[image]

Title: Akbar Inspecting Construction of FatehpurSikri

Artist:

Tusli Kalan and Others

Date:

1590

Context:

This image depicts Akbar overseeing the construction of his imperial city. The artist borrows heavily from Persian art from Iran in the image  The Court of Gayumarth (1525-35) in representing a an elaborate and ostentatious national narrative. For example perspective, as well as space, social, and religious hierarchy, are illustrated by arranging figures on top of one another.

[image]

Ttile: Jahangir and Shah Abbas

Artist:

Abu'l Hasan

Date:

1618

Context:

The two figures embrace each other to illustrate the alliances between these two leader of their respective countries. They, stand on top of the world to show their shared political dominance. However, Jahangir is shown to be more powerful than his companion by the standing on a lion while his counterpart stands on a goat. Also, Jahangir’s figure is larger than the Shah, who literally looks up to hip. Furthermore, Jahangir’s head is framed by the sun thereby asserting his power. There is a cross cultural influence of Western science and art by the round earth orbiting the sun, and the artistic convention of small angels (puti) an a use of foreshortening.

[image]

Title:

Jahangir preferring a Sufi Sheikh to Kings

Artist:

Bichitir

Date:

1618

Context:

In the Image the Jahangir is greeted by several rulers from different countries, and he gives preferential treatment to indigenous rulers over European kings. The artist also depicts himself, as the smallest figure, in the lower left-hand corner and his name appears on Jahangir’s throne. These assertions of the artist’s identity is a commentary on the role of artists in society. He also reaches out to other cultural depictions in art by the images of angels, which originate in European art. Also, Jahangir’s throne is atop of an hourglass, which shows he is the master of time.

[image] 

Title:

Taj Mahal

Artist:

Ustad Amad Lahori

Date:

1632-1648

Context:

This is the tomb of MumtazMahal, the favorite wife of Emperor Shah Jahan, there is a mosque built behind the tomb and there are not photos allowed in side, nor figurative artwork. 

[image]

Title:

St. Teresa of Avila in Ecstasy 

Artist:

Gianlorenzo Bernini

Date:

1645-1652

Context:

Located in Comaro Chapel, Church of Santa Maria Della Vittoria, Rome. This multimedia sculpture recounts a dramatic e vent that would provide a theatrical/emotional response from the congregation. Members of the Comaro family are carved in relief on the walls that make them seem like an audience watching this even. The scene depicts an encounter with St. Teresa and in Angel in which he is about to stab her heart to transfer god’s love into her. This is an erotic work, but it complements her account of her experience and the nature of her religious experience.

Title:

Ceiling of Gallery, Palazzo Farnese (Farnese Gallery)

Artist:

Annibale Carracci

Date:

1597-1601

Context:

The panels are series of stories about the ancient greek/roman gods falling in love. It’s a secular work and follows the high drama of the Baroque artist style. The figures are foreshortened  to give the illusion of depth, and he uses light and dark contrast to make these figures appear to be lit from below. The images are examples of naturalism because the convey the appearance of 3D statues despite being painted. Also, the representation of the figures is an example of classicism. 

Title:

Landscape with the Flight into Egypt

Artist:

Annibale Carracci

Date:

1603-1604

Context:

The narrative of the story depicts the virgin and child fleeing into egypt to escape the threat of death by the jealous King Herod. This painting exemplifies the naturalism of a landscape and the classical depiction of the figure. Unlike most examples of Baroque art this image is not as dramatic as other pieces. 

Title: 

Calling of St. Matthew

Artist:

Carvaggio

Date:

1599-1600

Context:

The image illustrates the Jesus recruiting St. Matthew to become a disciple of Christ. St. Matt was originally a tax-collector so this image shows the dramatic transition to selfishness and commerce to selfless religious duty. Caravaggio uses natural light to emphasize Christ’s power, but not the same drama of a Bernini image. Caravaggio references Michelangelo’s “The Creation of Adam” from the Sistine Chapel in the gesture of Christ’s hand.

Title: Judith Slaying Holofernes

Artist:

Artemesia Gentileschi

Date:

1620

Context:

In Artemesia Gentileschi's 1620 painting, Judith slaying Holofernes, she shows Caravaggio’s influence on seventeenth century art. She conveys the artistic conventions of the baroque era while illustrating a graphic biblical narrative.

Title:

Las Meninas

Artist:

Diego Velazquez

Date:

1656

Context:

Painting of the daughter of the King and Queen of Spain and her maids of honor. Velazquez also appears in the painting, and so do the king and king in a portrait at the center in the background.
 

Title:

Portrait of Louis XIV

Artist:

Hyacinth Rigaud

Date:

1701

Context:

Here is a painting of the “Sun King” Louis 14th of France, which is a self-given title and references his ideals of absolute authority. The painting reveals the opulence of the French court by his clothing and the surroundings.  

Title:

The Signboard of Gersant

Artist:

Jean-Antoinne Watteau

Date:

1721

Context: 

An artist has painted a sign for a commercial art dealer, which shows that the economics of the art commerce and the role of art. This represents the shift in the decentralization of art patronage from Elites (Kings, Queens) and Clergy to purchases in the private sphere. In the painting there are workers who are preparing to ship a painting to a buyer, and connoisseurs who may potentially buy another painting in the background.

There is a moral allegory, subtly placed in the painting: The painting that is being shipped is of Louis 14th is an allusion to his death as it is placed in a crate. Likewise, the heaps of straw are symbols for death, there is a clock in the background that suggests death, and a woman looking in a mirror to seem vain.

Title: Girl Reclining (Louise O'Murphy)

Artist:

François Boucher

Date:

1751

Context:

This is an eroticized painting, potentially one of the king’s mistresses. This painting portrays Rococo art’s tendency for shallow absorption and lust.  

Title: Soap Bubbles

Artist:

Jean-Siméon Chardin

Date:

1733-34

Context:

The formal quality of the painting is in the rough structure of paint up close that vanishes from afar. There are subtle moral allegories in the soap bubbles, which are the transiency of the lifetime of the bubble, and the bursting bubbles of vices. Chardin was the preferred artist of Diderot, the colors in his paintings were more muted than his Rococo contemporaries.

Title: The Marriage Contract

Artist:

William Hogarth

Date:

1743-1745

Context:

This painting mocks the rococo vanity and decadence of upper middle class and aristocratic culture. This marriage arrangement satires the decadence of the elites.

Title: Mr. and Mrs. Andrews

Artist:

Thomas Gainsborough

Date:

1748-1750

Context

These two figures are newlywed aristocrats that stand on their rural estate. They are portrayed in conventional gender roles she is depicted as a more natural figure closure to the ground and aligned to the tree. On the other hand he is illustrated standing with a gun and a dog assuring his masculinity.

Title:

The Park at Stourhead, Wiltshire, England

Artist:

Henry Flitcroft and Henry Hoare

Date:

1743-1765

Context:

Landscape Surveyors as aesthetic estate design. This estate is an example of the picturesque, which is different from the less organic estate of Versailles.

Title:

The Doge's Palace and the Riva Degli Schiavoni

Artist:

Canaletto

Date:

1735-40

Context:

Illustrates the Grand Tour when Europeans went on trips to other European countries as a cultural exploration, veduta / vedute (view / views). An example of neoclassicism, in which artists referenced Ancient Greece and Rome. 

Title:

Chiswick House and Gardens

Artist:

Richard Boyle

Date:

1724-1740

Context: 

An example of neoclassical architecture. References buildings such as the pantheon, and structures such as columns and domes.

Title:

The War God Kukailimoku

Artist:

Polynesian Artist

Date:

1779

Context:

This is a ceremonial feather headdress that one of the community leaders would wear at rituals. The feather work is done on a wicker frame, the teeth are made from animal teeth, and the eyes are made of shells.

Title:

Lacquer Box for Writing Implements

Artist:

Ogata Korin

Date:

1700

Context:

Edo Period artwork used as a storage container.

Title: 

The Actor Onoe Matsusuke

Artist:

Toshusai Sharaku

Date:

Late 18th Century

Context:

Japanese Edo Period (1614-1868). Polychrome woodblock. 

Title:

The Death of General Wolfe

Artist:

Benjamin West

Date:

1770

Context:

A modern history painting and a depiction of the French and Indian War. The iconography of the painting references the lamentation of Christ, similar to Giotto's painting of 1305. It's done in the style of a history painting, which was a controversional choice at the time because that style was designated for religious content.

Title:

Academicians of the Royal Academy

Artist:

Johann Zoffany

Date:

1771-1772

Context:

The academy is being held during a life drawing session and there aren't many women present. The academy is surrounded by statues, busts, and portraiture. 

Title:

The Bloody Massacre

Artist:

Paul Revere

Date:

1770

Context:

An engraving from 1770 that shows British soldiers slaying innocent Americans. The engraving depicts the growing disatisfaction for British rule, and the rebellion that would become the American revolution. 

Title:

Watson and the Shark

Artist:

John Singleton Copley

Date: 

1778

Context:

This an recount of Brooke Watson's brush with death from a shark attack. It illustrates the mercantile enterprise of the triangle trade, which is heightened by African at the center of the painting holding Watson's life-line. It exposes the contradictory claims of American freedom and liberty w because of slavery. 

Title:

Am I Not a Man and a Brother

Artist:

Josiah Wedgwood

Date:

1787

Context:

This ceramic plate shows a slave pleading for his freedom.

Title:

George Washington

Artist:

Jean-Antoine Houdon

Date:

1788-1792

Context: 

An exapmle of neoclassical sculpture. The image of a plow is included as a for symbolic purposes. The thirteen bound sticks are references to the 13 colonies turned states. 

Title:

Death of Marat

Artist:

Jacques-Louis David

Date:

1793

Context:

The painting shows the radical journalist and Frecnh Revolutionary Leader lying dead in his bath on 13 July 1793 after his murder by Charlotte Corday.

Title: Jean-Baptist Belley

Artist: Anne-Louis Girodet-Trioson

Date:1797

Context: Former slave risen to status of diplomat leaning against bust of French white philosopher who wrote against slavery. Artist recognizes humanity of this man and recognizes the sect of French who are against slavery.

Title: Napoleon in the Plague House at Jaffa

Artist: Antoine-Jean Gros

Date: 1804

Context: Napoleon represented in holy land—he goes to visit troops in holy land to show his support.   Aonother example of  history painting modernized.  There are Islamic arch and other arabesques iconography etc because until now it had been under Islamic governance but Napoleon is bringing republican liberty.

Title: The Sleep of Reason Produces Monsters 

Artist: Francisco Goya

Date: 1796-1798

Context: When reason goes to sleep (man is allegory/personification) it spawns monsters in the form of nightmarish creatures.

Title: The Raft of the "Medusa"

Artist: Theodore Gericault

Date: 1818-1819

Context:  History painting addressing events in a critical manner.   French sea captain along coast of Africa runs frigate aground (he shouldn’t have—he was a new political person of the king—decided to use only life boats for himself and his people) Remaining 150 passengers create makeshift raft and are set adrift in the ocean. Cannibalism, starvation, flies—only 15 left when rescue comes, exposes corruption of new monarchy.

Title: Women of Algiers

Artist: Eugene Delacroix

Date: 1834

Context: The painting reveals the imperialism of Europe in the 19th centure, and emphasizes the importance of the Algiers colony within the French Empire. Similar to the age of imperialism the painting explores exoticism and beauty. It includes international culture and diversity from the North African oriental elements.

Title: Snowstorm: Hannibal and His Army Crossing the Alps

Artist: Joseph Mallord William Turner

Date:1812

Context: In 1812 John Mallard Turner's painting "Snowstorm: Hannibal and his Army Crossing the Alps" marks achange in the role of the landscape in art, in which it is no longer something that can be tamed or domesticated. However, for Turner and other Romantics, he turned nature into a subject of its own. Turner occasionally uses nature as a parable for human behavior, such as his painting of the slave ship and typhoon.

Title: The Oxbow

Artist: Thomas Cole

Date: 1836

Context: Cole was a counter-industrial revolution by depicting nature in opposition to the dramatic transformation from pastoral culture. On the left side of the painting nature is depicted in its state of virgin wilderness, and on the opposite side by the river is a domesticated farm land. Likewise, the weather painted on either side compliments the depiction of nature as wild and then tamed. He also paints himself making a painting, and is on the side of the sublime.

Title: The Great Wave

Artist: Katsushika Hokusai

Date:1831

Context: Analogousunderstand of the smallness of human events in the context of nature. The depiction of Mt. Fuji shows the permanence of nature , and the wave, which smaller than a mountain, also has the influence of the mountain.

Title: The Stonebreakers

Artist: Gustave Gourbet

Date: 1849

Context: Paintings take on a new kind of realism to compete with image of the photograph. This image corresponds with art appealing to a more democratic popular mode of social politics. No longer were the elites or ideals of “history paintings” preserved in art work. Now, it is the common man that has become the subject of art.

Title: The Artist Studio

Artist: Louis-Jacques-Mandé Daguerre

Date: 1837

Context: This is a method of photography, in which art borrows from art.

Title: Luncheon on the Grass

Artist: Edouard Manet

Date: 1863

Context: This painting illustrates the trend of artists depicting scenes of modern life.  As a Romantic the change brought upon by the industrial revolution is one of the driving factors behind the subjects in their work. They emphasized “the transitory,” “figurative,” and “ephemeral."

Title: Olympia

Artist: Edouard Manet

Date: 1863

Context: Once again the female nude in his paintings caused a scandal; however, he had this painting accepted by the official salon of Paris. This painting is a portrait of a prostitute and is a more explicit portrayal of real life. The title of the painting references classical mythology in both jest and exaltation. In the painting she is lounging in the brothel while her afro-Caribbean  servant brings her flowers from a client, and in the corner is a black cat. She stares at the viewer in a assertive manner that implicates the audience is one of her solicitors. Manet references Titian’s Venus of Urbino as means of alluding to the past in the renaissance prototype while accurately depicting the present. The cat also a symbol of her anatomy and is ironic as an allusion to bad luck. This painting comments on French colonialism, which is similar to the “harem” scene depicted by Delacroix in “Women of Algiers.”

Title: Impression: Sunrise

Artist: Claude Monet

Date: 1872

Context: Painted en plein air in the style, and shows Monet's fascination with color, light, and atmosphere. The shifting tones of shadows of the sun obscured by the mist glimmering on the water is made with loose unspecific  brush strokes. This style of painting initially drew criticism for looking unfinished, and was mockingly labeled by critics as an "impression." the jeer became the monicker for the group of painters known as impressionist. 

Title: The Boating Party

Artist: Mary Cassat

Date: 1893-1894

Context: American Female impressionist, studied and practiced art in  Europe. Her work depicts “modern” “feminist” issues through impressionist means. Impressionism is related to realism, but their colors were exaggerated to contemplate the mood of the subject and momentary effects of color and light. There is also a patterning of form that hints at post impressionism construction. Cassatt partners color with design

Title Nocturne in Black and Gold (The falling Rocket)

Artist: James Abbott McNeil Whistler

Date: 1875

Context: Partially influenced by Japanese polychrome woodblocks. 

Title: The Starry Night

Artist: Vincent van Gogh

Date: 1889

Context: As a post-impressionist van Gogh pays more attention to expressive subjective mood than the impressionists.

Title: Spirit of the Dead Watching

Artist: Paul Gauguin

Date: 1892

Context: The image is of a Tahitian female nude, and references other painting traditions from Rococo artists and also Manet's Olympia. It is has a spiritual figure that is a representation of a Tahitian religious object. 

Title: Reliquary Gaurdian

Artist: Fang Artist 

Date: Late 19th Century

Context: A divination object used to fulfill a certain function for particular patron’s needs such as counsel or strength.

Title: Power Figure 

Artist: Kongo Artist

Date: 19th Century

Context: The power materials are animal hides that are used to draw on the power of the beast. Unlike the reliquary guardian, which acts like a sentinel or conduit for the spiritual world, the power figure is used as a worldly object of protection.

Title: Power Figure

Artist: Mayombe Artist (Zaire)

Date: 1893

Context:The power materials are animal hides that are used to draw on the power of the beast. Unlike the reliquary guardian, which acts like a sentinel or conduit for the spiritual world, the power figure is used as a worldly object of protection. It’s a mixed media piece made of wood, glass, animal hide and cloth, etc. It also has mirrors, which are supposed to reflect evil energy, and therefore is not completely and objective figure.

Title: Kente Cloth

Artist: Ashanti Artist (Ghana)

Date: 20th Century

Context: The patterns are a significant aspect of the cloth because they may reference social hierarchy within their community.

Title: Le Demoiselles d'Avignon

Artist: Pablo Picasso

Date: 1907

Context: This painting broke a lot of rules particularly since it was on the scale of history painting (8ft tall). The painting references aesthetic conventions in African Art such as the angular geometric structure of objects like reliquary figures. This appropriation of another cultures aesthetic practices has been done before in post/impressionist printmakers (Mary Cassatt) that emulated Japanese woodblock; furthermore, Paul Gauguin did it in Tahiti, and Whistler used Japanese woodcuts as inspiration for his paintings. The image is a reference to a brothel from Picasso’s youth, which is similar to the content of Manet’s Olympia (especially with the front on gaze of the women). This a push forward in modernism by exposing content that had usually been repressed in art such as sex. Also traditional depictions of form and perspective and shape have also be distorted (no linear perspective).

Title: The Joy of Life

Artist: Henri Matisse

Date: 1905-1906

Context: Disregards rules of perspective or tonality. He emphasized expression more so than anything else in his paintings. He uses primitivism in a way that illustrates paradise.

Title: Still Life with Chair Caning

Artist: Pablo Picasso

Date: 1912

Context: There is a painting that is framed by and oval rope and inside of the rope is a wicker basket surface (which is really wallpaper). It’s a creation of illusion that borders painting and sculpture. There are references to reading by the fragmented word journal with “jou” (which also references the french verb to play). As the artist he plays with images, meaning, and words, to signify ambiguities. Simultaneous composing and deconstructing.

Title: Large Blue Horses

Artist: Franz Marc

Date: 1911

Context: Marc saw animals as the purest form of innocence and depicted them to contrast the tainted quality of human civilization. Fauvist use of color. 

Title: Improvisation 28 (Second Version)

Artist: Vassily Kandinsky

Date: 1912

Context: A member of a wealthy family from the Russian elite who abdicated his life of privilege to become an artist. In his manifesto he wrote, “color directly influence the soul.” Credited by some as the first artist who creates a completely abstracted painting.

TItle: Evening Star, No. IV

Artist: Georgia O’Keeffe 

Date: 1917

Context:  Influenced by Kandinsky’s spirituality of color and adapted it to her own experiences within this desert environment. Also potentially influenced by WW1, particularly by the lag iconography by the red and the blue.    

Title: Unique Forms of Continuity in Space 

Artist: Umberto Boccioni 

Date: 1913

Context:Futurism was about motion and speed; it’s about accelerating the visual experience, and was influenced by the cubist movement before it. It’s a representation of how forms move through space and time, and not necessarily a figure.

Title: Reciting the Sound Poem 'Karawane'

Artist: Hugo Ball

Date: 1916

Context: This art movement embraces the nonsensical motivations of European nationalism that initiated WW1.

Title: The Fountain

Artist: Marcel Duchamp

Date: 1917

Context: This a controversial piece of modern art because it challenges conceptions of what it means to be a piece of art. Duchamp’s piece is the beginning of conceptual art. It also raises questions about commerce and art. He’s saying that art is part of the world, and not above it. Ready Made: When artist use found objects as aesthetic materials.

Title: Composition with Yellow, Red, and Blue

Artist: Piet Mondrian

Date: 1927

Context: Influenced by Picasso and attempted to refine or synthesize cubism by reducing art to its simplest form.

Title: Three Women

Artist: Ferdinand Leger

Date: 1921

Context: Influenced by Picasso but created forms that looked like machines suggesting a kind of rationale in a chaotic world.

Title: Bauhaus Building

Artist: Walter Gropius

Date: 1925-26

Context: A collective creative community of design.

Title: Detroit Industry

Artist: Diego Rivera

Date: 1932

Context: The production of this painting was commissioned by the Ford Family of Ford Motor Vehicles in art patronage that was influenced by the great depression. The piece is meant to celebrate labor and work, and epitomizes American industry.

Title: American Gothic

Artist: Grant Wood

Date: 1930

Context: An example of regionism, which is art work that focuses on the American iconography as a retreat from the modernist avant-garde.

Title: Falling Water

Artist: Frank Lloyd Wright

Date: 1935-1939

Location: Bear Run, Pennsylvania

Context: Design inspired/mimics landscape.

Title: Migrant Mother

Artist: Dorthea Lange

Date:1936

Context: As part of FDR’s new deal, artists were commissioned to depict the hardships of American citizens during the great depression. The purpose of the art was to galvanize the American public for action, as well as to educate and inform. Key Terms: Great Depression, Dust Bowl, New Deal, Farm Security Administration, Documentary Photography. The mother’s children aren’t facing the camera, which makes it seem like they might belong to the viewer, creating a greater sense of empathy, the closeness of the face forces an intimacy between the mother and the viewer. Justifies the means of the federal aid program. The documentary photography relates to art history conventions such as the Madonna and child.

Title: Fur Luncheon

Artist: Meret Oppenheim

Date: 1936

Context: In this painting the artist depicts the landscape of the mind. Rather than taking the real world as subject matter, the surrealists used the mind as their inspiration—particularly dreams. The surrealists were also heavily influenced by Freud’s psychoanalytic theories and the expression of unconscious. This is overt allusion to human sexuality that asserts a feminine dominance.

Title: Guernica

Artist: Pablo Picasso

Date: 1937

Context: This painting is a reaction to the nazi bombing of a small Spanish town named guernica to test their arms. The image combines cubism and surrealism to show violence, confusion, and chaos.

Title: Autumn Rhythm (Number 30)

Artist: Jackson Pollock 

Date: 1950

Context: This kind of a painting is a response to the nature of human existence, and is a result of action painting. 

Title: Target with Plaster Casts

Artist: Jasper Johns

Date: 1955

Context: The collage is a mixed media piece with casts of fragmented body parts in shadow boxes above the painting of a target.

Title: Hurling Colors

Artist: Shozo Shimamoto

Date: 1956

Context: Japanese Action Painter

Title: Just What is it That Makes Today's Homes so Different, so Appealing?

Artist: Richard Hamilton

Date: 1956

Context:The beginning of the pop art movement that follows the abstract expressionism. Pop art is a reflection of pop culture, consumer goods become a form of art. This collage blends modern iconogragphy and commercialism to create an image that reflects on contemporary culture. 

Title: Marilyn Diptych

Artist: Andy Warhol

Date: 1962

Context: She been turned into one of his soup cans. It’s also a response to her death.

Title: Spiral Jetty

Artist: Robert Smithson

Date: 1970

Location: Great Salt Lake, UT

Title: Dinner Party

Artist: Judy Chicago

Date: 1974-79

Context: Celebrates great female icons in various fields from artists, such as Georgia O'Keefe, to writers, Emily Dickinson. Installation art piece. References the biblical event of the last supper. 

Title: The Liberation of Aunt Jemima

Artist: Betye Saar

Date: 1972

Context: Machinery of racial stereotypes. The mammy figure embraces the fist of black power and holds a rifle.

Baroque

17th C Europe
Largely inspired by the counter-reformation/council of trent
They followed the preset artistic conventions
Artist learn from art academies

Baroque Art Conventions
Stylistic Dimensions
Drama/theatricality(Engaging the viewer with a charged moment in a story)
Naturalism
Classicism 

Rococo 

A decorative style, furniture, interior design, lamps, objects that inhabit the interior, comes from the French rocaille, a form of garden or interior decoration using shells and pebbles. It departs from irregular natural forms, that have rough textures, iridiscent surfaces, associated w/ grottos, sensual references.

Salon

describes the culture of small gatherings amongst a community of witty intellectual aristocrats.  This is a another term for 18th century French art exhibitions.

Surrealism

Bauhaus

Cubism

Dada

Fauvism

Futurism

Pop Art

Social Realism