ziggurat. Uruk (modern Warka, Iraq). Sumerian. c. 3500-3000 B.C.E. Mud Brick.
N: White Temple and it's Ziggurats
P: 3500-3000 B.C.E.
P/S: 1st Period Mesopotamian art
A: Government hired architect(s)
P: Uruk government: all citizens of Uruk
OL: City of Uruk, present day Warka, Iraq
M: White Mud bricks for Temple, baked bricks for zi
16. Standard of Ur from the Royal Tombs at Ur (modern Tell el-Muqayyar, Iraq). Sumerian. c. 2600-2400 B.C.E. Wood inlaid with shell, lapis lazuli, and red limestone.
Attribution: Standard of Ur from the Royal Tombs at Ur (modern Tell el-Muqayyar, Iraq). Sumerian. c. -2600 2400 B.C.E. Wood inlaid with shell, lapis lazuli, and red limestone.
Media: This piece has two sides. The end panels are covered with figurative and
19. The Code of Hammurabi. Babylon (modern Iran). Susian. c. 1792-1750 B.C.E. Basalt.
Name: The Code of Hammurabi
Date: 1750 BC
Period/Style:
Artist: Hammurabi
Patron: The people of ancient Mesopotamia
Original Location: Ancient Mesopotamia
Material: Diorite and basalt
Technique:
Function: The function was to set down a reasonable and unch
25. Lamassu from the citadel of Sargon II, Dur Sharrukin (modern Khorsabad, Iraq). Neo-Assyrian. c. 720-705 B.C.E. Alabaster.
N: Lamassu from the citadel of Sargon II
D: c. 720-705 B.C.E.
P/S: Neo-Assyrian
A: Unknown
Pa: Assyrian rulers
OL: Dur Sharrukin, modern day Iraq
M: Alabaster
T: Alabaster carving.
F: Lamassu were used to protect the city from evil spirits.
C: During this
EGYPTIAN
3100-332 BCE
-Extremely symbolic and representing a divine power,
Egyptian artwork was often sculptural, or painting in
relief.
-Gods were portrayed as combinations of animal forms or
natural elements, hieroglyphs were often incorporated in
the artwork, and the canon
13. Palette of King Narmer. Predynastic Egypt. c. 3000-2920 B.C.E. Greywacke.
14. Statues of votive figures, from the Square Temple at Eshnunna (modern Tell Asmar, Iraq). Sumerian. c. 2700 B.C.E. Gypsum inlaid with shell and black limestone.
Name: Statues of Votive Figures
Date: c2700 B.C.E.
Artist: probably skill workers of tribe
Patron: Leader of the tribe
Original Location: in an ancient temple
Material: black shells
P/S: Sumerian
Technique: Subtractive method
Descriptive Terms: simplified
15. Seated scribe. Saqqara, Egypt. Old Kingdom, Fourth Dynasty. c. 2620-2500 B.C.E. Painted limestone.
N: 15. Seated Scribe
D: 2620-2500 BCE
P/S: Old Kingdom
A: Unknown
Pa: Unknown
OL: Saqqara, Egypt
M: Painted Limestone
T: Shaped Limestone
F: Signify the high social status of scribes
C: It shows how scribes were general wealthy and and respected members o
17. Great Pyramids (Menkaura, Khafre, Khufu) and Great Sphinx. Giza, Egypt. Old Kingdom, Fourth Dynasty. c. 2550-2490 B.C.E. Cut limestone.
N: Great Pyramids and Great Sphinx of Giza
D: c. 2550 B.C P/S: Old Kingdom
A: Citizens of Giza, Egypt
PA: Pharaoh Khufu, Pharaoh Khafre, Pharaoh Menkaure
OL: Giza, Egypt
M: Soapstone T: Carved out from rock, construction
F: To honor the pharaohs
C: Create
18. King Menkaura and queen. Old Kingdom, Fourth Dynasty. c. 2490-2472 B.C.E. Greywacke.
D: 2490-2472 B.C.E
P/S: 4th Dynasty Royal Sculpture
A: Unknown
P: None
OL: Menkaura Valley Temple
M: Greywacke
T: Greywacke
F: He represents the epitome of kingship and ideal human form. She represents the ideal female form.
C: Both figures represent the
20. Temple of Amun-Re and Hypostyle Hall. Karnak, near Luxor, Egypt. New Kingdom, 18th and 19th Dynasties. Temple: c. 1550 B.C.E.; hall: c. 1250 B.C.E. Cut sandstone and mud brick.
21. Mortuary temple of Hatshepsut. Near Luxor, Egypt. New Kingdom, 18th Dynasty. c. 1473-1458 B.C.E. Sandstone, partially carved into a rock cliff, and red granite.
Attribution:
Motuary temple of Hatshepsut. Near Luxor, Egypt. New Kingdom, 18th Dynasty. Circa 1473-1458 B.C.E. Sandstone, partially carved into a rock cliff, and red granite.
Context:
Constructed by Hatshepsuts royal architect Senenmut, the Motuary templ
22. Akhenaton, Nefertiti, and three daughters. New Kingdom (Amarna), 18th Dynasty. c. 1353-1335 B.C.E. Limestone.
Date: 1353 BCE
Period/Style: Egyptian
Artist: Unknown
Patron: Akhenaton
Original Location: Amarna, Egypt
Material: Painted limestone
Technique: Sunken relief
Function: Depict a family portrait possibly capturing a joyous moment from Akhenaton
Context: Fam
23. Tutankhamun's tomb, innermost coffin. New Kingdom, 18th Dynasty. c. 1323 B.C.E. Gold with inlay of enamel and semiprecious stones.
N: Innermost Coffin of Tutankhamun
D: ca. 1323 BCE
P/S: New Kingdom (Amarna Style)
A: unknown
Pa: unknown
OL: The Valley of the Kings, Egypt
M: beaten gold and inlaid with semiprecious stones such as lapis lazuli, turquoise, and carnelian
T: made of wood,
24. Last judgment of Hu-Nefer, from his tomb (page from the Book of the Dead). New Kingdom, 19th Dynasty. c. 1275 B.C.E. Painted papyrus scroll.
N: The Last Judgment of Hu-Nefer
D: c.1275 BCE p/s: New Kingdom, 19th dynasty; traditional Egyptian
A: Unknown
P: Hu-Nefer
OL: New Kingdom of Egypt
M: Vegetable gum painted on papyrus scroll
T: twist perspective
F: Final judgment of the deceased
C: The Bo
30. Audience Hall (apadana) of Darius and Xerxes. Persepolis, Iran. Persian. c. 520-465 B.C.E. Limestone.
M: Limestone
T: Stone masonary/ stone carving
F: to act as a central location for subject nations to bring tribute and exchange gifts
C: Tall central hall with 72 columns and stairs leading to the main enterance
DT: Walls engraving with hundreds of figure
INDIGENOUS AMERICAS
1000 B.C.E.-1900 C.E.
...
153. Chavin de Huantar. Northern highlands, Peru. Chavin. 900-200 B.C.E. Stone (architectural complex); granite (Lanzon and sculpture); hammered gold alloy (jewelry).
N: Chavin de Huantar
D: built around 1200 B.C.
P/S: Chavin Art
A: Chavin civilization
Pa: no specific patron
OL: Ancash region, Peru
M: stone
T: N/A
F: religious site and the capital of the Chavin civilization
C: Used for a religious center for ceremonies
154. Mesa Verde cliff dwellings. Montezuma County, Colorado. Anasazi. 450-1300 C.E. Sandstone.
N: Mesa Verde Cliff Palace
D: 1150 - 1300 CE
P/S: Southwest Native American art
A: The Anasazi
Pa: The Anasazi
OL: Mesa Verde National Park, Colorado
M: Sandstone, mortar, wooden beams
T: The sandstone was shaped using harder stones and a mortar of soil,
155. Yaxchilan. Chiapas, Mexico. Maya. 725 C.E. Limestone (architectural complex).
N: Yaxchilan
D: 5th-8th century A.D.
P/S: Mayan Art
A: unknown who the main designer was but it was built by Mayan citizens
Pa: no patron
OL: located on the Mexican side of the Usumacinta River in the state of Chiapas
M: stone
T: no technique
F: severed a
156. Great Serpent Mound. Adams County, southern Ohio. Mississippian (Eastern Woodlands). c. 1070 C.E. Earthwork/effigy mound.
N: Great Serpent Mound
D: c. 1070 C.E.
P/S: Mississippian (Eastern Woodlands)
A: Unknown
Pa: Unknown
OL: Adams County, southern Ohio
M: Earthwork/effigy mound
T: Making mounds in the shape of a snake
F: To direct spirits of the dead from burial mounds and
157. Templo Mayor (Main Temple). Tenochititlan (modern Mexico City, Mexico). Mexica (Aztec). 1375-1520 C.E. Stone (temple); volcanic stone (The Coyolxauhqui Stone); jadeite (Olmec-style mask); basalt (Calendar Stone).
N: Templo Mayor
D: 14th century
P/S: Huastec Art/Post classic period of Mesoamerica
A: Aztecs
Pa: N/A
OL: Aztec capital of Tenochtitlan
M: stone
T: N/A
F: dedicated to both Huitzilopochtli, the god of war, and Tlaloc, the god of rain and agriculture.
C: b
158. Silver and gold maize cobs. Inka. c. 1400-1533 C.E. Sheet metal/repousee, gold and silver alloys.
N: 158. Silver and Gold Maize Cobs
D: 1400-1533 CE
P/S: Incan Art
A: Unknown
Pa: Unknown
OL: Inca Region
M: Gold and silver alloys
T: None
F: The silver and gold cobs display the important resources of the area.
C: The Andes region is very rich in preciou
159. Ruler's feather headdress (probably of Motecuhzoma II). Mexica (Aztec). 1428-1520 C.E. Feathers (quetzal and cotinga) and gold.
Name: Ruler's feather headdress (probably of Motecuhzoma II)
Date: 1428-1520 C. E.
Period/Style: Pre-Columbian
Artist: Unknown
Patron: Most likely Motecuhzoma II
Original Location: Unknown
Materials: quetzal and other feathers, gold studs, precious stones
160. City of Cusco, including Qorikancha (Inka main temple), Santo Domingo (Spanish
colonial convent), and Walls at Saqsa Waman (Sacsayhuaman). Central highlands, Peru. Inka. c. 1440 C.E. Sandstone.
N: Qorikancha (City of Cusco)
D: 1200 AD
A: Inca citizens
Pa: It is said to have been constructed under the direction of the Inka ruler Viracocha about 1200 AD, and later embellished by the Inka Pachacuti
OL: Cusco, Peru
M: Built from large stone blocks f
161. City of Machu Picchu. Central highlands, Peru. Inka. c. 1450-1540 C.E. Granite (architectural complex).
N: 161. Machu Picchu
D: 1450-1540 CE
P/S: Incan Art
A: Unknown
Pa: Unknown
OL: Machu Picchu, Peru
M: Granite
T: Incan Art
F: It was built as an estate for the Incan emperor Pachacuti.
C: The Incan emperor used this city as a royal retreat for holiday and
162. All-T'oqapu tunic. Inka. 1450-1540 C.E. Camelid fiber and cotton.
163. Bandolier bag. Lenape (Delaware tribe, Eastern Woodlands). c. 1850 C.E. Beadwork on leather.
N:Bandolier Bag
D:Circa 1850
A: Unknown
Pa:Oklahoma Delaware
OL: Oklahoma
M:Hide, cotton cloth, glass beads, silk ribbon, wool yarn.
T:Beaded, ribbon work
F: Used mainly for decorative purposes, early ones had no pockets
C:Decorative purpose for Native Am
164. Transformation mask. Kwakwaka'wakw, Northwest coast of Canada. Late 19th century C.E. Wood, paint, and string.
N: 164. Transformation Mask
D: Late 19th century
P/S: North American Art
A: Kwakiutl Tribe
Pa: Unknown
OL: Northwest coast of Canada
M: Wood, Paint, and String
F: The masks were used for storytelling usually and also for rituals.
C: The animal outer could
165. Hide painting of Sun Dance. Attibuted to Cotsiogo (Cadzi Cody), Eastern Shoshone, Wind River Reservation, Wyoming. c. 1890-1900 C.E. Painted elk hide.
N: Hide painting of Sun Dance
D: c. 1890-1900 C.E.
P/S: Eastern Shoshone
A: Cotsiogo (Cadzi Cody)
Pa: N/A
OL: Wind River Reservation, Wyoming
M: Natural pigments like red ochre or chalk on deer hide.
T: Free-hand painting, stenciling.
F: Functioned to rec
166. Black-on-black ceramic vessel. Maria Mart�nez and Julian Mart�nez, Tewa, Puebloan, San Ildefonso Pueblo, New Mexico. c. mid-20th century C.E. Blackware ceramic.
Name: Black-on-black ceramic vessel
Date: Mid 20th Century C.E.
Period/Style: Contemporary Art Deco Movement
Artist: Maria Martinez and Julian Martinez
Patron: Unknown
Original Location: Tewa, Puebloan, San Ildefonso Pueblo, New Mexico
Materials: Local cl
ANCIENT GREEK
c. 850-323 BCE
-The overall look of Geometric art is highly reminiscent of
the Mycenaean and Cycladic styles.
-It is a reflection of a new willingness to depict the mortal
human, rather than the divine, in their art. The Archaic
figures begin to move and show expression
26. Athenian agora. Archaic through Hellenistic Greek. 600 B.C.E.-150 C.E. Plan.
DATE: 6th century BCE
PERIOD/STYLE: Classical Greece
ARTIST: organized by Peisistratos (r. 567 - 521 BCE)
PATRON: Peisistratos
ORIGINAL LOCATION: along the main road in Athens, the Panathenaic Way, northwest of the Acropolis
MATERIAL: marble
TECHNIQUE: ca
27. Anavysos Kouros. Archaic Greek. c. 530 B.C.E. Marble with remnants of paint.
28. Peplos Kore from the Acropolis. Archaic Greek. c. 530 B.C.E. Marble, painted details.
N: Peplos Kore
D: 530 B.C.E.
P/S: Archaic period, Attica style
A: Unknown, most likely a citizen of Greece
P: Possibly the goddess Athena
OL: Athens, Greece
M: Marble
T: Sculpture
F: The most commonly believed function of the figure was to serve as a stat
31. Temple of Minerva (Veii, near Rome, Italy) and sculpture of Apollo. Master sculptor Vulca. c. 510-500 B.C.E. Original temple of wood, mud brick, or tufa (volcanic rock); terra cotta sculpture.
N: Temple of Minerva and sculpture of Apollo
D: 510-500 B.C.E.
P/S: Ancient Greek
A: Architect unknown, Sculptor of statues: Master sculptor Vulca
P: Unknown
OL: Etruscan Society
M: The Temple of Minerva and the sculpture of Apollo was built most likely f
33. Niobides Krater. Anonymous vase painter of Classical Greece known as the Niobid Painter. c. 460-450 B.C.E. Clay, red-figure technique (white highlights).
N: Niobides Krater
D: c. 460-450 B.C.E.
P/S: 5th to 4th centuries B.C.E./Early Classical
A: Anonymous Greek painter known as the Niobid Painter
Pa: Unknown
OL: Unknown
M: Clay
T: Red-figure
F: Calyx kraters were used to dilute wine with water.
C: The earl
34. Doryphoros (Spear Bearer). Polykleitos. Original 450-440 B.C.E. Roman copy (marble) of Greek original (bronze).
Attribution: Doryphorus (Spear Bearer). Polykleitos. Original 450-440 B.C.E. Roman copy (marble) of Greek original (bronze).
Context: The original was sculpted by the Greek sculptor Polykleitos. His wish was to create a sculpture encompassing the perfect
35. Acropolis. Athens, Greece. Iktinos and Kallikrates. c. 447-410 B.C.E. Marble.
N: Acropolis (The Parthenon)
D: 447-424 B.C.E
P/S: Height of Athenian Power/ Classical Greek Style
A: Iktinos and Kallikrates
Pa: Goddess Athena (deity built for)
OL: Athens, Greece in the small fortress on top of the hill.
M: Marble stone
T: Ionic column
36. Grave stele of Hegeso. Attributed to Kallimachos. c. 410 B.C.E. Marble and paint.
ETRUSCAN
-The Etruscans enjoyed their wealth and the art reflects
their sophisticated tastes. Sarcophagi, jewelry, sculptures
and rock-cut chambers are defining works for the
Etruscan time period.
-The typical Etruscan style focuses on body gestures to
communicate
29. Sarcophagus of the Spouses. Etruscan. c. 520 B.C.E. Terra cotta.
32. Tomb of the Triclinium. Tarquinia, Italy. Etruscan. c. 480-470 B.C.E. Tufa and fresco.
N: Tomb of the Trinclinium
D: c. 470 B.C.E.
A: Etruscan Civilization
Pa: N/A
OL: Tarquinia, Italy
M: tufa and fresco T: carving
F: The Tomb of the Triclinium was built as a burial chamber.
C: It is so named because its frescoes may have once featured thre
ISLAMIC, HINDI, AND BUDDHIST ART
-This category encompasses art produced in the seventh
century and onwards by people residing in places
inhabited or ruled by culturally Islamic populations.
Islamic art does not necessarily include only religious art.
It also includes elements from other
181. Petra, Jordan: Treasury and Great Temple. Nabataean Ptolemaic and Roman. c. 400 B.C.E.-100 C.E. Cut rock.
N: The Treasury and Great Temple
D: circa 312 B.C.
P/S: Classical/Nabataean, Ptolemaic and Roman.
A: Nabataeans
P: Aretas IV Philopatris
OL: Petra, Jordan
M: Cut rock, monumental tomb facades are cut into pink sandstone cliffs.
T: Greek architecture with
182. Buddha. Bamiyan, Afghanistan. Gandharan. c. 400-800 C.E. (destroyed in 2001). Cut rock with plaster and polychrome paint.
N: Buddha
D: c. 400-800C.E. (destroyed by Taliban in 2001)
P/S: Gandharan
A: Kushan people of Gandhara
PA: Unknown
OL: Bamiyan, Afghanistan
M: Cut rock with plaster and polychrome paint
T: Carved out of cliffs
F: To represent the Buddha to his people in t
183. The Kaaba. Mecca, Saudi Arabia. Islamic. Pre-Islamic monument; rededicated by Muhammad in 631-632 C.E.; multiple renovations. Granite masonry, covered with
silk curtain and calligraphy in gold and silver-wrapped thread.
N: The Kaaba
D: 631 - 632 C.E.
P/S: 476 - 1453 C.E. / Byzantine and Islamic Art
A: It is believed by Muslims that Ibrahim and his son Ismail built the Kaaba, later modified by others
Pa: rededicated by Muhammad
OL: Mecca, Saudi Arabia
M: Granite, covered
185. Dome of the Rock. Jerusalem, Palestine. Islamic, Umayyad. 691-692 C.E., with multiple renovations. Stone masonry and wooden roof decorated with glazed
ceramic tile, mosaics, and gilt aluminum and bronze dome.
N: Dome of the Rock
D: 687-692 C.E
P/S: Islamic/Umayyad
A: Caliph Abd al-Malik
P: Caliph Umar I
OL: Jerusalem
M: Gold dome, marble interior
T: Islamic architecture
F: Marks the coming of new religion to the city, sacred to both Jews and Christian
C: First
186. Great Mosque (Masjid-e Jameh). Isfahan, Iran. Islamic, Persian: Seljuk, Il-Khanid, Timurid and Safavid Dynasties. c. 700 C.E.; additions and restorations in the 14th, 18th, and 20th centuries C.E. Stone, brick, wood, plaster, and glazed ceramic tile.
Date: c. 700 C.E
Artist: Nizam al-Mulk
Original location: Isfahan, Iran.
Materials: Stone, brick, wood,plaster, glazed ceramic title.
Function: To represent the Seljuk's powerful empire
Context:
In 1051, Isfahan became the capital of the Seljuqs, who arri
187. Folio from a Qur'an. Arab, North Africa, or Near East. Abbasid. c. eighth to ninth century C.E. Ink, color, and gold on parchment.
Name: Folio from a Qur'an.
Date: Eight to ninth century C. E.
Artist: Unknown.
Patron: Unknown.
Original location: Arab, North Africa or Middle East.
Materials: Ink, color and gold on parchment.
Function: To praise the Islamic religion.
Context: The Qur'a
188. Basin (Baptist�re de St. Louis). Muhammad ibn al-Zain. c. 1320-1340 C.E. Brass inlaid with gold and silver.
N: Basin (Baptistere de St. Louis)
D: c.1320-1340 C.E.
P/S: Middle Ages
A: Muhammad ibn al-Zain
PA: Believed to be made for Mamluk a court official named Salar as a gift for his sultan but there is no inscription to identify him as so.
OL: Egypt
M: Brass
189. Bahram Gur Fights the Karg, folio from the Great Il-Khanid Shahnama. Islamic; Persian, Il'Khanid. c. 1330-1340 C.E. Ink and opaque watercolor, gold, and silver on
paper.
N: Bahram Gur Fights the Karg
D: c. 1330-1340 C.E.
P/S: 1256-1353 C.E. / Ilkhanid (Persia)
A: Sultan Muhammad
Pa: Shah Tahmasp
OL: Tabriz, Iran
M: Ink, watercolor, silver, and gold on paper
T: painting
F: To help illustrate the story of the Shahama (Book
190. The Court of Gayumars, folio from Shah Tahmasp's Shahnama. Sultan Muhammad. c. 1522-1525 C.E. Ink, opaque watercolor, and gold on paper.
N: The Court of Gayumars
D: c. 1522-1525 C.E.
P/S: 16th century/ Safavid (Persia)
A: Sultan Muhammad
Pa: Shah Tahmasp
OL: Tabriz, Iran
M: Ink, watercolor, and gold on paper
T: painting
F: To help illustrate the story of the great king Gayumars and to disp
191. The Ardabil Carpet. Maqsud of Kashan. 1539-1540 C.E. Silk and wool.
N: The Ardabil Carpet
D: 1540 C.E.
P/S: Safavid Dynasty/Persian
A: Unknown
P: Shaykh Safi (Sufi leader)
OL: Funerary mosque of Shaykh Safi al-Din, Ardabil, Iran.
M: Knotted pile of wool and silk.
T: Made on a loom, knotted.
F: Decoration that is highly pr
192. Great Stupa at Sanchi. Madhya Pradesh, India. Buddhist; Maurya, late Sunga Dynasty. c. 300 B.C.E.-100 C.E. Stone masonry, sandstone on dome.
Name: Great Stupa at Sanchi
Date: c. 300 B.C.E.-100 C.E.
Period/Style: Maurya, late Sunga Dynasty / Buddhist
Artist: N/A
Patron: Emperor Ashoka the Great
Original location: Madhya Pradesh, India
Material: Stone masonry,
Technique: Sandstone on dome.
Funct
198. Borobudur Temple. Central Java, Indonesia. Sailendra Dynasty. c. 750-842 C.E. Volcanic-stone masonry.
Name: Borobudur Temple
Date: c. 750-842 C.E.
Period/Style: Mahayana Buddhist
Artist: Gunadharma
Patron: Individuals of the Buddhist religion
Original Location: Central Java, Indonesia
Material: Stone blocks
Technique: Stupa and candi
Function: Blends the
199. Angkor, the temple of Angkor Wat, and the city of Angkor Thom, Cambodia. Hindu, Angkor Dynasty. c. 800-1400 C.E. Stone masonry, sandstone.
Name: Angkor Wat
Date: 12th century
Period / Style: Khmer architectural style
Architect: Suryavarman II completed by Jayavarman VII
Patron: Suryavarman II, Jayavarman VII
Original Location: Cambodia
Material: Sandstone
Technique: Mortise and tenon joints,
200. Lakshmana Temple. Khajuraho, India. Hindu, Chandella Dynasty. c. 930-950 C.E. Sandstone.
Name: Lakshmana temple
Date: 930-950 AD
Artist: unknown
Period/style: chandella period 10th century
Technique: architecture
Patron: n/a
Original location: Khajuraho, India
Medium: limestone
Function: temple
Context: New temple in the middle of nowhere, pi
202. Shiva as Lord of Dance (Nataraja). Hindu; India (Tamil Nadu), Chola Dynasty. c. 11th century C.E. Cast bronze.
N: Shiva as Lord of Dance (Nataraja)
D: c. 11th century p/s: Hindu (Chola Dynasty)
A: Unknown
P: Unknown
OL: Tamil Nadu, India
M: Cast Bronze T: Sculpting
F: Praise Shiva
C: Nataraja is a depiction of the god Shiva as the cosmic dancer who performs his di
208. Jahangir Preferring a Sufi Shaikh to Kings. Bichitr. c. 1620 C.E. Watercolor, gold, and ink on paper.
NAME: Jahangir Preferring a Sufi Shaikh to Kings (208)
DATE: c. 1620 CE
PERIOD: Mughal dynasty, India
ARTIST: Bichitr
PATRON: Jahangir (r. 1605 - 1627)
ORIGINAL LOCATION: unknown
MATERIAL: watercolor, gold, ink, paper
TECHNIQUE: painting on paper
FUNCTION
209. Taj Mahal. Agra, Uttar Pradesh, India. Masons, marble workers, mosaicists, and decorators working under the supervision of Ustad Ahmad Lahori, architect of the
emperor. 1632-1653 C.E. Stone masonry and marble with inlay of precious and semiprecious s
Name: Taj Mahal
Date: 1648
Period / Style:Mughal architecture
Architect: Ustad Ahmad Lahauri
Patron: Mughal emperor Shah Jahan
Original Location: Agra, India
Material: Marble
Technique: Domes, arch, finial, iwan, minaret, etc
Function: To commemorate the
HELLENISTIC
323-30 BCE
The work from the Hellenistic period became even more
emotional, displayed more dramatic movement, explored
a greater range of themes and the modeling, and became
even more realistic.
37. Winged Victory of Samothrace. Hellenistic Greek. c. 190 B.C.E. Marble.
Name: The Winged Victory of Samothrace
Date: 190 BCE
Period/Style: Hellenistic Greek
Artist: N/A
Patron: the kings of fourth century Macedonia
Original Location: Island of Samothrace, Greece
Material: Parian marble for the statue and gray Rhodian marble f
38. Great Altar of Zeus and Athena at Pergamon. Asia Minor (present-day Turkey). Hellenistic Greek. c. 175 B.C.E. Marble (architecture and sculpture).
N: Great Altar of Zeus and Athena
D: c.175 BCE
p/s: Hellenistic
A: Unknown
P: Unknown
OL: Pergamon, Asia Minor (present-day Turkey)
M: Marble
T: Colonnades, portrait sculptures
F: Honor the Greek victories against barbaric warriors. Also a place of sacrif
40. Alexander Mosaic from the House of Faun, Pompeii. Republican Roman. c. 100 B.C.E. Mosaic.
N: The Alexander Mosiac
D: c.100BCE
P/S: Late Hellenistic
A: Philoxenos of Eretrea(only believed to be)
Pa: n/a
OL: Pompeii, Italy
M: Small mosaic tiles
T: Tesserae mosaic
F: To portray the Battle of Issus
C: Made in the House of Faun which was the Larges
41. Seated boxer. Hellenistic Greek. c. 100 B.C.E. Bronze.
N: Seated Boxer
D: c. 100 B.C.E
P/S: Hellenistic Greece
A: Unknown
Pa: Unknown
OL: Discovered on the slopes of the Quirinal, Rome.
M: Bronze statue inlaid with copper.
T: Lost wax technique.
F: Possibly made to be votive/dedicated by a victorious boxer.
C
42. Head of a Roman patrician. Republican Roman. c. 75-50 B.C.E. Marble.
Name:Head of a Roman Patrician
Date:c. 75- 50 BCE
Period / Style: Hellenistic Period, verism
Artist: Unknown
Patron: Emperor AUgustus
Original Location:Otricoli, Italy
Material: Marbles
Technique: Veristic portrait
Function: To illustrate the idealistic p
ROMAN
300 BCE-476 CE
-Inspired by the Greeks, Roman artists were extremely
interested in perspective and foreshortening.
-The city of Rome reflects the ambitions of a powerful
empire through the continuous construction and
development of monumental sculptures.
39. House of the Vettii. Pompeii, Italy. Imperial Roman. c. second century B.C.E.; rebuilt c. 62-79 C.E. Cut stone and fresco.
N: The House of the Vetti
D: c. second century B.C.E. rebuilt c. 62-79C.E.
P. Imperial Roman
A: Unknown Architects
Pa: The Vetti Brothers (Aulus Vettius Conviva and his brother, Aulus Vettius Restitutus)
OL: Pompeii, Italy ( Ancient Rome)
M: Cut stone and
43. Augustus of Prima Porta. Imperial Roman. Early first century C.E. Marble.
N: Augustus of Prima Porta
D: AD14 - AD 37 (real date unknown)
P/S: Early Roman Empire. Classical Greek
A: Unknown.
Pa: Emperor Augustus.
OL: Unknown (found in his wife's villa at Prima Porta).
M: White marble.
T: Marble sculpture.
F: Used to send a polit
44. Colosseum (Flavian Amphitheater). Rome, Italy. Imperial Roman. 70-80 C.E. Stone and concrete.
N: 44. Roman Coliseum
D: 70 AD
P/S: Roman Empire (Roman Amphitheatre)
A: Multiple Authors
Pa: Emperor Vespasian ( From Spoils of war after conquest of Jerusalem)
OL: Rome, Italy
M: Limestone, Concrete, Tuff, Tiles, Mortar
T: Use of concrete, elaborate sup
45. Forum of Trajan. Rome, Italy. Apollodorus of Damascus. Forum and markets: 106-112 C.E.; column completed 113 C.E. Brick and concrete (architecture); marble (column).
Name: Forum of Trajan
Date: 113 C.E.
Artist: Apollodorus of Damascus
Patron: King Trajan
Original Location: Center of royal court Rome, Italy
Material: Marble
P/S: Roman Realism
Technique: Practicalism, spiral frieze
Descriptive Terms: Reliefs, Illustrate
46. Pantheon. Imperial Roman. 118-125 C.E. Concrete with stone facing.
N: Pantheon
D:118-125 C.E.
P/S: Roman
A: ordered to be built by Emperor Hadrian
Pa: Roman Gods
OL: Rome
M: Roman concrete and marble
T: N/A
F: served as a place to worship Roman Gods
C: Created in order to replace the original Pantheon buil in 80 A.D. Use
47. Ludovisi Battle Sarcophagus. Late Imperial Roman. c. 250 C.E. Marble.
N: Ludovisi Battle Sarcophagus
D: 250-260 AD
P/S: Late Imperial Rome/Anticlassical
A: Unknown
Pa: Unknown
OL: Tomb near the Porta Tiburtina
M: Marble
T: Drill work, figures out completely out of the background.
F: Sarcophagus for burying a dead person.
C:
48. Catacomb of Priscilla. Rome, Italy. Late Antique Europe. c. 200-400 C.E. Excavated tufa and fresco.
N: Catacomb of Priscilla
D: c. 200-400 C.E.
P/S: Late Antique Era/ Christian iconography and fresco style wall art
A: Unknown
Pa: None
OL: Rome, Italy ( still located at same location)
M: Paint on Roman conrete walls and groin vaults
T: Organic lines, Sym
49. Santa Sabina. Rome, Italy. Late Antique Europe. c. 422-432 C.E. Brick and stone, wooden roof.
EAST ASIAN ART
-Art in China dates back as far back as 10,000 BC,
comprising of sculptures and simple pottery. Following
this period was a series of art dynasties, each lasting as
long as a few hundred years. Art in the Republic of China
in Taiwan and other overseas Chi
184. Jowo Rinpoche, enshrined in the Jokhang Temple. Lhasa, Tibet. Yarlung Dynasty. Believed to have been brought to Tibet in 641 C.E. Gilt metals with semiprecious
stones, pearls, and paint; various offerings.
N: Jowo Rinpoche
D: Brought to Tibet in 641 C.E. in the Yarlung dynasty
P/S: Buddhist art
A: Believed to be the celestial artist, Vishvakarman
PA: Unknown
OL: Made in India but now enshrined in the Jokhang temple. Lhasa, Tibet.
M: Gilt metals with semi-pr
193. Terra cotta warriors from mausoleum of the first Qin emperor of China. Qin Dynasty. c. 221-209 B.C.E. Painted terra cotta.
N: The Terracotta Army
D: 210 B.C.E .
P/S: Qin Dynasty
A: unknown craftsmen
Pa: Qin Shuihuangdi
OL: Xi'an province of china (Qin Shihuangdi's Tomb)
M: Terracotta, soft clay, bronze (weapons), "yellow earth" (white grit, quartz sand, meia, feldspar)
T: Kne
194. Funeral banner of Lady Dai (Xin Zhui). Han Dynasty, China. c. 180 B.C.E. Painted silk.
NAME: Funeral banner of Lady Dai (194)
DATE: 180 BCE
PERIOD: Han China
ARTIST: unknown craftsman
PATRON: unknown - most likely member of the family
ORIGINAL LOCATION: Mawangdui, Hunan Province, China
MATERIAL: pigments, silk
TECHNIQUE: painted directly on
195. Longmen caves. Luoyang, China. Tang Dynasty. 493-1127 C.E. Limestone.
Name: Longmen Caves or Longmen Grottoes
Date: 493-1127 C.E.
Period/Style: Tang Dynasty/Chinese Buddhist art
Artist: N/A
Patron: Emperor Xiaowen and Empress Wuzetian
Original location: Luoyang, China. The Xiangshan and Longmenshan mountains, running east a
196. Gold and jade crown. Three Kingdoms Period, Silla Kingdom, Korea. Fifth to sixth century C.E. Metalwork.
197. Todai-ji. Nara, Japan. Various artists, including sculptors Unkei and Keikei, as well as the Kei School. 743 C.E.; rebuilt c. 1700. Bronze and wood (sculpture); wood with ceramic-tile roofing (architecture).
N: T?dai-ji
D: 734 C.E. P/S: Nara architecture
A: Various artists, including sculptors Unkei and Keikei.
P: Emperor Sh?mu
OL: Nara, Japan
M: Bronze and wood (sculpture); wood w/ ceramic tile (architecture) T: Irimoya, K?n-do
F: Place of worship
C: T?dai-j
201. Travelers among Mountains and Streams. Fan Kuan. c. 1000 C.E. Ink and colors on silk.
N: Travelers Among Mountains and Streams
D: Around 11th Century B.C.E
P/S: Shanshui hua - landscape painting
A: Fan Kuan, Chinese Neo-Confucianist
P: None or Unknown
OL: unknown, likely remote mountains of China
M: Ink on Silk
T: Chinese landscape Method,
203. Night Attack on the Sanj� Palace. Kamakura Period, Japan. c. 1250-1300 C.E. Handscroll (ink and color on paper).
N: Night Attack on Sanjo Palace
D: Second half of the 13th century
P/S: Kamakura Period
A: Unknown
PA: Unknown
OL: Japan
M: Hand scroll
T: Ink and color on paper
F: Serves to present the battle of the 1159 Heiji Rebellion
C: leaders Fujiwara Nobuyori and
204. The David Vases. Yuan Dynasty, China. 1351 C.E. White porcelain with cobalt-blue underglaze.
Name: The David Vases
Date: May 13, 1351
Period: Yuan Dynasty
Artist: Zhang Wenjin
Patron: Daoist temple in Hong Kong, China
Original Location: Hong Kong, China
Material: Porcelain
Technique: Ancient Chinese kilns used that could reach 1200
degrees Celsiu
205. Portrait of Sin Sukju (1417-1475). Imperial Bureau of Painting. c. 15th century C.E. Hanging scroll (ink and color on silk).
NAME: Portrait of Sin Sukju (205)
DATE: c. 15th century CE
PERIOD: Joseon Period
ARTIST: unknown painter
PATRON: unknown - likely a supporter of the politician Sin Sukju
ORIGINAL LOCATION: Imperial Bureau of Painting, Korea
MATERIAL: ink, pigments, silk
T
206. Forbidden City. Beijing, China. Ming Dynasty. 15th century C.E. and later. Stone masonry, marble, brick, wood, and ceramic tile.
Name: The Forbidden City
Date: 15th century C.E. and later Period/Style: Ming Dynasty
Artist: N/A
Patron: Hongwu Emperor's son, Zhu Di
Original location: Beijing, China.
Material: Stone masonry, marble, brick, wood, and ceramic tile.
Technique: traditiona
207. Ryoan-ji. Kyoto, Japan. Muromachi Period, Japan. c. 1480 C.E.; current design most likely dates to the 18th century. Rock garden.
Date: 1480 CE; current design dates to the late 18th century
Period/Style: Muromachi Period
Artist: Highly believed to be Saomi
Patron: Hosokawa Emperors
Original Location: Kyoto, Japan
Material: White sand stones, rocks, moss, concrete walls
Technique: L
210. White and Red Plum Blossoms. Ogata Korin. c. 1710-1716 C.E. Ink, watercolor, and gold leaf on paper.
N: White and Red Plum Blossoms
P: 1710-1716C.E.
P/S: Edo period
A: Ogata Korin
Pa: Tsugaru family (A Wealth Japanese family)
OL: Unknown
M: Ink, watercolor, gold leaf on paper
T: Tarashikomi technique, wavy form,
F: used as a background, decoration, or pa
211. Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as the Great Wave, from the series Thirty-six Views of Mount Fuji. Katsushika Hokusai. 1830-1833 C.E. Polychrome woodblock print; ink and color on paper.
N: The Great Wave off Kanagawa
D: 1830-1833 C.E. p/s: Edo Japan
A: Katsushika Hokusai
P: Unknown
OL: Japan
M: Polychrome woodblock print; ink and color on paper
T: ukiyo-e woodblock
F: Express human vulnerability against nature
C: Ukiyo-e is a genre of Ja
212. Chairman Mao en Route to Anyuan. Artist unknown; based on an oil painting by Liu Chunhua. c. 1969 C.E. Color lithograph.
Name: Chaiman Mao En route to Anyuan
Date: 1968
Artist: Liu Chunhua
Period/style: Cultural revolution in china
Technique: Poster
Patron: n/a
Original location: All over china, first created in Beijing
Medium: Poster paper, many mediums
Function: propagand
MEDIEVAL
500-1400
...
Romanesque
-Large-scale architecture was revamped to accommodate
the massive amounts of people coming for worship.
-Additions to the traditional church model were added,
including the apse, rib vaults, arcades, concrete
advancements, ambulatories and bays.
-Portal s
58. Church of Sainte-Foy. Conques, France. Romanesque Europe. Church: c. 1050-1130 C.E.; Reliquary of Saint Foy: ninth century C.E., with later additions. Stone
(architecture); stone and paint (tympanum); gold, silver, gemstones, and enamel over wood (rel
N: Church of Sainte-Foy
D: built circa 1050-1130 C.E.
P/S: Romanesque
A: Abbot Odolric
Pa: none in particular (does house religious relics)
OL: Conques, France
M: stone
T: N/A
F: Catholic Church and a popular destination for pilgrims (houses many relics)
59. Bayeux Tapestry. Romanesque Europe (English or Norman). c. 1066-1080 C.E. Embroidery on linen.
Gothic
-Artists began to sign their work and create contracts with
their patrons.
-There were many advancements in art, with sculptures
becoming more 3-D and free standing.
-Architecturally, the churches reached new vertical heights
and became much more lavish.
55. Lindisfarne Gospels: St. Matthew, cross-carpet page; St. Luke portrait page; St. Luke incipit page. Early medieval (Hiberno Saxon) Europe. c. 700 C.E. Illuminated
manuscript (ink, pigments, and gold on vellum).
N: Lindisfarne Gospels: St. Matthew, cross-carpet page, St. Luke portrait page, St. Luke inscript page
D: 700 C.E.
P/S: Early Medieval/ Hiberno Saxon
A:Eadfrith, Bishop of Lindisfarne
Pa: Presumably created in honor of St. Cuthbert
OL: off the coast of No
57. Pyxis of al-Mughira. Umayyad. c. 968 C.E. Ivory
Name: Pyxis of al-Mughera
Date: 968 C.E.
Artist:Madinat al Zarha
Patron: no patron
Original Location: in the Umayyad palace
Material: Ivory
P/S: Umayyad Dynasty
Technique:Carved ivory with jet
Descriptive Terms: jet, pyxis,
Context: they were reliquaries
60. Chartres Cathedral. Chartres, France. Gothic Europe. Original construction c. 1145-1155 C.E.; reconstructed c. 1194-1220 C.E. Limestone, stained glass.
N: Chartres cathedral
D: 1159 AD
A: Unknown
Pa: Catholic Church
OL: Chartres France
M: limestone
Function: Church, held mass
C: The size of this church showed how powerful the church was to be able to commission this building
DT: stained glass windows
M:
61. Dedication Page with Blanche of Castile and King Louis IX of France, Scenes from the Apocalypse from Bibles moralis�es. Gothic Europe. c. 1225-1245 C.E. Illuminated manuscript (ink, tempera, and gold leaf on vellum).
Name: Dedication Page with Blanche of Castile and King Louis IX of France and Scenes from the Apocalypse, from a Bible moralis�e
Date: Circa. 1230
Period/Style: Gothic Europe
Artist: Unkown
Patron: King Louis IX
Original Location: Probably Paris, France (
62. R�ttgen Piet�. Late medieval Europe. c. 1300-1325 C.E. Painted wood.
N: Rottgen Pieta
D: c.1300- 1325
P/S: Gothic/ Medieval Europe
A: Unknown
Pa: None
OL: Cologne, Germany
M: Painted wood
T: Sculpture
F: To explain/show a religious event
C: Virgin Mary holding dying Jesus
DT: Brown hues, inorganic lines, carving, sculpting
66. Annunciation Triptych (Merode Altarpiece). Workshop of Robert Campin. 1427-1432 C.E. Oil on wood.
N: Annunciation Triptych (Merode Altarpiece)
D: 1427-1432 C.E
P/S: Early Renaissance
A: Robert Campin
PA: Peter Engelbrechts; commissioned for private use, him and his wife are included in left panel.
OL: Tournai, South Netherlands
M: Oil on Wood
T: Early
BYZANTINE
500-1453
-The Byzantine Empire continued the classical Roman
tradition in a Christian framework
-Mosaics, manuscript illuminations and icons were
prevalent in this time period.
-Art's purpose was to depict and clarify the spiritual world. -Artwork was geared towar
50. Rebecca and Eliezer at the Well and Jacob Wrestling the Angel, from the Vienna Genesis. Early Byzantine Europe. Early sixth century C.E. Illuminated manuscript
(tempera, gold, and silver on purple vellum).
N: Vienna Genesis
P/s: Early Byzantine period
D: circa 540 C.E.
A: Unknown(s)
Pa: None
OL: produced in Syria
M: Pigment on Vellum
T: Uses a naturalistic technique,
F: Helps tell the story that is presented above. Offers a visual representation of it.
C: A
51. San Vitale. Ravenna, Italy. Early Byzantine Europe. c. 526-547 C.E. Brick, marble, and stone veneer; mosaic.
N: 51. San Vitale
D: Early Sixth Century CE
P/S: Late Antique Europe/ Early Christian Art
A: Multiple
Pa: Emperor Justinian I
OL: Rome, Italy
M: Brick and Stone, wooden roof
T: Basilica Art form
F: A house of worship for the catholic religion
C: The churc
52. Hagia Sophia. Constantinople (Istanbul). Anthemius of Tralles and Isidorus of Miletus. 532-537 C.E. Brick and ceramic elements with stone and mosaic veneer.
N: Hagia Sophia
D: 532-537 CE
P/S: Byzantine
A: Anthemius of Tralles and Isidorus of Miletus
P: Emperor Justinian and Empress Theodora
OL: Constantinople (Istanbul, Turkey)
M: Brick, Ashlar, Limestone, and Marble
T: Carving
F: Place of worship for Eastern
54. Virgin (Theotokos) and Child between Saints Theodore and George. Early Byzantine Europe. Sixth or early seventh century C.E. Encaustic on wood.
Name: Virgin (Theotokos) and Child between saints Theodore and Georde
Number on the 250 list: 54
Date: 6th to early 7th Century
Artist: N/A
Patron: N/A
Original Location: Egypt, Byzantine Period
Current Location: St. Catherine's Monastery, Sinai, Egypt
Ma
65. Alhambra. Granada, Spain. Nasrid Dynasty. 1354-1391 C.E. Whitewashed adobe stucco, wood, tile, paint, and gilding.
NAME: Alhambra Palace
DATE: constructed 889; renovated mid-11th century
PERIOD/STYLE: the Spanish Nasrid dynasty; Mud�jar style
ARCHITECT: current palace and walls built by Mohammed ben Al-Amhar; embellished by Yusuf I
PATRON: Muhammad V and others
LOCATI
THE PACIFIC ART
700-1980
Art of Pacific cultures refers to those from the oceanic regions of present day Australia, Melanesia, Micronesia, and Polynesia, including areas as far as Hawaii and Easter Island. Art from these peoples vary throughout different regions and cultures. The
213. Nan Madol. Pohnpei, Micronesia. Saudeleur Dynasty. c. 700-1600 C.E. Basalt boulders and prismatic columns.
214. Moai on platform (ahu). Rapa Nui (Easter Island). c. 1100-1600 C.E. Volcanic tuff figures on basalt base.
215. 'Ahu 'ula (feather cape). Hawaiian. Late 18th century C.E. Feathers and fiber.
216. Staff god. Rarotonga, Cook Islands, central Polynesia. Late 18th to early 19th century C.E. Wood, tapa, fiber, and feathers.
N: Staff God
D: late 18th century to early 19th century
A: Unknown
P: Unknown
OL: Rarotonga, Cook Islands, Central Polynesia
M: Wood, Tapa, Fiber, and feathers
T: The carver may have depicted smaller people below the deities to make it seem that they are
217. Female deity. Nukuoro, Micronesia. c. 18th to 19th century C.E. Wood.
N: Female Deity
D: 18th to 19th century
P/S: Pacific Art
A: unknown
PA: unknown
OL: Nukuoro, Micronesia
M: Wood
T: Carving, these figurines were of smaller statrue and most likey required experice to achieve lines on the Deity.
F: The figurine is known to
218. Buk (mask). Torres Strait. Mid- to late 19th century C.E. Turtle shell, wood, fiber, feathers, and shell.
N: Buk (mask)
D: Mid to Late 19th century
P/S: N/A
A: Torres Strait Islander people
Pa: Elders of the Torres strait society
OL: Mabuiag Island, Torres Strait, Australia
M: Turtle shell, wood, fiber, feathers, shell
T: hand-crafted and unique to ceremony
F
219. Hiapo (tapa). Niue. c. 1850-1900 C.E. Tapa or bark cloth, freehand painting.
N: Hiapo (tapa)
D: 1850-1900 C.E.
P/S: Pacific Art
A: Unknown
P: Unknown
OL: unknown (somewhere in the Pacific islands)
M: Tapa or bark cloth
T: Freehand painting on the cloth. The tribe's people would beat the cloth after weaving to strengthen bonds.
F:
220. Tamati Waka Nene. Gottfried Lindauer. 1890 C.E. Oil on canvas.
N: Tamati Waka Nene
D: 1890 C.E.
P/S: Realism
A: Gottfried Lindaur
Pa: In Lindauer's notebook this portrait is numbered #6 with an inscription saying 'for Mr Partridge'
OL: Ng?ti Hao, Ng?puhi
M: Oil on Canvas
T: Lindauer based this portrait on a photograp
221. Navigation chart. Marshall Islands, Micronesia. 19th to early 20th century C.E. Wood and fiber.
N: Navigation Chart
D: 19th century
P/S: N/A
A: Marshall Islands Inhabitants
Pa: unknown
OL: Marshall Islands
M: wooden sticks, cowrie and small shells
T: Rebbelib, a type of navigation chart used to cover a large section of the Marshall Islands.
F: It sh
222. Malagan display and mask. New Ireland Province, Papua New Guinea. c. 20th century C.E. Wood, pigment, fiber, and shell.
N: Malagan display and mask
D: c. 20th Century
P/S: Tribal Art/ Ceremonial Art
A: Unknown
Pa: None
OL: New Ireland Province, Papua New Guinea
M: Wood, Pigment, Fiber, and Shell
T: Weaving, Figure-making, free-hand painting
F: To serve as visual part of ce
223. Processional welcoming Queen Elizabeth II to Tonga with Ngatu Iaunima (tapa cloth). Tonga, central Polynesia. 1953 C.E. Multimedia performances (costume; cosmetics, including scent; chant; movement; pandanus fiber/hibiscus fiber mats) photographic do
N: Processional Welcoming Queen Elizabeth II to Tonga with Ngatu launima (tapa cloth)
D: 1953 C.E.
P/S: Modern Art/ Video Art
A: Unknown
Pa: None
OL: Tonga, Central Polynesia
M: Multimedia performance (costume; cosmetics, including scent; chant; movement;
THE AFRICAN ART
1100-1980
rt of Africa constitutes one of the most diverse creations, owing to the large amounts of independent societies and civilizations, each with its own artistic culture. African art also includes art by African Disporas, such as African Americans. Characteri
167. Conical tower and circular wall of Great Zimbabwe. Southeastern Zimbabwe. Shona peoples. c. 1000-1400 C.E. Coursed granite blocks.
N: Conical Tower and Circular Wall of Great Zimbabwe
D: 1000-1400 C.E
P/S: Kush
A: People of Zimbabwe
PA: Unknown
OL: Southeastren Zimbabwe
M: Carsed granite blocks, soapstone T: Architecture
F: Trading place, mutlifunction
C: Early human settlement
DT: S
168. Great Mosque of Djenn�. Mali. Founded c. 1200 C.E.; rebuilt 1906-1907. Adobe.
Name: Great Hall of the Bulls
Date: 13000 B.C.E.
Artist: Uknown
Patron: Uknown
Original Location: Lascaux, France
Material: Chalk on Rock
P/S: Cave Drawing
Technique: Side Front view
Descriptive Terms: side front view, overcrossing drawings
Context: Most
169. Wall plaque, from Oba's palace. Edo peoples, Benin (Nigeria). 16th century C.E. Cast brass.
N: Wall Plaque from Oba's Palace
D: 16th century C.E.
P/S: African/ Kush
A: Edo People
Pa: High Class Edo People
OL: Benin (Nigeria)
M: Cast Brass, Ivory, Terracotta and Wood
T: Metallurgy
F: Serve as a Power and Social Status Symbol
C: Only used my royal
170. Sika dwa kofi (Golden Stool). Ashanti peoples (south central Ghana). c. 1700 C.E. Gold over wood and cast-gold attachments.
N: Golden Stool
D: c.1700 P/S: African Art
A: Ashanti People
PA: Osei Tutu
OL: South central Ghana
M: Gold, bells, wood T: Divine Funiture
F: House the spirit of the Ashante nation
C: Descended down from heaven to the King
DT: Throne, Images on it
M: Symb
171. Ndop (portrait figure) of King Mishe miShyaang maMbul. Kuba peoples (Democratic Republic of the Congo). c. 1760-1780 C.E. Wood.
Name: nDop
Date: c1760 C.E.
Artist: Skilled worker of tribe
Patron: King Mishe miShyaang maMbul
Original Location: Republic of congo
Material: Wood
Technique: 3d portrait
Descriptive Terms: power figure smooth symbol showed as leader
Meaning: The meaning
172. Power figure (Nkisi n'kondi). Kongo peoples (Democratic Republic of the Congo). c. late 19th century C.E. Wood and metal.
N: Power Figure
D: 19th century AD
P/S: Modern Art/Impressionism
A: unknown
P: Lila Acheson Wallace
OL: Democratic Republic of Congo or Angolop
M: Wood, metal, resin, enamel
T: Wood sculpture
F: The piece was sought to inspire awe, to intimidate, and to e
173. Portrait mask (Mblo). Baule peoples (C�te d'Ivoire). Early 20th century C.E. Wood and pigment.
174. Female (Pwo) mask. Chokwe peoples (Democratic Republic of the Congo). Late 19th to early 20th century C.E. Wood, fiber, pigment, and metal.
N: Female (Pwo) Mask
D: Late 19th to 20th century C.E
P/S: African/ Kush
A: Chowke People
Pa: Unknown
OL: Congo
M:Wood, Fiber, Pigment, and Metal
T: Wood Scupture
F: symbol of reaching adulthood and motherhood
C: Thought to believe fertility and prosperit
175. Bundu mask. Sande Society, Mende peoples (West African forests of Sierra Leone and Liberia). 19th to 20th century C.E. Wood, cloth, and fiber
N: Bundu Mask
D: 19th to 20th century C.E
P/S: African/ Kush
A: Mende People
Pa: Unknown
OL: Sierra Leone/ Liberia
M: Wood, Cloth, and Fiber
T: Wood Sculpture
F: Worn for Initiation or Celebration
C: Worn Only by Women For Celebration
DT: Polished and Bla
176. Ikenga (shrine figure). Igbo peoples (Nigeria). c. 19th to 20th century C.E. Wood.
177. Lukasa (memory board). Mbudye Society, Luba peoples (Democratic Republic of the Congo). c. 19th to 20th century C.E. Wood, beads, and metal.
N: Lukasa
D: 19th to 20th century C.E
P/S: African/ Kush
A: Luba People
PA: Luba Royalty
OL: Congo
M: Wood, Beads, and Metal
T: Mnemonic Device
F: Memory Board
C: Source of Knowledge, History and Rule for the society
DT: Sculpture and Memory Board
M: Pres
178. Aka elephant mask. Bamileke (Cameroon, western grassfields region). c. 19th to 20th century C.E. Wood, woven raffia, cloth, and beads.
N: Aka Elephant Mask
D: 350 B.C.E- 1000 C.E
P/S:Aksum
A: African society members
Pa:Higher ranking members of society
OL: Bamileke, Cameroon
M: Wood, woven cloth, and beads
T: Mask
F: Worn only at funerals, celebrations, or important events
C: Only high r
179. Reliquary figure (byeri). Fang peoples (southern Cameroon). c. 19th to 20th century C.E. Wood.
Name: Reliquary Figure (Nlo Bieri)
Date: 19th-20th Century
P/S: Tribal Art
Author: The Fang
Original Location: South Cameroon
Material: Wood, palm oil
Technique: Sculpture
Function: To serve as a protective guard
Context: These figures were used to guard
180. Veranda post of enthroned king and senior wife (Opo Ogoga). Olowe of Ise (Yoruba peoples). c. 1910-1914 C.E. Wood and pigment.
Name: Veranda Post: Equestrian Figure and Female Caryatid
Date: 19th-20th Century
P/S: Yoruba Art
Artist: Olowe of Ise
Original Location: Africa (most likely, Yorubaland)
Material: Wood, pigment
Technique: Sculpting
Function: to show a ruler's dependence
PROTO-RENAISSANCE
1280-1400
...
63. Arena (Scrovegni) Chapel, including Lamentation. Padua, Italy. Unknown architect; Giotto di Bondone (artist). Chapel: c. 1303 C.E.; Fresco: c. 1305. Brick (architecture) and fresco.
N: Arena (Scrovegni) Chapel, including Lamentation.
D: c1303(chapel) c1305(Lamentations)
P/S: Proto Renaissance
A: Unknown Architect but believed to be designed by Giotto Di Bundone(chapel) Giotto Di Bundone(Lamentations)
Pa: Enrico Scrovegni, a wealthy P
70. Palazzo Rucellai. Florence, Italy. Leon Battista Alberti (architect). c. 1450 C.E. Stone, masonry.
N: Palazzo Rucellai
D: c. 1450 C.E
P/S: Venetian and Northern Renaissance
A: Leon Batista Alberti- Architct
P: A wealthy merchant family.
OL: Florence, Italy.
M:
T: Opus Reticulatum
F: Homr
C: In many ways the Palazzo Rucellia is very similar to the Collo
EARLY RENAISSANCE
1401-1490s
-The primary technique of the artists during this period
was panel painting, favored by patrons for everything
from altarpieces to small portraits.
-While Italian artists valued tempera (an oil based
pigment), the Flemish artists skillfully mastered the a
67. Pazzi Chapel. Basilica di Santa Croce. Florence, Italy. Filippo Brunelleschi (architect). c. 1429-1461 C.E. Masonry.
Date: c. 1429 - 1461C.E.
Period/Style: The Early Renaissance/Fifteenth century Italian art
Artist: Filippo Brunelleschi (architect)
Patron: Andrea Pazzi, head of the Pazzi family
Original Location: Basilica di Santa Croce. Florence, Italy.
Material: used
68. The Arnolfini Portrait. Jan van Eyck. c. 1434 C.E. Oil on wood.
Name: The Arnolfini Portrait
Date: 1434
Period/Style: Early Northern Renaissance
Artist: Jan van Eyck
Patron: Arnolfini
Original Location: Flanders
Material: Oil painting on oak
Technique: Application of layer after layer of thin translucent glazes to mak
69. David. Donatello. c. 1440-1460 C.E. Bronze.
Name: David
Date: 1440-1460 C.E
Period/Style: Italian Renaissance
Artist: Donatello
Patron: Unknown - suspected to be Medici Family
Original Location: Florence, Italy
Material: Bronze
Technique: Canon of proportions
Function: to serve as a symbol for the
71. Madonna and Child with Two Angels. Fra Filippo Lippi. c. 1465 C.E. Tempera on wood.
D: 1465
P/S: Late Middle Ages
A: Filippo Lippi
Pa: None
T: Small brushstrokes are applied in a cross hatching
OL: Firenze, Italy
technique
M: Tempera on Panel
F: It is believed that the semblance of Madonna may represent Lucrezia Buti (Lippi's Wife). Also
72. Birth of Venus. Sandro Botticelli. c. 1484-1486 C.E. Tempera on canvas.
N: 72. Birth of Venus
D: 1484-1486 CE
P/S: Renaissance/ Naturalism
A: Sandro Botticello
Pa: Medici Family
OL: Florence, Italy
M: Tempera on Canvas
T: Naturalism
F: Made for donor to accompany a poem that the donor created to speak of the beauty of Venus.
HIGH RENAISSANCE
1495-1520
Art from this period reflects the artist's and society's reactions to the Protestant Reformation. Many Protestants destroyed religious artwork (i.e. stained-glass windows), and instead had a greater focus on landscape, courtly scenes, and acceptable relig
Italian Renaissance
-Meanwhile, in Florence, artists were receiving more
commissions from private sources and had made the
switch from tempera to oil.
-Because of the new establishment of the Vatican in Rome,
this city became a center for new Christian art and
Renaissance id
73. Last Supper. Leonardo da Vinci. c. 1494-1498 C.E. Oil and tempera.
Title : Last Supper
Description : Jesus Christ is having a final meal with his Twelve Disciples and
announced that one of the apostles will betray him
Artist : Leonardo da Vinci
Culture : Christian, Italian
Period : 1494-1498, High Renaissance
Media : Tem
75. Sistine Chapel ceiling and altar wall frescoes. Vatican City, Italy. Michelangelo. Ceiling frescoes: c. 1508-1512 C.E.; altar frescoes: c. 1536-1541 C.E. Fresco.
N: Sistine Chapel ceiling and Last Judgment
P/S: High to late Renaissance/ c.1495 - 1600 C.E.
D: Ceiling Frescoes - c.1508 - 1512 C.E.
Last Judgment - c. 1534 - 1541 C.E.
A: Michelangelo Buonarroti
Pa: Ceiling Frescoes - Pope Julius II
Last Judgment - Pop
76. School of Athens. Raphael. 1509-1511 C.E. Fresco.
NAME: The School of Athens
DATE: 1509 - 1510
PERIOD/STYLE: High Renaissance
ARTIST: Raffaello Sanzio da Urbino
PATRON: Pope Julius II
ORIGINAL LOCATION: The Stanze di Raffaello (Raphael rooms) in the Vatican's Apostolic Palace
MATERIAL: paint, plaster
TEC
80. Venus of Urbino. Titian. c. 1538 C.E. Oil on canvas.
NAME: Venus of Urbino (80)
DATE: 1538
PERIOD/STYLE: Late Renaissance
ARTIST: Titian
PATRON: Guidobaldo II della Rovere, Duke of Urbino
ORIGINAL LOCATION: Venice, Italy
MATERIAL: Oil paint
TECHNIQUE: Oil on canvas
PURPOSE: was a gift from the Duke to his y
Northern Renaissance
...
74. Adam and Eve. Albrecht D�rer. 1504 C.E. Engraving.
Name: Adam and Eve
Date: 1504 C.E.
Period/Style: 200 - 1750 C.E. / Northern Renaissance in European Art
Artist: Albrecht D�rer
Patron: N/A
Original location: Germany
Material: Engraving
Technique: Engraving with Religious Theme
Function: D�rer's fascinati
77. Isenheim altarpiece. Matthias Gr�newald. c. 1512-1516 C.E. Oil on wood.
79. Allegory of Law and Grace. Lucas Cranach the Elder. c. 1530 C.E. Woodcut and letterpress.
Name: Allegory of Law and Grace (also known as: The Law and the Gospel)
Date: c. 1530 C.E.
Period: German Renaissance
Artist: Lucas Cranach the Elder
Patron: German princes and those of the leaders of the Protestant Reformation
Original Location: Germany,
83. Hunters in the Snow. Pieter Bruegel the Elder. 1565 C.E. Oil on wood.
Name: Hunters in the Snow
Number on the 250 list: 83
Date: 1565 C. E
Artist: Pieter Bruegel the Elder
Patron: Nicolaes Jonghelinck.
Original Location: His house in Antwerp
Current Location: The painting is in the collection of the Kunsthistorisches Museum
MANNERISM
1530-1589
-Mannerism suggests art that exhibits certain playfulness
and does not exactly conform to the idealized, classical
"beauty" of the Renaissance culture.
-By using unusual colors, elongated forms, over-
exaggerated expressions, odd arrangements, or bizarre
78. Entombment of Christ. Jacopo da Pontormo. 1525-1528 C.E. Oil on wood.
BAROQUE
1600-1750
-Baroque art, especially in Italy and Spain, has its roots in
the Catholic Counter-Reformation.
-Many of the stricter Protestant sects argued that all
religious art violated the Commandment that banned the
worship of idols.At the Council of Trent, however
Italian Baroque
...
82. Il Ges�, including Triumph of the Name of Jesus ceiling fresco. Rome, Italy. Giacomo da Vignola, plan (architect); Giacomo della Porta, facade (architect); Giovanni Battista Gaulli, ceiling fresco (artist). Church: 16th century C.E.; facade: 1568-1584
N: Il Gesu, including Triumph of the name of Jesus
D: Church: 16th century C.E.; fa�ade: 1569-1584 C.E.; fresco and stucco figures: 1676-1679 C.E.
A: Giacomo da Vignola, plan (architect); Giacomo della Porta, fa�ade (architect); Giovanni Battista Gualli,
85. Calling of Saint Matthew. Caravaggio. c. 1597-1601 C.E. Oil on canvas.
N: Calling of St. Matthew
D: 1599-1600
P/S: Baroque
A: Carvaggio
Pa: N/A
OL: Rome, Italy
M: Oil on Canvas
T: Tenebrism, or the dark shaded background, creates suspense and a dramatic mood to the painting.
C: The subject traditionally was represented eithe
88. San Carlo alle Quattro Fontane. Rome, Italy. Francesco Borromini (architect). 1638-1646 C.E. Stone and stucco.
N: San Carlo alle Quattro Fontane
D: 1638- 1646
P/S: Baroque
A: Francesco Borromini
Pa: Cardinal Francesco Barberini
OL: Rome, Italy
M: brick covered stucco
T: constructed on brick
F: Borromini was commissioned to create a cloister, living quarters, and c
89. Ecstasy of Saint Teresa. Cornaro Chapel, Church of Santa Maria della Vittoria. Rome, Italy. Gian Lorenzo Bernini. c. 1647-1652 C.E. Marble (sculpture); stucco and
gilt bronze (chapel).
N: Ecstasy of Saint Theresa
D: 1647-1652
p/s: Italian baroque
A: Gian Bernini
Pa: Fredrico Cornaro
OL: Santa Maria Della Vittoria, Rome
M: Marble
F: To show a religious encounter
C: This sculpture was commissioned for Cardinal Cornaro for his burial site.
Flemish Baroque
...
86. Henri IV Receives the Portrait of Marie de' Medici, from the Marie de' Medici Cycle. Peter Paul Rubens. 1621-1625 C.E. Oil on canvas.
N: Henry IV Receives the Portrait of Marie de' Medici
D: 1621-1625 C.E
P/S: Baroque
A: Peter Paul Rubens
Pa: Queen Marie de' Medici
OL: Luxembourg Palace in Paris
M: Oil on canvas
T: large/heavy brushstrokes
F:
C: created in the midst of the Thirty Years
Dutch Baroque
...
87. Self-Portrait with Saskia. Rembrandt van Rijn. 1636 C.E. Etching.
P/S: Baroque
D: 1636
T: Etching (draws on material with a needle to
A: Rembrandt van Rijn
expose metal and can develop shallow, fine, or
P: None
deep lines with this technique)
OL: Amsterdam, Netherlands
M: Metal Plate (usually copper) coated with waxy ac
92. Woman Holding a Balance. Johannes Vermeer. c. 1664 C.E. Oil on canvas.
N: Woman Holding a Balance
D: c. 1664 C.E.
P/S: Dutch Golden Age
A: Johannes Vermeer
Pa: N/A
OL: Netherlands
M: Oil paints
T: Oil on canvas.
F: Created to be sold.
C: During this time there was a plague, war, and economic crisis therefore Vermeer tried to
96. Fruit and Insects. Rachel Ruysch. 1711 C.E. Oil on wood.
N: Fruit and Insects
D: 1711 C.E.
P/S: Rococo in Reniassance Period/ Still-life
A: Rachel Ruysch
Pa: Johann Wilhem
OL: Uffizi Gallery in Florence, Italy
M: Oil on wood
T: Chiaroscuro, bright colors, asymmetrical balance
F: Painted for the Patron's friend,
Spanish Baroque
...
91. Las Meninas. Diego Vel�zquez. c. 1656 C.E. Oil on canvas.
Name: Las Meninas
Date: 1656
Period/Style: Baroque
Artist: Diego Velazquez
Patron: King Phillip IV
Original Location: House of Capet
Material: Oil
Technique: Chiaroscuro; Makes the foreground figures larger and background figures lower to create illusion
French Baroque
...
93. The Palace at Versailles. Versailles, France. Louis Le Vau and Jules HardouinMansart (architects). Begun 1669 C.E. Masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture); gardens.
Name: The Palace at Versailles
Date: Begun 1669 C.E
Period/Style: Baroque Period
Artist: Louis Le Vau and Jules Hardouin Mansart
Patron: Louis XIV
Original Location: Versailles, France
Technique: Masonry
Material: Stone, wood, iron, gold leaf, and marble
ROCOCO
1715-1760
...
98. The T�te � T�te, from Marriage � la Mode. William Hogarth. c. 1743 C.E. Oil on canvas.
N:The Tete a Tete
D:1743 C.E.
A: William Hogarth
Pa:Hogarth painted this without patronage.
OL: London, England.
T:Basic oil o n canvas, satirical.
F:Was painted to satirise marriage.
C: The second of Hogarth's satirical moralising series of engravings, i
100. A Philosopher Giving a Lecture on the Orrery. Joseph Wright of Derby. c. 1763-1765 C.E. Oil on canvas.
P: none
OL: England
M: Oil on Canvas
T: strict realism utilized, renders figures with distinct details, great use of chiaroscuro
F: Challenged the rigid, French dedicated, religious themes in favor of enlightened scientific themes.
C: Caused a great stir
NEOCLASSICISM
1765-1830
...
101. The Swing. Jean-Honor� Fragonard. 1767 C.E. Oil on canvas.
N: The Swing
D: 1767
P/S: Rocco
A: Jean Honor� Fragonard
Pa: Baron De St. Julien
OL: France
M: Oil painting on canvas
T: Asymmetrical Design, Atmospheric perspective
F: It was for the personal use of the Baron, he requested that Fragonard paint him lookin
102. Monticello. Virginia, U.S. Thomas Jefferson (architect). 1768-1809 C.E. Brick, glass, stone, and wood.
N: Monticello
D:1772
P/S: Neoclassical
A: Thomas Jefferson
PA: None
OL: Charlottesville, Virginia
M: Stone, wood, and marble
T: Archictecture
C: Presidential residence
DT: Italian renissance inspired
M:Self made private property and home of President Thom
103. The Oath of the Horatii. Jacques-Louis David. 1784 C.E. Oil on canvas.
N: The Oath of Horatii
D: 1784 C.E.
P/S: Neoclassicism
A: Jacques-Louis David
Pa:N/A
OL: France (now Louvre)
M: Oil on canvas
T: N/A
F: Expresses David's rebellion against Rococo, shows his classical style, and reflects his support for the Enlightenment.
104. George Washington. Jean-Antoine Houdon. 1788-1792 C.E. Marble.
N: George Washington
D: 1788-1792
P/S: Post American Revolution
A: Jacques-Louis David
P: Thomas Jefferson
OL: Located in the rotunda of the Virginia State Capitol
M: Carrara Marble
T: neo- classical sculpting
F: glorfication of George Washington, symboli
105. Self-Portrait. Elisabeth Louise Vig�e Le Brun. 1790 C.E. Oil on canvas.
D: 1790 C.E.
P/S: Neoclassical/Rocco
A: Elisabeth Louise Vig�e Le Brun.
P: Citizens of Florence, Grand Duke of Tuscany
OL: Grand Ducal Gallery of the Uffizi
M: Oil on canvas.
T: Oil
F: Portrays her artistic ability, able to compete with other highly known
112. Palace of Westminster (Houses of Parliament). London, England. Charles Barry and Augustus W. N. Pugin (architects). 1840-1870 C.E. Limestone masonry and glass.
N: Palace of Westminster
D: 1840 - 1870 C.E.
P/S: c. 15th century/Gothic
A: Charles Barry and Augustus Welby Northmore Pugin
Pa: Royal Commission under King William IV
OL: London, England
M: limestone masonry and glass
T: highly decorative exterior, large
ROMANTICISM
late 1700s-early 1800s
...
French Romanticism
...
107. La Grande Odalisque. Jean-Auguste-Dominique Ingres. 1814 C.E. Oil on canvas.
Name: La Grande Odalisque
Date: 1814
Period/Style: Romanticism
Artist: Jean-Auguste-Dominique Ingres
Patron: N/A
Original Location: Louvre, Paris
Material: Oil on Canvas
Technique: Anatomical distortion
Function/Meaning: It functions to convey brutal oper
108. Liberty Leading the People. Eug�ne Delacroix. 1830 C.E. Oil on canvas.
N: Liberty Leading the People
D: 1830
P/S: Romanticism
A: Eugene Delacroix
T: Large and small brush strokes, light and dark
color, and composition.
P: None
OL: Paris, France
M: Oil on Canvas
F: Commemorates the July revolution of 1830 and depicts people f
American Romanticism
...
109. The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm). Thomas Cole. 1836 C.E. Oil on canvas.
111. Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On). Joseph Mallord William Turner. 1840 C.E. Oil on canvas.
N: Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On)
D: 1840
P/S: Late 18th to mid 19th centuries/Romantic
A: J.M.W. Turner
Pa: None
OL: Royal Academy of Arts in the United Kingdom
M: Oil paints on canvas
T: impasto
F: To show
REALISM
1840s-1880s
...
106. Y no hai remedio (And There's Nothing to Be Done), from Los Desastres de la Guerra (The Disasters of War), plate 15. Francisco de Goya. 1810-1823 C.E. (published
1863). Etching, drypoint, burin, and burnishing.
Name: Y no Hai Remedio
Date: 1823 C.E.
Artist: Francisco de Goya
Patron: no patron
Original Location: Spain
Material: Burin Burnisher drypoint
P/S: Spanish war
Technique: Dry point etching
Context: A picture in revolt of the Spanish war
Descriptive Terms:
113. The Stone Breakers. Gustave Courbet. 1849 C.E. (destroyed in 1945). Oil on canvas.
114. Nadar Raising Photography to the Height of Art. Honor� Daumier. 1862 C.E. Lithograph.
N: Nadar Raising Photography to the Height of Art
D: 1862 C.E.
P/S: Realism Art Period /Caricature
A: Honore Daumier
Pa: None
OL: print first appeared in the journal Le Boulevard (newspaper/magazine) in France.
M: Lithograph
T: printing (lithography), org
115. Olympia. �douard Manet. 1863 C.E. Oil on canvas.
Name: Olympia
Date: 1863
Artist: Edouard Manet
Period/style: Realism
Technique: Painting
Patron: n/a
Original location: Musee d'Orsay, Paris
Medium: oil on canvas
Function: to portray reality as opposed to academic art
Context: during this time, paris was
117. The Horse in Motion. Eadweard Muybridge. 1878 C.E. Albumen print.
NAME: The Horse in Motion
DATE: 1878 CE
PERIOD: Second Industrial Revolution
ARTIST: Eadweard Muybridge
PATRON: Leland Stanford
ORIGINAL LOCATION: none
MATERIAL: photograph
TECHNIQUE: zoopraxiscope
FUNCTION: example of Muybridge's photographic studies of
IMPRESSIONISM
1869-late 1880s
Impressionism was an art movement in France at the end of the 19th century. The Impressionists were a group of artists renowned for their innovative painting techniques and approach to using colour in art.
116. The Saint-Lazare Station. Claude Monet. 1877 C.E. Oil on canvas.
N: The Saint-Lazare Station
D: 1877 CE
A: Claude Monet
Pa: N/A
OL: Paris, France
M: Oil on canvas
P/S: Impressionism
T: Little use of perspective and lines. The artist strays away from tradition landscapes of the time. The figures in the painting are uncl
118. The Valley of Mexico from the Hillside of Santa Isabel (El Valle de M�xico desde el Cerro de Santa Isabel). Jose Mar�a Velasco. 1882 C.E. Oil on canvas.
Name:
The Valley of Mexico from the Hillside of Santa Isabel (El Valle de M�xico desde el Cerro de Santa Isabel)
Artist: Jose Mar�a Velasco
DOC: 1882 C.E
Period: Romanticism
Style: Impressionism
Technique:
Material: Oil on Canvas
Patron: Italian professor
119. The Burghers of Calais. Auguste Rodin. 1884-1895 C.E. Bronze.
N: The Burghers of Calais
D: 1884-1895 C.E
P/S: Impressionism
A: Auguste Rodin
Pa: The city officials of Calais
OL: Calais, France
M: Bronze
T: Sculpture
F: Monument an occurrence in Calais' history and honor the burghers
C: Calais was under siege by the
121. The Coiffure. Mary Cassatt. 1890-1891 C.E. Drypoint and aquatint.
Name: The Coiffure
Date: 1983 C.E
Period/Style: Impressionism-more specifically Japonisme
Author: Mary Cassatt
Original Location: France
Material:
Technique: Intaglio Printing
Function: Intaglio printing which was essentially Ukiyo-e printing allowed for
123. Where Do We Come From? What Are We? Where Are We Going? Paul Gauguin. 1897-1898 C.E. Oil on canvas.
N: Where do we come from? What are we? Where are we going?
D: 1897-1898 C.E.
P/S: Post-Impressionism
A: Paul Gauguin
Pa: N/A
OL: Polynesia
M: oil on canvas
F: Gauguin looked to tell
C: Art historians firmly believe that the artist did not intend to let th
POST-IMPRESSIONISM
1886-1892
The Post Impressionists were a few independent artists at the end of the 19th century who rebelled against the limitations of Impressionism. They developed a range of personal styles that focused on the emotional, structural, symbolic and spiritual elemen
120. The Starry Night. Vincent van Gogh. 1889 C.E. Oil on canvas.
125. Mont Sainte-Victoire. Paul C�zanne. 1902-1904 C.E. Oil on canvas.
Name: Mont Sainte - Victoire
Date: 1902 - 1904 C.E.
Period/Style: 1750 - 1980 C.E. / Post - Impressionism
Artist: Paul Cezanne
Patron: N/A
Original location: Aix-en-Provence, Southern France
Material: Oil on Canvas
Technique: Cubism
Function: Cezanne's us
ART NOUVEAU
1890-1914
...
128. The Kiss. Gustav Klimt. 1907-1908 C.E. Oil and gold leaf on canvas.
FAUVISM
1905-1908
-Fauvism has its roots in the post-impressionist paintings
of Paul Gauguin. It was his use of symbolic color that
pushed art towards the style of Fauvism. Gauguin
proposed that color had a symbolic vocabulary which
could be used to visually translate a ra
131. Goldfish. Henri Matisse. 1912 C.E. Oil on canvas.
N: Goldfish
D: 1912 C.E.
P/S: Fauvism
A: Henri Matisse
Pa: none
OL: Paris, France
M: Oil on canvas
T: Oil painting
F: Matisse wanted his art to have the same effect as a comfortable arm chair for a tired businessman.
C: From around 1912, goldfish became a
EXPRESSIONISM
1905-1933
Expressionism is a term that embraces an early 20th century style of art, music and literature that is charged with an emotional and spiritual vision of the world.
122. The Scream. Edvard Munch. 1893 C.E. Tempera and pastels on cardboard.
N: The Scream
D:1893
P/S: Expressionism
A: Edvard Munch
PA: N/A
OL: Oslo, Norway
M:Oil, tempera, pastel and crayon on cardboard
T: Painting
F: An outlet for the artist's emotional turmoil
C: The artist had been emotionally and mentally unstable
DT: Violen
132. Improvisation 28 (second version). Vassily Kandinsky. 1912 C.E. Oil on canvas.
N: Improvisation 28 (second version)
D: 1912 C.E.
P/S: Expressionism/Abstract
A: Vassily Kandinsky
P: N/A
OL: Guggenheim Museums
M: Oil on canvas.
T: Abstract
F: Direct impressions of "External nature" expressed in drawing/ painting form. ( Raw emotions a
133. Self-Portrait as a Soldier. Ernst Ludwig Kirchner. 1915 C.E. Oil on canvas.
N: Self-Portrait as a Soldier
D: 1915
P/S: Expressionism
A: Ernst Ludwig Kirchner
Pa: none
OL: Berlin, Germany
M: Oil on canvas
T: Oil painting
F: Documents the artist's fear that the war would destroy his creative powers
C: Kirchner painted this piece du
134. Memorial Sheet for Karl Liebknecht. K�the Kollwitz. 1919-1920 C.E. Woodcut.
N: Memorial for Karl Liebknecht
D: 1921 CE
P/S: Expressionism
A: Kathy Kollwitz
Pa: Family of Liebknecht
OL: Germany
M: Wood
T: Woodcut
F: To serve as memorial for the executed communist leader, Karl Liebknecht
C: During the 1920s, Germany was in a state
CUBISM
1908-1920s
Cubism was an attempt by artists to revitalise the tired traditions of Western art which they believed had run their course. The Cubists challenged conventional forms of representation, such as perspective, which had been the rule since the Renaissance. T
126. Les Demoiselles d'Avignon. Pablo Picasso. 1907 C.E. Oil on canvas.
N: Les Demoiselles d'Avignon
D: 1907 C.E.
P/S: c.1907-c.1920/Cubism
A: Pablo Picasso
Pa: None
OL: Paris, France
M: Oil on canvas
T: multiple perspectives, passage
C: Picasso was inspired by an exhibition of the works of the late C�zanne and the avant-gard
129. The Kiss. Constantin Brancusi. 1907-1908 C.E. Limestone.
N: The Kiss
D: 1907-1908 C.E
P/S: Cubism
A: Constantin Brancusi
P: John Quinn
OL: France, Europe
M: Limestone
T: Direct Carving
F: To stand as a decorative masterpiece on its own. Brancusi claimed it should be placed "just as it is, on something separate;
130. The Portuguese. Georges Braque. 1911 C.E. Oil on canvas.
N: The Portuguese
D: 1911 C.E.
P/S: Analytical Cubism
A: Georges Braque
Pa: N/A
OL: France
M: Oil paints.
T: Oil on canvas.
F: Created to be sold.
C: During this time Braque was experimenting alongside Pablo Picasso with Cubism. He studied Cezanne's work
AMERICAN ART
1908-1946
...
141. The Migration of the Negro, Panel no. 49. Jacob Lawrence. 1940-1941 C.E. Casein tempera on hardboard.
Name: The Migration of the Negro (Panel no. 49)
Number on the 250 list: 141
Date: 1940 � 1941 C.E
Artist: Jacob Lawrence
Patron: N/A
Original Location: 135th Street Library in 1939.
Current Location: The Phillips Collection, Washington, D.C.
Materials: Ca
FUTURISM
1909-1940s
...
139. Fallingwater. Pennsylvania, U.S. Frank Lloyd Wright (architect). 1936-1939 C.E. Reinforced concrete, sandstone, steel, and glass.
Name: Falling Water
Artist: Frank Lloyd Wright (architect)
Patron: The Kauffman Family
Date: 1936-1939 C.E
Period/Style: Modern architecture
Original Location: Pennsylvania
Material: Reinforced concrete, sandstone, steel, and glass.
Technique: Use of cant
DADA
1916-1920
Dada or Dadaism was a form of artistic anarchy born out of disgust for the social, political and cultural values of the time. It embraced elements of art, music, poetry, theatre, dance and politics. Dada was not so much a style of art like Cubism or Fauvi
144. Fountain (second version). Marcel Duchamp. 1950 C.E. (original 1917). Readymade glazed sanitary china with black paint.
Name: Fountain (second version)
Date: 1950 C.E. (original 1917)
Period/Style: Dada
Artist: Marcel Duchamp
Patron: None
Original Location: New York
Material: Readymade glazed sanitary china with black paint
Technique: Reorientation of original object
Funct
SURREALISM
1924-1940s
Surrealism was the 20th century art movement that sought to liberate creativity from the limitations of rational thought by exploring the hidden depths of the 'unconscious mind'. The Surrealists rejected the rational world as, in the words of Andr� Breton
138. Object (Le D�jeuner en fourrure). Meret Oppenheim. 1936 C.E. Fur-covered cup, saucer, and spoon.
N: Object (Le Dejeuner en fourrure)
D: 1936
P/S: Modernist
A: Meret Oppenheim
PA: none
OL: Paris, France
M: Fur Covered cup, saucer and spoon
T: unknown
F: To illustrate the idea of having to imagine using new senses to appreciate art.
C: Apparently Meret
140. The Two Fridas. Frida Kahlo. 1939 C.E. Oil on canvas.
N: Las Dos Fridas
D: 1939
P/S: Mexicanism with elements of surrealism
A: Frida Kahlo
OL: Mexico
M: Oil on canvas
T: Smooth brush strokes with vivid use of colors
F:
C: Made after Frida Kahlo's emotional divorce to her husband Diego Rivera.
DT: strength, s
142. The Jungle. Wifredo Lam. 1943 C.E. Gouache on paper mounted on canvas.
D: 1943 CE P/S: Surrealism/Afro-Cuban
A: Wilfredo Lam
Pa: None
OL: Spain
M: Gouache on paper mounted on canvas
T: Drawing
F: It shows the role of Cubans as being the exporters of sugarcane of which was a very grueling process and deviates from the image o
CONSTRUCTIVISM
1914-1934
...
137. Illustration from The Results of the First Five-Year Plan. Varvara Stepanova. 1932 C.E. Photomontage.
DE STIJL
1917-1931
...
136. Composition with Red, Blue and Yellow. Piet Mondrian. 1930 C.E. Oil on canvas.
Name: Dream of a Sunday Afternoon in the Alameda Park..
Date: 1947 - 1948 C.E.
Artist: Diego Rivera.
Patron: Carlos Obregon Santacilia.
Original location: Hotel del Prado at Mexico City (which is today the Mural Museum of Diego Rivera, Mexico City, Mexico
ABSTRACT EXPRESSIONISM
1946-1950s
...
143. Dream of a Sunday Afternoon in the Alameda Park. Diego Rivera. 1947-1948 C.E. Fresco.
Name: Illustration from the Results of the First Five-Year Plan
Date: 1932 C.E.
Period/Style: Constructivism
Artist: Varvara Stepanova
Patron: None
Original Location: Soviet Union (Russia)
Materials: Photographs, texts, newspaper clippings.
Technique: Pho
145. Woman, I. Willem de Kooning. 1950-1952 C.E. Oil on canvas.
N: Woman, I
D: 1950-1952 C.E.
P/S: Abstract Expressionism
A: Willem de Kooning
Pa: None
OL: New York, U.S.
M: Oil on Canvas
T: aggressive brushwork, layering of paint, and frantic paint application
F: to portray a balance between reverence and fear of wom
149. The Bay. Helen Frankenthaler. 1963 C.E. Acrylic on canvas.
POP ART
1960s
It was the visual art movement that characterised a sense of optimism during the post war consumer boom of the 1950's and 1960's. It coincided with the globalization of pop music and youth culture, personified by Elvis and the Beatles. Pop Art was brash,
147. Marilyn Diptych. Andy Warhol. 1962 C.E. Oil, acrylic, and silkscreen enamel on canvas.
N: Marilyn Diptych
D: 1962 C.E.
P/S: Pop art
A: Andy Warhol
Pa: N/A
OL: New York, United States
M: oil, acrylic, and silkscreen enamel on canvas
T: the use of a diptych, inspired by Pollock and Willem de Kooning
F: to mass produce, and spread the image of
150. Lipstick (Ascending) on Caterpillar Tracks. Claes Oldenburg. 1969-1974 C.E. Cor-Ten steel, steel, aluminum, and cast resin; painted with polyurethane enamel.
N: Lipstick (Ascending) on Caterpillar Track
D: 1969-1974 C.E.
P/S: Contemporary/ Pop Art
A: Claes Oldenburg
P: Commissioned January 1969 by Stuart Wrede and students at the Yale School of Architecture
OL: Beinecke Plaza at Yale University, Connecticut
M:
151. Spiral Jetty. Great Salt Lake, Utah, U.S. Robert Smithson. 1970 C.E. Earthwork: mud, precipitated salt crystals, rocks, and water coil.
N: Spiral Jetty
D: 1970 C.E.
P/S: Contemporary Art
A: Robert Smithson
Pa: N/A
OL: Great Salt Lake, Utah, US
M: Earthwork: mud, precipitated salt crystals, rocks, ad water coil
F: Smithson was attempting to create an art piece that was unpredictable as nat
CONCEPTUAL ART, PERFORMANCE ART, AND FEMINIST ART
late 1960s-1970s
...
148. Narcissus Garden. Yayoi Kusama. Original installation and performance 1966. Mirror balls.
Name: Narcissus Garden
Date: 1966
Period/Style:Conceptual Art
Artist: Yayoi Kusama
Patron: N/A
Original Location: Venice
Material: Mirror balls
Technique: Repetition
Context: When she displayed her work at the exhibition, she sold the mirror balls for $2
POSTMODERNISM
1970-
...
224. The Gates. New York City, U.S. Christo and Jeanne-Claude. 1979-2005 C.E. Mixedmedia installation.
Name: The Gates
DOC:
1979-2005
Period:
Modernism
Style:
Contemporary, Temporary art
Technique:
Material:
Two steel footing, supported saffron-colored fabric panels that hung loosely from the top
Parton:
The city of New York
Origin:
New York City, New York
225. Vietnam Veterans Memorial. Washington, D.C., U.S. Maya Lin. 1982 C.E. Granite.
OL: Washington D.C, U.S.A
M: Gabbros and Black Granite T: Memorial
F: Honors those in the armed forces who fought and died in the Vietnam War
C: Over 58,000 Americans were killed while over 300,000 Americans were injured during the Vietnam War (1955-1975)
226. Horn Players. Jean-Michel Basquiat. 1983 C.E. Acrylic and oil paintstick on three canvas panels.
Name: Horn Players
Date: 1983 C.E
Period/Style: Post Modern Art, more specifically Neo-Expressionism
Author: Jean-Michel Basquiat
Original Location: New York
Material: Acrylic and oil paintstick on three canvas panels
Technique: N/A
Function: This piece w
227. Summer Trees. Song Su-nam. 1983 C.E. Ink on paper.
N: Summer trees
D: 1983 CE
P/S: Contemporary/Abstract
A: Song Su-nam
Pa: None
OL: Korea
M: Ink on paper
T: Painted
F: It recalls the landscapes of Chinese and Korean portraitures.
C: He wanted to show appreciation for the ancient Asian brush techniques an
228. Androgyn III. Magdalena Abakanowicz. 1985 C.E. Burlap, resin, wood, nails, string.
N: Androgyn III
D: 1985 C.E.
P/S: Postmodernism Art
A: Magdalena Abakanowicz
Pa: Unknown
OL: Poland
M: Burlap, resin, wood, nails, and string
T: Sculpture
F: The artist excluded the headed, arms, and legs in the figure, because she wanted to convey the me
229. A Book from the Sky. Xu Bing. 1987-1991 C.E. Mixed-media installation.
Name: A Book from the Sky
Date: 1987 - 1991
Period/Style: Global Contemporary/ 1980 C.E. to Present
Artist: Xu Bing
Patron: N/A
Original location: Beijing, China
Material: Mixed - Media Installation
Technique: The book's characters were carved into indivi
230. Pink Panther. Jeff Koons. 1988 C.E. Glazed porcelain.
N: Pink Panther
D: 1988 C.E.
P/S: c.1970-present / postmodernism
A: Jeff Koons
Pa: None
OL: United States
M: Porcelain on Formica base
T: sculpting
C: This piece is a part of his Banality series. It is a reflection of pop culture, juxtaposing the namesake
231. Untitled (#228), from the History Portraits series. Cindy Sherman. 1990 C.E. Photograph.
232. Dancing at the Louvre, from the series The French Collection, Part I; #1. Faith Ringgold. 1991 C.E. Acrylic on canvas, tie-dyed, pieced fabric border.
N: Dancing at the Louvre, from the series The French Collection, Part I; #1
D: 1991 C.E.
P/S: post-modernism
A: Faith Ringgold
P: N/A
OL: France, Europe
M: Acrylic on canvas, tie-dyed, pieced fabric border
T: representational painting and African-American
233. Trade (Gifts for Trading Land with White People). Jaune Quick-to-See Smith. 1992 C.E. Oil and mixed media on canvas.
N: Trade (Gifts for Trading Land with White People)
D: 1992 C.E. P/S: Post Modernism
A: Jaune Quick-to-See Smith
Pa: N/A
OL: Virginia
M: Oil, mixed media, and canvas.
T: Oil and mixed media on canvas.
F: Illustrates historical and contemporary inequities
234. Earth's Creation. Emily Kame Kngwarreye. 1994 C.E. Synthetic polymer paint on canvas.
N: Earth's Creation
D: 1994 P/S: Contemporary Indigenous Australian art
A: Emily Kame Kngwarreye
Pa: none
OL: Utopia, Australia
M: Synthetic polymer paint on canvas
T: Dump dot technique - using the brush to pound the paint onto the canvas and create laye
235. Rebellious Silence, from the Women of Allah series. Shirin Neshat (artist); photo by Cynthia Preston. 1994 C.E. Ink on photograph.
N: Rebellious Silence, from the Women of Allah series
D: 1994 C.E.
P/S: Contemporary Art/ Massurealism
A: Shirin Neshat(artist), photo by Cynthia Preston.
Pa: N/A
OL: Unknown
M: Ink on photograph
T: Photography
F: Described the social issues ranging from
236. En la Barberia no se Llora (No Crying Allowed in the Barbershop). Pepon Osorio. 1994 C.E. Mixed-media installation.
237. Pisupo Lua Afe (Corned Beef 2000). Michel Tuffery. 1994 C.E. Mixed media.
N: Pisupo Lua Afe (Corned Beef 200)
D: 1994
P/S: Postmodernism Art
A: Michel Tuffery
Pa: Unknown
OL: New Zealand
M: Flattened and riveted recycled corn beef tins, steel
T: Sculpture
F: To comment on how an imported commodity has become an integral part of
238. Electronic Superhighway. Nam June Paik. 1995 C.E. Mixed-media installation (49-channel closed-circuit video installation, neon, steel, and electronic components).
239. The Crossing. Bill Viola. 1996 C.E. Video/sound installation.
N: The Crossing #239
D: 1996 C.E.
P/S: Performance Art/ Postmodernism
A: Bill Viola
Pa: N/A
OL: N/A (it is a video and can be played anywhere)
M: Video
T: Videography
F: To evoke the viewer's senses and create a feeling of spirituality.
C: Viola focuses m
240. Guggenheim Museum Bilbao. Spain. Frank Gehry (architect). 1997 C.E. Titanium, glass, and limestone.
N: Guggenheim Museum
D: 1997
P/S: Contemporary
A: Frank Gehry
PA: Basque government
OL: Bilbao, Spain
M: Titanium, glass, and limestone
T: Used computer visualizations produced by Digital Project software
F: To showcase great fine art exhibitions and furt
241. Pure Land. Mariko Mori. 1998 C.E. Color photograph on glass.
N: Pure land
D: 1998
P/S: Abstract Expressionist
A: Mariko Mori
T: Cibachrome Print
Pa: None
OL: Tokyo, Japan
M: Color Photography on Glass
F: To create a meditative environment that provides the audience with a sense of tranquility and transcendence
C: A
242. Lying with the Wolf. Kiki Smith. 2001 C.E. Ink and pencil on paper.
Name: Lying with the Wolf
Number on the 250 list: 242
Date: 2001 C. E
Artist: Kiki Smith
Patron: N/A
Original Location: New York
Current Location: Centre Pompidou, Paris
Materials: Ink and pencil on paper, 72 1/4 x 88 inches
Function: "In the Louvre I saw
243. Darkytown Rebellion. Kara Walker. 2001 C.E. Cut paper and projection on wall.
N: Darkytown Rebellion
D: 2001 C.E.
P/S: Global Contemporary/Postmodernism
A: Kara Walker
Pa: none
OL: Mus�e d'Art Moderne Grand-Duc Jean, Luxembourg
M: cut paper and projection on wall.
T: black silhouettes against colorful background, sharp lines, disti
244. The Swing (after Fragonard). Yinka Shonibare. 2001 C.E. Mixed-media installation.
Name: The Swing (after Fragonard)
Date: 2001 C.E.
Period/Style: Postmodernism Art
Artist: Yinka Shonibare
Patron: None
Original Location: Sheffield
Materials: dress made of African print fabric
Technique: Mixed-media installation
Function: Meant to be see
245. Old Man's Cloth. El Anatsui. 2003 C.E. Aluminum and copper wire.
N: Old Man's Cloth
D: 2003 C.E.
P/S: Postmodernism/Sankofa
A: El Anatsui
Pa: None
OL: Southern Nigeria
M: Aluminum and copper wire.
T: Uses copper and aluminum wires to fasten together labels and bottle caps from alcoholic beverage containers at the corne
246. Stadia II. Julie Mehretu. 2004 C.E. Ink and acrylic on canvas.
N: Stadia II
D: 2004 C.E
P/S: Global Modernism
A: Julie Mehretu
P: N/A
OL: New York
M: Ink and acrylic on canvas
T: unique technique: Project maps/ diagrams onto the piece blank surface. Then traces and makes hash marks. Eventually these develop into shap
247. Preying Mantra. Wangechi Mutu. 2006 C.E. Mixed media on Mylar.
N: Preying Mantra
D: 2006 C.E.
P/S: Postmodernism Art
A: Wangechi Mutu
P: Unkown
OL: Brooklyn Museum
M: Mixed media on Mylar
T: Mixed media collage
F: The function of this piece is to invite viewers to explore the stereotypes about the female African body
248. Shibboleth. Doris Salcedo. 2007-2008 C.E. Installation.
Name: Shibboleth
Date: 2007
Period/Style: Contemporary Art
Artist: Doris Salcedo
Patron: N/A
Original Location: Turbine Hall, London
Material: Floor of the Turbine Hall (Columbian rock)
Technique: N/A
Context: Salcedo, instead of filling the hall with con
249. MAXXI National Museum of XXI Century Arts. Rome, Italy. Zaha Hadid (architect). 2009 C.E. Glass, steel, and cement.
Name: MAXXI
Date: 2010
Artist: Zaha Hadid
Period/style: Postmodern/contemporary
Technique: architecture
Patron: n/a
Original location: Rome, Italy
Medium: concrete, limestone, glass
Function: contemporary art museum
Context: New architecture, modern archi
250. Kui Hua Zi (Sunflower Seeds). Ai Weiwei. 2010-2011 C.E. Sculpted and painted porcelain.
N: Kui Hua Zi (Sunflower Seeds)
D: 2010-2011 C.E.
P/S: Modern/Contemporary (primarily 20th century)
A: Ai Weiwei.
Pa: Tate Modern's Turbine Hall
OL: Turbine Hall
M: Sculpted and painted porcelain.
F:Each piece is part of a whole, depicting the relationshi