1.

Apollo 11 Stones UNIIT 1

Nambia. c. 25000-25300 B.C.E. Charcoal on stone
The earliest history of rock painting and engraving arts in Africa. The
oldest known of any kind from the African continent.

2. Great Hall of Bulls

Lascaux, France. Paleolithic Europe. 15000-13000 B.C.E. Rock Painting
represents the earliest surviving examples of the artistic expression of
early people. Shows a twisted perspective.

3. Camelid sacrum in the shape of a canine

Tequixquiac, central Mexico. 14000-7000 B.C.E. Bone.
The shape was created by using subtractive techniques and utilizing
already apparent features in the bone, like the holes for eyes. It was a
first look at how people began manipulating their environment to
created what they wanted.

4. Running horned women

Tassili n'Ajjer, Algeria. 6000-4000 B.C.E. Pigment on rock.
The painting shows great contrast between the dark and light
mediums used. There is also great detail put into the decorations
of the woman. Most interestingly, though, there is a transparency
to the larger woman and the figures behind her show through.

5. Beaker with ibex motifs

Susan, Iran. 4200-3500 B.C.E. Painted terra cotta.
One of the first ceramic pieces, made from clay and intricately
designed with mineral and plant paint in painstaking detail. The
vessel portrays a Ibex, a type of goat native to the area, and also
canine figures along the rim. At the time, dogs were used to hunt
animals like Ibexes. The painting might have been done with
small brushes made from plant material or human or animal hair
6. Anthropomorphic stele
Arabian Peninsula. Fourth millennium B.C.E. Sandstone.
Very stylized representation of a human figure, carved from stone. Has
a make image and carries knives in sheaths across the chest and a knife
tucked

7. Jade cong
Liangzhu, China. 3300-2200 B.C.E. Carved jade.
Like one of many, this was a jade piece with decorative carvings, unique
shape, and symbolic purpose. The stone might have held spiritual or
symbolic meanings to the early

8. Stonehenge
Wiltshire, U.K. Neolithic Europe. c. 2500-1600 B.C.E. Sandstone
Stonehenge is a famous site know for its large circles of massive stones
in a seemingly random location as well as the mystery surrounding how
and why it was built. The stones are believed to be from local quarries
and farther off mountains. There is also evidence of mud, wood, and
ropes assisting in the construction of the site.

9. The Ambum Stone

Ambum Valley, Enga Province, Papua New Guinea. c. 1500 B.C.E.
Greywacke
This is a sculpture of some sort of anteater-like creature made from a
very rounded stone. With intense use of subtractive sculpting, this
piece achieves a freestanding neck and head while still maintaining
much of the original shape of the stone. It still uses natural materials
and depicts a natural animal.

10. Tlatilco female figurine

Central Mexico, site of Tlatico. 1200-900 B.C.E. Ceramic
The piece also stands as foreshadowing of the great civilizations that
develop in south and meso-america and the art that is produced.
11. Terra Cotta Fragment
Lapita. Solomon Islands, Reef Islands. 1000 B.C.E. Terra cotta (incised)
One of the first examples of the Lapita potter's art, this fragment
depicts a human face incorporated into the intricate geometric designs
characteristics of the Lapita ceramic tradition.

12. White Temple and its Zuggurat UNIT 2

Uruk (modern Warka, Iraq). Sumerian. c. 35000-3000 B.C.E. Mud Brick.
Rooms for different functions. Cella (highest room) for high class priests
and nobles.Very geometric (4 corners of structure facing in cardinal
directions) Platform stair stepped up

13. Palette of King Narmer

Pre-dynastic Egypt. c. 3000-2920 B.C.E Greywacke
Egyptian archelogical find, dating from about the 31st century B.C,
containing some of the earliest hieroglyphic inscription ever found.

14. Statue of Votive figures from the Square Temple at Eshnunna

Sumerian. c. 2700 B.C.E. Gypsum inland with shell and black limestone.
Surrogate for donor and offers constant prayer to deities. Placed in the
Temple facing altar of the state gods

15. Seated Scribe

Saqqara, Egypt. Old Kingdom, Fourth Dynastic. c. 2620-2500
B.C.E. Painted limestone. the sculpture of the seated scribe is
one of them most important examples of ancient Egyptian art
because it was one of the rare examples of Egyptian naturalism,
as most Egyptian art is highly idealized and very rigid.
16. Standard of Ur from the royal tombs
Summerian. c. 26000-24000 B.C.E. Wood inlaid with shell, lapis, lazuli,
and red limestone.
Found in one of the largest graves in the Royal Cemetery at Ur, lying in
the corner of a chamber above a soldier who is believed to have carried
it on a long pole as a standard, the royal emblem of a king.

17. Great Pyramids (Menkaura, Khafre, Khufu) and Great Sphinx

Giza, Egypt. Old Kingdom, Fourth Dynasty. c. 2550-2490 B.C.E. Cut
limestone.
The Great Sphinx is believed to be the most immense stone sculpture
ever made by man.
(stone, tombs, statues, animal symbolism)

18. King Menkaura and Queen

Old Kingdom, Fourth Dynasty. c. 2490-2472 B.C.E. Greywacke
Representational, proportional, frontal viewpoint, hierarchical
structure.
They were perfectly preserved and nearly life-size. This was the
modern world's first glimpse of one of humankind's artistic
masterworks, the statue of Menkaura and queen.

19. The code of Hammurabi

Babylon (modern Iran). Susain. c. 1792-1750 B.C.E. Basalt.
In this stone is carved with around 300 laws, the first know set of ruler
enforced laws. (Stone, carved, laws, inscriptions)

20. Temple of Amun-re and Hypostyle Hall

Karnark, 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.
The Hypostyle Hall is also the largest and most elaborately
decorated of all such buildings in Egypt and the patchwork of
artistic styles and different royal names seen in these inscriptions
and relief sculptures reflect the different stages at which they
were carved over the centuries. As the temple of Amun-re is the
largest religious complex in the world.
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.
It sits directly against the rock which forms a natural amphitheater
around it so that the temple itself seems to grow from the living
rock. Most beautiful of all of the temples of Ancient Egypt.

22. Akhenaten, Nefertiti, and Three Daughters

New Kingdom (Amarna), 18th Dynasty. c. 1353-1335 B.C.E. Limestone.
This small stele, probably used as a home altar, gives a seldom
opportunity to view a scene from the private life of the king and queen.

23. Tutankhamun's Tomb, intermost coffin. New Kingdom, 18th

Dynasty. c. 1,323 B.C.E. Gold with inlay of enamel and
semiprecious stones.
The king’s gold inner coffin, shown above, displays a quality of
workmanship and an attention to detail which is unsurpassed. It is
a stunning example of the Ancient goldsmith's art

24. Last judgement of Hu-Nefer, from his tomb

New Kingdom, 19th Dynasty. c. 1,275 B.C.E. Painted papyrus
scroll
In Hu-Nefer's scroll, the figures have all the formality of
stance,shape, and attitude of traditional egyptian art. Abstract
figures and hieroglyphs alike are aligned rigidly. Nothing here was
painted in the flexible, curvilinear style suggestive of movement
that was evident in the art of Amarna and Tutankhamen. The
return to conservatism is unmistakable.
25. Lamassu from the citadel of Sargon II, Dur Sharrukin
Neo-Assyria, Iraq.. c. 720-705 B.C.E. Alabaster
The Assyrian lamassu sculptures are partly in the round, but the
sculptor nonetheless conceived them as high reliefs on adjacent
sides of a corner. The combine the front view of the animal at rest
with the side view of it in motion. Seeking to present a complete
picture of the lamas from both the front and the side, the sculptor
gave the monster five legs- two seen from the front, four seen
from the side.

26. Athenian agora

Archiac through Hellenistic Greek. 600 B.C.E.-150 C.E. Athens, Greece.
Plan. It is the most richly adorned and quality of its sculptural
decoration it is surpassed only by the Parthenon. the sculptural
decoration and certain sections of the roof were made up of Parian
marble.

27. Anavysos Kouros

Archaic Greek. c. 530 B.C.E. Attica, Greece.
Marble with remnants of paint
Geometric almost abstract forms predominate, and complex
anatomical details, such as the chest muscles and pelvic arch, are
rendered in beautiful analogous patterns. It exemplifies two important
aspects of Archaic Greek art—an interest in lifelike vitality and a
concern with design.

28. Peplos Kore from the Acropolis

Archiac Greek. c. 530 B.C.E. Marble, painted details
Greeks painted their sculptures in bright colors and adorned them with
metal jewelry

29. Sarcophagus of the Spouses

Etruscan. (Italy) c. 520 B.C.E. Terra cotta
The Sarcophagus of the Spouses as an object conveys a great
deal of information about Etruscan culture and its customs. The
convivial theme of the sarcophagus reflects the funeral customs
of Etruscan society and the elite nature of the object itself
provides important information about the ways in which funerary
custom could reinforce the identity and standing of aristocrats
among the community of the living.
30. Audience Hall of Darius and Xerxes
Persepolis, Iran. Persian. c. 520-465 B.C.E. Limestone
It was the largest building of the complex, supported by numerous
columns and lined on three sides with open porches. The palace
had a grand hall in the shape of a square, each side 60m long
with seventy-two columns, thirteen of which still stand on the
enormous platform. Relief artwork, originally painted and
sometimes gilded, covered the walls of the Apadana depicting
warriors defending the palace complex.

31. Temple of Minerva and sculpture of Apollo

Master sculptor Vulca. c. 510-500 B.C.E. Etruscan- from Veii, Near
Rome, Italy
Original temple of wood, mud brick, or tufa; terra cotta sculpture
The Temple of Minerva was a colorful and ornate structure,
typically had stone foundations but its wood, mud-brick and
terracotta superstructure suffered far more from exposure to the
elements. Apollo Master sculpture was a completely Etruscan
innovation to use sculpture in this way, placed at the peak of the
temple roof—creating what must have been an impressive
tableau against the backdrop of the sky.

32. Tomb of the Triclinium

Tarquinia, Italy. Etruscan. from Tarquinia, Italy. c. 480-470 B.C.E.
Tufa and fresco. He considers the artistic quality оf the tomb's
frescoes tо be superior tо those оf mоst оther Etruscan tombs.
The tomb іs named after the triclinium, the formal dining room
whіch appears іn the frescoes оf the tomb.

33. Niobides Krater

Anonymous vase painter of Classical Greece known as the Niobid
Painter. c. 460-450 B.C.E. Greece (necropolis Crucifissio del Tufo in
Orvieto) Clay, red-figure technique
By bringing in elements of wall paintings, the painter has given
this vase its exceptional character. Wall painting was a major art
form that developed considerably during the late fifth century BC,
and is now only known to us through written accounts. Complex
compositions were perfected, which involved numerous figures
placed at different levels. This is the technique we find here
where, for the first time on a vase, the traditional isocephalia of
the figures has been abandoned

34. Doryphoros
Polykleitos. Original 450-440 B.C.E. Roman copy (marble) of
Greek original (bronze) Pompeii, Greece.
Doryphoros was one of the most famous statues in the ancient
world and many known Roman copies exist. The original was
created in around 450 BC in bronze and was presumably even
more tremendous than the known copies that have been
unearthed. Doryphoros is also an early example of contrapposto
position, a postion which Polykleitos constructed masterfully
(Moon).
35. Acropolis
Athens, Greece. Iktinos and Kallikrates. c. 447-410 B.C.E. Marble
The most recognizable building on the Acropolis is the Parthenon, one
of the most iconic buildings in the world, it has influenced architecture
in practically every western country.

36. Grave stele of Hegeso

Attributed to Kallimachos. c. 410 B.C.E. Athens, Greece. Marble and
paint. In the relief sculpture, the theme is the treatment and portrayal
of women in ancient Greek society, which did not allow women an
independent life. A contemplative seated woman picks jewellery from a
box held for her by a standing slave-girl. The jewellery would have been
painted on to the marble surface. Most likely sculpted by Callimachus

37. Winged Victory of Samothrace

Hellenistic Greek. c. 190 B.C.E. Marble. Samothrace, Greece. (Aegean).
The winged goddess of Victory standing on the prow of a ship
overlooked the Sanctuary of the Great Gods on the island of
Samothrace. This monument was probably an ex-voto offered by the
people of Rhodes in commemoration of a naval victory in the early
second century BC. The theatrical stance, vigorous movement, and
billowing drapery of this Hellenistic sculpture are combined with
references to the Classical period-prefiguring the baroque aestheticism
of the Pergamene sculptors.

38. Great Alter of Zeus and Athens at Pergamon

Asia Minor (represents-day Turkey) Hellenistic Greek. c. 175 B.C.E.
Marble
The alter of Zeus with its richly decorated frieze, a masterpiece of
Hellenistic art. It's a masterful display of vigorous action and emotion—
triumph, fury, despair—and the effect is achieved by exaggeration of
anatomical detail and features and by a shrewd use of the rendering of
hair and drapery to heighten the mood.

39. House of Vetti. Pompeii, Italy. Imperial Roman. c. second century B.C.E.;
rebuilt c. 62-79 C.E. Cut stone and fresco
The House of the Vettii offers key insights into domestic architecture
and interior decoration in the last days of the city of Pompeii. The
house itself is architecturally significant not only because of its size but
also because of the indications it gives of important changes that were
underway in the design of Roman houses during the third quarter of
the first century C.E.
40. Alexander Mosaic from the House of Faun, Pompeii
Republican Roman. c. 100 B.C.E. Mosaic
The artistic importance of this work of art comes at the subtle and
unique artistic style that the artist employed in the making of the
mosaic. The first major attribute of this great piece of artwork is the use
of motion and intensity in the battle and the use of drama unfolding
before the viewer's eyes to further the effect of glory in the mosaic.

41. Seated boxer (Terme Boxer or Boxer of the Quirinal)

Hellenistic Greek. c. 100 B.C.E. Bronze. Rome, Italy.
The sculpture shows both body and visage to convey personality and
emotion. He is still wearing his caestus, a type of leather hand-wrap. It
shows transformation of pain into bronze, a parallel of recent photos of
our contemporary Olympic athletes after their strenuous competitions.

42. Head of a Roman patrician

Republican Roma. c. 75-50 B.C.E. Marble. Rome, Italy.
the physical traits of this portrait image are meant to convey
seriousness of mind (gravitas) and the virtue (virtus) of a public career
by demonstrating the way in which the subject literally wears the marks
of his endeavors.

43. Augustus of Prima Porta

Imperial Roman. Early first century C.E. Marble. Prima Porta, Rome,
Italy.
This statue is not simply a portrait of the emperor, it expresses
Augustus Caesar’s' connection to the past, his role as a military victor,
his connection to the gods, and his role as the bringer of the Roman
Peace.

44. Colosseum (Flavin Amphitheater)

Rome, Italy. Imperial Roman. 70-80 C.E. Stone and concrete
The Colosseum is famous for it's human characteristics. It was built by
the Romans in about the first century. It is made of tens of thousands of
tons of a kind of marble called travertine.
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)
It is an amazing work of art for each detail of each scene to the very top
of the Column is carefully carved. It is astounded by the artistic skill it
displays.

46. Pantheon
Imperial Roman. 118-125 C.E. Concrete with stone facing
One of the great buildings in western architecture, the Pantheon is
remarkable both as a feat of engineering and for its manipulation of
interior space, and for a time, it was also home to the largest pearl in
the ancient world.

47. Ludovisi Battle Sarcophagus

Late Imperial Roman. c. 250 C.E. Marble
Change the ideas about cremation and burial. Extremely crowded
surface with figures piled on top of each other. Figures lack
individuality, confusion of battle is echoed by congested composition,
and Roman army trounces bearded and defeat Barbarians.

48. Catacomb of Priscilla UNIT 3

Rome, Italy. Late Antique Europe. c. 200-400 C.E. Excavated tufa and
fresco
The wall paintings are considered the first Christian artwork.

49. Santa Sabina

Rome, Italy. Late Antique Europe. c. 422-432 C.E. Brick and stone, wood
The emphasis in this architecture is on the spiritual effect and not the
physical. Helps to understand the essential characteristics of the early
Christian basilica.

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

51. San Vitale

Ravenna, Italy. Early Byzantine Europe. c. 526-547 C.E. Brick, marble,
and stone veneer; mosaic
Beautiful images of the interior spaces of San Vitale, these images
capture the effect of the interior of the church.
52. Hagia Sophia
Consantinople (Istanbu). Anthemius of Tralles and Isidorus of Miletus.
532-537 C.E. Istanbul, Turkey.
Brick and ceramic elements with stone and mosaic veneer.
The interior of Hagia Sophia was paneled with costly colored marbles and ornamental
stone inlays. Decorative marble columns were taken from ancient buildings and
reused to support the interior arcades. Initially, the upper part of the building was
minimally decorated in gold with a huge cross in a medallion at the summit of the
dome

53. Merovingian looped fibulae

Early medieval Europe. Mid-sixth century C.E. Silver gilt worked in
filigree, with inlays of garnets and other stones.
It is normal for similar groups to have similar artistic styles, and for more diverse
groups to have less in common. Fibulae is proof of the diverse and distinct cultures
living within larger empires and kingdoms, a social situation that was common during
the middle ages.

54. Virgin and child between Saints Theodore and George

Early Byzantine Europe. Six or early seventh century C.E. Encastic on
wood.
The composition displays a spatial ambiguity that places the scene in a
world that operates differently from our world. The ambiguity allows
the scene to partake of the viewer's world but also separates the scene
from the normal world.

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, pigment, and gold)
The variety and splendor of the Lindisfarne Gospels are such that even
in reproduction, its images astound. Artistic expression and inspired
execution make this codex a high point of early medieval art.

56. Great Mosque

Córdoba, Spain. Umayyad. c. 785-786 C.E. Stone masonry
The Great Mosque of Cordoba is a prime example of the Muslim
world's ability to brilliantly develop architectural styles based on pre-
existing regional traditions. It is built with recycled ancient Roman
columns from which sprout a striking combination of two-tiered,
symmetrical arches, formed of stone and red brick.
57. Pyxis of al-Mughira
Umayyad. c. 968 C.E. Ivory
The Pyxis of al-Mughira, now in the Louvre, is among the best surviving
examples of the royal ivory carving tradition in Al-Andalus (Islamic
Spain). It was probably fashioned in the Madinat al-Zahra workshops
and its intricate and exceptional carving set it apart from many other
examples; it also contains an inscription and figurative work which are
important for understanding the traditions of ivory carving and Islamic
art in Al-Andalus.

58. Church of Sainte-Foy

Conques, France. Romanesque Europe. Church: c. 1050-1130 C.E.;
Reliuary of Saint Foy: ninth century C.E.; with later additions. Stone
(architecture); stone and paint (tympanum); gold, silver, gemstone, and
enamel over wood (reliquary)
One can see some of the most fabulous golden religious objects in France, including
the very famous gold and jewel-encrusted reliquary statue of St. Foy. The Church of
Saint Foy at Conques provides an excellent example of Romanesque art and
architecture

59. Bayeux Tapestry

Romanesque Europe. c. 1066-1080 C.E. Embroidery on linen
The Bayeux Tapestry has been much used as a source for illustrations of daily life in
early medieval Europe. It depicts a total of 1515 different objects, animals and
persons . Dress, arms, ships, towers, cities, halls, churches, horse trappings, regal
insignia, ploughs, harrows, tableware, possible armorial changes, banners, hunting
horns, axes, adzes, barrels, carts, wagons, reliquaries, biers, spits and spades are
among the many items depicted

60. Chartres Cathedral

Chartres, France. Gothic Europe. Orignal construction. c. 1145-1115
C.E.; reconstructed c. 1194-1220 C.E. Limestone, stained glass
The Chartres Cathedral is probably the finest example of French Gothic architecture
and said by some to be the most beautiful cathedral in France. The Chartres Cathedral
is a milestone in the development of Western architecture because it employs all the
structural elements of the new Gothic architecture: the pointed arch; the rib-and-
panel vault; and, most significantly, the flying buttress.

61. Dedication Page with Blanche of Castle and King Louis IX of France,
Scenes from the Apocolypse from Bibles moralisées.
Gothic Europe. c. 1225-1245 C.E. Illuminated manuscript
This 13th century illumination, both dazzling and edifying, represents the cutting edge
of lavishness in a society that embraced conspicuous consumption. As a pedagogical
tool, perhaps it played no small part in helping Louis IX achieve the status of
sainthood, awarded by Pope Bonifiace VIII 27 years after the king's de ath.
62. Röttgen Pietà
Late medieval Europe (Germany). c. 1300-1325 C.E. Painted wood
The statue's bold emotionalism in Mary and Jesus's face. If we focus on
Mary's face, there is a mix of emotions in her gaze. The artist
humanizes Mary by giving her strong emotions. Mary's face looks
appalled and anguished because of her son's death, and there is also a
sense of shock, and awe that anyone would kill her son- the Son of God.
The artist had exaggerated Mary's sorrow in attempts to make it seem
she was asking the viewer.

63. Arena (Scrovengni) Chapel, including Lamentation

Padus, Italy. Unknown architect; Giotto di Bonde (artist). Chapel: c.
1303 C.E.; Fresco: c. 1305. Brick (architecture) and fresco
Giotto painted his artwork on the walls and ceiling of the Chapel using
the fresco method in which water based colors are painted onto wet
plaster. Painting onto wet plaster allows the paint to be infused into the
plaster creating a very durable artwork. However, since the painter
must stop when the plaster dries it requires the artist to work quickly
and flawlessly

64. Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and

Preparation for Passover)
Late medieval Spain. c. 1320 C.E. Illuminated manuscript (pigment and
gold leaf on vellum)
The book was for use of a wealthy Jewish family. The holy text is
written on vellum - a kind of fine calfskin parchment - in Hebrew script,
reading from right to left. Its stunning miniatures illustrate stories from
the biblical books of 'Genesis' and 'Exodus' and scenes of Jewish ritual.

65. Alhambra
Granada, Spain. Nasrid Dynasty. 1354-1391 C.E. Whitewashed adobe
stucco, wood, tile, paint, and gilding
The Alhambra's architecture shares many characteristics, but is singular
in the way it complicates the relationship between interior and
exterior. Its buildings feature shaded patios and covered walkways that
pass from well-lit interior spaces onto shaded courtyards and sun-filled
gardens all enlivened by the reflection of water and intricately carved
stucco decoration.

66. Annunciation Triptych

Workshop of Robert Campin. 1427-1432 C.E. Tournai, Belgium
Oil on wood. It consists of three hinged panels (triptych format): the left
panel depicts the donor and his wife; the central and most important
panel shows the Annunciation itself, and its two main characters, Mary
and Archangel Gabriel; the right panel portrays Joseph in his workshop.
The triptych is unsigned and undated, and only since the early 20th
century has Robert Campin been identified as its creator, albeit with
help from his assistants, one of whom may have been his greatest pupil
Roger van der Weyden (1400-64).
67. Pazzi Chapel
Basilicia di Santa Croce. Florence, Italy. Filippo Brunelleschi (architect) c.
1429-1461 C.E. Masonry
Pazzi chapel as a perfect space with harmonious proportions. He could
achieve this result by including in his project-plan the knowledge gained
during his stay in Rome when he focused primarily on measuring
ancient buildings, for instance the Pantheon. The central dome is
decorated with round sculptures and the coat of arms of Pazzi Family

68. The Arnolfini Portrait

Jan van Eyck. c. 1434 C.E. Burges, Netherland. Oil on wood
Van Eyck used oil-based paint as the medium for his artwork. This type
of paint is manufactured by adding pigment to linseed or walnut oil. Oil
based paint dries slowly allowing the painter more time to make
revisions and to add detail, and it has a luminous quality that allows the
artist. Van Eyck was not the inventor of oil-based paint, but he is
recognized as being one of the first to perfect its use

69. David
Donatello. c. 1440-1460 C.E. Florence, Italy. Bronze
Nearly everything about the statue - from the material from which it
was sculpted to the subject's "clothing" - was mold-breaking in some
way. Scholars and artists have studied David for centuries in an attempt
to both learn more about the man behind it and to more fully discern
its meaning.

70. Palazzo Rucellai

Florence, Italy. Leon Battista Alberti (architect). c. 1450 C.E. Stone,
masonry
It uses architectural features for decorative purposes rather than
structural support; like the engaged columns on the Colosseum, the
pilasters on the façade of the Rucellai do nothing to actually hold the
building up .Also, on both of these buildings, the order of the columns
changes, going from least to most decorative as they acend from the
lowest to highest tier.
71. Madonna and Child with Two Angels
Fra Filippo Lippi. c. 1465 C.E. Fllorence, Italy. Tempera on wood
Mary's hands are clasped in prayer, and both she and the Christ child
appear lost in thought, but otherwise the figures have become so
human that we almost feel as though we are looking at a portrait. The
angels look especially playful, and the one in the foreground seems like
he might giggle as he looks out at us.

72. Birth of Venus

Sandro Brotticelli. c. 1484-1486 C.E. Florence, Italy.
Tempera on canvas
Botticelli broke new ground with his works, including the Birth of
Venus. He was the first to create large scale mythology scenes, some
based on historical accounts. In the era that Birth of Venus was painted,
minds were open to new ideas and religion no longer needed to be the
main subject of artistic work. If such mythological pieces had been
painted 100 years earlier, they would not have been accepted by the
church because they were so different to traditional depictions.

73. Last Supper

Leonardo da Vinci. c. 1494-1498 C.E. Oil and Tempera
The Last Supper is remarkable because the disciples are all displaying
very human, identifiable emotions. The Last Supper had certainly been
painted before. Leonardo's version, though, was the first to depict real
people acting like real people.

74. Adam and Eve

Albrecht Dürer. 1504 C.E. Nuremburg, Germany. Engraving
Dürer became increasingly drawn to the idea that the perfect human
form corresponded to a system of proportion and measurements.
Dürer's placid animals signify that in this moment of perfection in the
garden, the human figures are still in a state of equilibrium.

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
The paintings depict nine stories from the Christian Bible's Book of
Genesis, including the most famous image, the Creation of Adam
(right). Taken together, the paintings are considered one of the world's
greatest art masterpieces. Their realistic and extremely detailed
depictions of some of Judaism's and Christianity's most famous
moments are a wonder to all who see them.
76. School of Athens
Raphael. 1509-1511 C.E. Fresco
Its pictorial concept, formal beauty and thematic unity were universally
appreciated, by the Papal authorities and other artists, as well as
patrons and art collectors. It ranks alongside Leonardo's Mona Lisa and
The Last Supper, and Michelangelo's Vatican frescoes, as the
embodiment of Renaissance ideals of the early cinquecento.

77. Isenheim altarpiece

Matthias Grünewald and Nicolas Haguenau. c. 1512-1516 C.E. Colmar,
France. Oil on wood
Emphasizing the suffering and anguish of Christ and his mother's angst.
With intense colors and dramatic lighting throughout, Grunewald
included a Lamentation in the predella and Saints Sebastian and
Anthony on the fixed wings.

78. Entombment of Christ

Jacopo da Pontormo. 1525-1528 C.E. Capponi chapel, Santa Felicita,
Florence, Italy. Oil on wood
They inhabit a flattened space, comprising a sculptural congregation of
brightly demarcated colors. The vortex of the composition droops down
towards the limp body of Jesus off center in the left. Those lowering
Christ appear to demand our help in sustaining both the weight of his
body (and the burden of sin Christ took on) and their grief.

79. Allegory of Law and Grace

Lucas Cranach the Elder. c. 1530 C.E.Germany. Woodcut and
letterpress
The practice of imbuing narratives, images or figures with symbolic
meaning to convey moral principles and philosophical idea

80. Venus of Urbino

Titan. c. 1538 C.E. Florence, Italy. Oil on canvas
Thanks to the wise use of color and its contrasts, as well as the subtle
meanings and allusions, Titian achieves the goal of representing the
perfect Renaissance woman who, just like Venus, becomes the symbol
of love, beauty and fertility.
81. Frontispiece of the Codex Mendoza
Viceroyalty of New Spain. c. 1541-1542 C.E. Ink and color on paper
The artist emphasizes the military power of the Aztecs by showing two
soldiers in hierarchic scale: they physically tower over the two men they
defeat. The Codex contains a wealth of information about the Aztecs
and their empire

82. Il Gesù, including Triumph of the Name of Jesus ceiling fresco

Rome, Italy. Giacomo da Vignola, plan (architect); Giamcomo della
Porta, facade (architect); Giovanni Battista Gaulli, ceiling fresco (artist).
Church: 16th century C.E.; facade: 1568-1584 C.E.; fresco and stucco
figures: 1679-1679 C.E. Brick, marble, fresco, and stucco
The interior accentuates the two great functions of a Jesuit church: its large central
nave with the laterally placed pulpit serves as a great auditorium for preaching, and
the highly visible and prominent altar serves as a theatrical stage for the celebration
of the Real Presence in the Eucharist. the fresco blends seamlessly into the
architecture of the ceiling. It almost looks like there really is an opening in the ceiling.

83. Hunters in the Snow

Pieters Bruegel the Elder. 1565 C.E. Netherland. Oil on woods
This Bruegel oil painting - which is, incidentally the world's most
popular classical Christmas card design - evokes the harsh conditions
and temperatures of winter. The composition is ideal as the first in a
frieze of pictures covering the full year, and the painting is filled with
detail. Commissioned 4 seasonal panels.

84. Mosque of Selim II

Edrine, Turkey. Sinan (architect), 1568-1575 C.E. Brick and stone
It is one of the most important buildings in the history of world
architecture both for its design and its monumentality. It is considered
to be the masterwork of the great Ottoman architect Sinan.

85. Calling of Saint Matthew

Caravaggio. c. 1597-1601 C.E Rome, Italy. Oil on canvas
Caravaggio depicts the very moment when Matthew first realizes he is
being called. This was Caravaggio's first important job and the
completed work would win him the highest of praise as well as the
harshest of criticism for its shockingly innovative style.
86. Henri IV Recieves the portrait of Marie de' Medici, from the Marie de'
Medici Cycle
Peter Paul Rubens. 1621-1625 C.E. Luxembourg Palace in Paris, France.
Oil on canvas
The cycle idealizes and allegorizes Marie's life in light of the peace and
prosperity she brought to the kingdom, not through military victories but
through wisdom, devotion to her husband and her adopted country, and
strategic marriage alliances—her own as well as the ones she brokered for
her children. This, at least, is the message she wished to convey and she
worked closely with her advisors and Rubens to ensure her story was told as
she saw fit. 22 panels.

87. Self-Portrait with Saskia

Rembrandt van Rijn. 1636 C.E. Netherlands. Etching
Rembrandt stand out among his contemporaries is that he often
created multiple states of a single image. This etching, for example,
exists in three states. By reworking his plates he was able to experiment
with ways to improve and extend the expressive power of his images.

88. San Carlo alle Quattro Fontane

Rome, Italy. Francesco Borromini (architect) 1638-1646 C.E. Stone and
stucco
He was much criticized as an architect who ignored the rules of the
Ancients in favour of whimsy. However it is his clear knowledge of
those rules, and the facility and ingenuity with which he manipulated
them, which has ensured his reputation as one of the great geniuses in
the history of architecture.

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)
Bernini used the erotic character of the experience as a springboard to
a new and higher type of spiritual awakening. It is one of the most
important examples of the Counter-Reformation style of Baroque
sculpture, designed to convey spiritual aspects of the Catholic faith.

90. Angel with Arquebus, Asiel Timor Dei

Master of Calamarca (La Paz School). c. 17th century C.E. Cornaro
chapel, church of Santa Maria Della Vittoria, Rome, Italy
Oil on canvas
As the Angels was one of the topics most characteristic of the painting
from the Viceregal in America, this kind of art and characters are found
in different villages of Peru, Argentina and even in other departments
of Bolivia. Calamarca is one of the most complete collections, including
Angels holding arquebuses, swords, holding keys or spikes of wheat or a
bundle of fire in his hand.
91. Las Meninas
Diego Velázquez. c. 1656 C.E. Spain. Oil on canvas
The painting represents a scene from daily life in the palace of Felipe IV.
The points of light illuminate the characters and establish an order in
the composition. The light that illuminates the room from the right
hand side of the painting focuses the viewer´s look on the main group,
and the open door at the back, with the person positioned against the
light, is the vanishing point.

92. Women Holding a Balance

Johnnes Vermer. c. 1664 C.E. Netherland. Oil on canvas
the small, delicate balance is the central feature and focus of the
picture, which is all about the weighing of transitory material concerns
against spiritual ones. It is a more explicitly allegorical work than usual,
but some elements remain obscure. The work exemplifies Vermeer's
style of Dutch Realist genre painting with its blend of painterly
technique, moral narrative and, above all, intimacy

93. The Palace of Versailles

Versailles, France. Loius Le Vau and Jules Hardouin-Mansart
(architects). Begun 1669 C.E. Masonry, stone, wood, iron, and gold leaf
(architecture); marble and bronze (sculpture); gardens
The gigantic scale of Versailles exemplifies the architectural theme of 'creation by
division' - a series of simple repetitions rhythmically marked off by the repetition of
the large windows - which expresses the fundamental values of Baroque art and in
which the focal point of the interior, as well as of the entire building, is the king's bed.
Among its celebrated architectural designs is the Hall of Mirrors, which is one of the
most famous rooms in the world. The palace and its decoration stimulated a mini-
renaissance of interior design, as well as decorative art, during the 17th and 18th
centuries.

94. Screen with the Siege of Belgrade and hunting scene

Circle of the González Family. c. 1697-1701 C.E. Spain. Tempera and
resin on wood, shell inlay
Throughout both sides, the artists embedded thin layers of mother-of-
pearl, but not in any pattern, nor within the images' contour lines. Their
purpose was to reflect light from the candles that would have shone in
the screen's surroundings
95. The Virgin of Guadalupe
Miguel González. c. 1698 C.E. Based on original Virgin of Gaudalupe.
Basilica of Guadalupe, Mexico City. 16th century C.E. Oil on canvas on
wood, inlaid with mother-of-pearl
Our Lady of Guadalupe holds a special place in the religious life of
Mexico and is one of the most popular religious devotions. Her image
has played an important role as a national symbol of Mexico.

96. Fruit and Insects

Rachel Ruysch. 1711 C.E. Netherland. Oil on wood
This luscious sample of life on Earth represents at least two passions of
its time: categorization and still-life, which emphasize the pleasure of
the senses and their qualities

97. Spaniard and Indian Produce a Mestizo

Attributed to Juan Rodríguez Juárez. c. 1715 C.E. New Spain (Spanish
colonial Mexico)
Oil on canvas
The painting displays a Spanish father and Indigenous mother with their
son, and it belongs to a larger series of works that seek to document
the inter-ethnic mixing occurring in New Spain among Europeans,
indigenous peoples, Africans, and the existing mixed-race population.
This genre of painting, known as caste paintings, attempts to capture
reality, yet they are largely fictions.

98. The Tête à Tête, from Marriage à la Mode

William Hogarth. c. 1743 C.E. London, UK. Oil on canvas
First Western artist who worked in series, that is, a group of paintings
with a common thread, a common theme. Now many contemporary
artists work in series to explore different styles and approaches to their
art, but this was not usual in the 18th century. 6 Panels.

99. Portrait of Sor Juana Inés de la Cruz UNIT 4

Miguel Cabrera. c. 1750 C.E. Latin America. Oil on canvas.
Considered the first feminist of the Americas, sor Juana lived as a nun
of the Jeronymite order (named for St. Jerome) in seventeenth-century
Mexico. Renown of Sister Juana as one of the most important early
poets of the Americas. The inscription identifies the image as a faithful
copy after a portrait that she herself made and painted with her own
hand.
100. A Philosopher Giving a Lecture on the Orrery
Joseph Wright of Derby. c. 1763-1765 C.E. Derby, England. Oil on canvas
That responsibility falls on the paintings strong internal light source, the
lamp that takes the role of the sun. Wright inserted strong light sources
in otherwise dark compositions to create dramatic effect. Most of these
earlier works were Christian subjects, and the light sources were often
simple candles. Wright flips the script with his scientific subject matter.
The gas lamp which acts as the sun pulls double duty in the painting. It
illuminates the scene, allowing the viewer to clearly see the figures
within, and it symbolizes the active enlightenment in which those
figures are participating.
101. The Swing
Jean-Honoré Fragonard. 1767 C.E. France. Oil on canvas
The Swing, rich with symbolism, not only manages to capture a
moment of complete spontaneity and joie de vivre, but also alludes to
the illicit affair that may have already been going on, or is about to
begin.

102. Monticello
Virginia, U.S. Thomas Jefferson (architect). 1768-1809 C.E. Brick, glass,
stone, and wood
By helping to introduce classical architecture to the United States,
Jefferson intended to reinforce the ideals behind the classical past:
democracy, education, rationality, civic responsibility. Jefferson
reinforced the symbolic nature of architecture.

103. The Oath of the Horatii

Jacques-Louis David. 1784 C.E. France. Oil on canvas
Designed to rally republicans (those who believed in the ideals of a
republic, and not a monarchy, for France) by telling them that their
cause will require the dedication and sacrifice of the Horatii.

104. George Washington

Jean-Antoine Hudson. 1788-1792 C.E. United States. Marble
The statue, with all of its elements, skillfully combines ancient and
modern styles to illustrate both military and civilian virtues. When
Houdon completed the statue, he inscribed the base simply with
"George Washington" and his own name and a date.
105. Self-Portrait
Louise Élisabeth Vigée Le Brun. 1790 C.E. France. Oil on canvas
The painting expresses an alert intelligence, vibrancy, and freedom
from care. This, dispite the fact that Vigée-LeBrun had been forced to
flee France in disguise and under cover of darkness during the early
stages of the Revolution

106. Y no hai remedio, fromo Los Desastres de la Guerra, plate 15

Francisco de Goya. 1810-1823 C.E. (publised 1863). Spain.
Etching, drypoint, burin, and burnishing
The artist was sent to the general's hometown of Saragossa to record
the glories of its citizens in the face of French atrocities. The sketches
that Goya began in 1808 and continued to create throughout and after
the Spanish War of Independence and other emphatic caprices.
Focused on the widespread suffering experienced in wartime and the
brutality inflicted by both sides during periods of armed conflict.

107. La Grande Odalisque

Jean-Auguste-Dominique Ingres. 1814 C.E. Rome, Italy.
Oil on canvas
Ingres' sensual fascination with the Orient was no secret. He displayed
his attraction for this foreign eroticism in many of his works but his
most famous paintings on this theme are La Grande Odalisque.

108. Liberty Leading the people

Eugène Delacroix. 1830 C.E. France. Oil on canvas
Delacroix wanted to paint July 28: Liberty Leading the People to take his
own special action in the revolution and his color technique combined
his intense brushstrokes to create an unforgettable canvas.

109. The Oxbow (View from Mount Holyoke, Northampton, Massachusetts,

after a Thunderstorm) Thomas Cole. 1836 C.E. Oil on canvas
The artist juxtaposes untamed wilderness and pastoral settlement to
emphasize the possibilities of the national landscape, pointing to the
future prospect of the American nation. Cole's unmistakable
construction and composition of the scene, charged with moral
significance, is reinforced by his depiction of himself in the middle
distance, perched on a foreland painting the Oxbow.
110. Still Life in Studio
Louis-Jacques Mandé Daguerre. 1837 C.E. Daguerreotype. 1837 C.E.
France. Daguerreotype
He developed the daguerreotype process, produced pictures
remarkable for the perfection of their details and for the richness and
harmony of their general effect.
111. Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon
Coming On) Joseph Mallord William Turner. 1840 C.E. England.
Oil on canvas
Slave Ship is a perfect example of a romantic landscape painting. His
style is expressed more through dramatic emotion, sometimes taking
advantage of the imagination. Instead of carefully observing and
portraying nature, William Turner took a landscape of a stormy sea and
turned it into a scene with roaring and tumultuous waves that seem to
destroy everything in its path. Turner's aims were to take unique
aspects of nature and find a way to appeal strongly to people's
emotions.
112. Palace of Westminster (house of Parliament)
London, England. Charles Barry and Augustus W. N. Pugin (architects).
1840-1870 C.E. Limestone masonry and glass
Its stunning Gothic architecture to the 19th-century architect Sir
Charles Barry. The Palace contains a fascinating mixture of both ancient
and modern buildings, and houses an iconic collection of furnishings,
archives and works of art.

113. The Stone Breakers

Gustave Courbet. 1849 C.E. (destroyed in 1945). France. Oil canvas
He attempts to be even-handed, attending to faces and rock equally. In
these ways, The Stonebreakers seems to lack the basics of art (things
like a composition that selects and organizes, aerial perspective and
finish) and as a result, it feels more "real.”

114. Nadar Raising Photography to the Height of Art

Honoré Daumier. 1862 C.E. Paris, France. Lithograph
Nadar, one of the most prominent photographers in Paris at the time,
was known for capturing the first aerial photographs from the basket of
a hot air balloon.

115. Olympia
Édouard Manet. 1863 C.E. France. Oil on canvas
Olympia and the controversy surrounding what is perhaps the most
famous nude of the nineteenth-century. Olympia had more to do with
the realism of the subject matter than the fact that the model was
nude.
116. The Saint-Lazare Station
Claude Monet. 1877 C.E. France. Oil on canvas
The effects of color and light rather than a concern for describing
machines in detail. Certain zones, true pieces of pure painting, achieve
an almost abstract vision. An ideal setting for someone who sought the
changing effects of light, movement, clouds of steam and a radically
modern motif.

117. The Horse in Motion

Eadweard Muybridge. 1878 C.E. English- American. Albumen print
Muybridge spent the rest of his career improving his technique, making
a huge variety of motion studies, lecturing, and publishing. As a result
of his motion studies, he is regarded as one of the fathers of the motion
picture. Muybridge's motion studies showed the way to a new art form.

118. The Valley of Mexico from the Hillside of Santa Isabel

José María Velasco. 1882 C.E. Oil on canvas
The Valley of Mexico from the Hillside of Santa Isabel represents an
important period in the development of Mexico's national identity and
an important chapter in the history of Mexican art. Velasco's
landscapes became symbols of the nation as they represented Mexico
in several World Fairs.

119. The Burghers of Calais

Auguste Rodin. 1884-1895 C.E. Calias, France. Bronze
He accomplished this by not only positioning each figure in a different
stance with the men's heads facing separate directions, but he lowered
them down to street level so a viewer could easily walk around the
sculpture and see each man and each facial expression and feel as if
they were a part of the group, personally experiencing the tragic event.

120. The Starry Night

Vincent van Gogh. 1889. St. Remy, France.
Oil on canvas
It is this rich mixture of invention, remembrance, and observation
combined with Van Gogh's use of simplified forms, thick impasto, and
boldly contrasting colors that has made the work so compelling to
subsequent generations of viewers as well as to other artists. Inspiring
and encouraging others is precisely what Van Gogh sought to achieve
with his night scenes. The painting became a foundational image for
Expressionism as well as perhaps the most famous painting in Van
Gogh's oeuvre.
121. The Coiffure
Mary Cassatt. 1890-1891 C.E, American. Drypoint and aquatint
The straight lines of the mirror and wall and the chair's vertical stripes
contrast with the graceful curves of the woman's body. The rose and
peach color scheme enhances her sinuous beauty by highlighting her
delicate skin tone. Cassatt also emphasizes the nape of the woman's
neck, perhaps in reference to a traditional Japanese sign of beauty.

122. The Scream

Edvard Munch. 1893 C.E. Norwegian. Tempera and pastels on
cardboard
Edvard Munch portrayed pure, raw emotion in this artwork was a
radical shift from the art tradition of his own time, and he is therefore
credited with beginning the expressionist movement that spread
through Germany and on to other parts of the world. Most of Edvard
Munch's work relates to themes of sickness, isolation, fear and death.

123. Where Do We Come From? What Are We? Where Are We Going?
Paul Gauguin. 1897-1898 C.E. France. Oil on canvas
A huge, brilliantly colored but enigmatic work painted on rough, heavy
sackcloth. It contains numerous human, animal, and symbolic figures
arranged across an island landscape. The sea and Tahiti's volcanic
mountains are visible in the background. It is Paul Gauguin's largest
painting, and he understood it to be his finest work.
124. Carson, Pirie, Scott and Company Building
Chicago, Illinios, U.S. Louis Sullivan (architect). 1899-1903 C.E. Iron,
steel, glass, and terra cotta
With its elaborate decorative program and attention paid to the
functional requirements of retail architecture, Sullivan's design was a
remarkably successful display for the department store's products,
even if it diverged from the wholly vertical effect of his earlier
skyscrapers.

125. Mont Sainte-Victorie

Paul Cézanne. 1902-1904 C.E. France. Oil on canvas
Displays less precise brushstrokes allowing the shape of the mountain
to emerge from the canvas like an apparition. It's the painter's intention
to show nature as it is, without omitting to convey an emotion.
126. Les Demoiselles d'Avignon
Pablo Picasso. 1907 C.E. Barcelona, Spain.Oil on canvas
Marks a radical break from traditional composition and perspective in
painting. These strategies would be significant in Picasso's subsequent
development of Cubism, charted in this gallery with a selection of the
increasingly fragmented compositions he created in this period.

127. The Steerage

Alfred Stieglitz. 1907 C.E., New York, NY. Photogravure
The Steerage is considered Stieglitz's signature work, and was
proclaimed by the artist and illustrated in histories of the medium as his
first "modernist" photograph.

128. The Kiss

Gustav Klimt. 1907-1908 C.E. Vienna, Austria. Oil and gold leaf on
canvas
This one employs intense ornament on the embracing couple's gilded
clothing, so thoroughly intertwined that the two bodies seem to be one

129. The Kiss

Constantin Brancusi. 1907-1908 C.E. Romanian. Limestone
Marked a major departure from the emotive realism of Rodin's famous
handling of the same subject. This 1916 version is the most geometric
of Brancusi's series, reflecting the influence of Cubism in its sharply
defined corners. Its composition, texture, and material highlight
Brancusi's fascination with both the forms and spirituality of African,
Assyrian, and Egyptian art. That attraction also led Brancusi to craft The
Kiss using direct carving, a technique that had become popular in
France at the time due to an interest in "primitive" methods. These
sculptures signify his shift toward simplified forms, as well as his
interest in contrasting textures - both key aspects of his later work.
130. The Portuguese
Georges Braque. 1911 C.E. France. Oil on canvas
In this canvas, everything was fractured. The guitar player and the dock
was just so many pieces of broken form, almost broken glass. By
breaking these objects into smaller elements, Braque was able to
overcome the unified singularity of an object and instead transform it
into an object of vision.

131. Goldfish
Henri Mattisse. 1912 C.E. France. Oil on canvas
This painting is an illustration of some of the major themes in Matisse's
painting: his use of complimentary colors, his quest for an idyllic
paradise, his appeal for contemplative relaxation for the viewer and his
complex construction of pictorial space.

132. Improvisation 28
Vassily Kandinsky. 1912 C.E. Russian. Oil on canvas
His style had become more abstract and nearly schematic in its
spontaneity. This painting's sweeping curves and forms, which dissolve
significantly but remain vaguely recognizable, seem to reveal
cataclysmic events on the left and symbols of hope and the paradise of
spiritual salvation on the right.

133. Self-Portrait as a Soldier

Ernst Ludwig Kirchner. 1915 C.E. German. Oil on canvas
Documents the artist's fear that the war would destroy his creative
powers and in a broader sense symbolizes the reactions of the artists of
his generation who suffered the kind of physical and mental damage
Kirchner envisaged in this painting.

134. Memorial Sheet for Karl Liebknecht

Käthe Kollwitz. 1919-1920 C.E. German. Woodcut
Created in 1920 in response to the assassination of Communist leader
Karl Liebknecht during an uprising of 1919. This work is unique among
her prints, and though it memorializes the man, it does so without
advocating for his ideology.
135. Villa Savoye
Poissy-sur-Seine, France. Le Corbusier (architect). 1929 C.E. Steel and
reinforced concrete
This was a radically new view of the domestic sphere, one that is
evident in his design for the Villa Savoye. The architect has created a
space that is dynamic. This design concept was based on the notion of
the car as the ultimate machine and the idea that the approach up to
and through the house carried ceremonial significance.

136. Composition with Red, Blue and Yellow

Piet Mondrain. 1930 C.E. Netherlands. Oil on canvas
Represents a mature stage of Mondrian's abstraction. It seems to be a
flat work, but there are differences in the texture of different elements.
While the black stripes are the flattest of the paintings, in the areas
with color are clear the brushstrokes, all in the same direction. The
white spaces are, on the contrary, painted in layers, using brushstrokes
that are put in different directions. And all of these produce a depth
that, to the naked eye, cannot be appreciated.

137. Illustration from The Results of the First Five-Year Plan

Varvara Stepanova. 1932 C.E. Russian. Photomontage.
There is a sharp contrast between the black and white photographs and
the red elements, such as the electric tower, the number 5, and the
triangle in the foreground. Our eyes are attracted to these oppositions
and by the contrast between the indistinct masses and the individual
portrait of Lenin, as an implicit reference to the Soviet political system.

138. Object (Le Déjeuner en fourrure). Meret Oppenheim. 1936 C.E.

German. Fur-covered cup, saucer, spoon
In doing so, she said she wanted to transform items typically associated
with feminine decorum into sensuous tableware. It also provoked the
viewer into imagining what it would be like to drink out of a fur-lined
cup.

139. Fallingwater
Pennsylvannia, U.S. Frank Lloyd Wright (architect) 1936-1939 C.E.
Reinforced concrete, sandstone, steel, and glass
It's a house that doesn't even appear to stand on solid ground, but
instead stretches out over a 30' waterfall. It captured everyone's
imagination when it was on the cover of Time magazine in 1938.
140. The Two Fridas
Frida Kahlo. 1939 C.E. Mexico. Oil on canvas
She typically painted self-portraits using vibrant colours in a style that
was influenced by cultures of Mexico as well as influences from
European Surrealism. Her self-portraits were often an expression of her
life and her pain.

141. The Migration of the Negro, Panel no. 49

Jacob Lawrence. 1940-1941 C.E. New York. Casein tempera on
hardboard
Broad in scope and dramatic in exposition, this depiction of African-
Americans moving North to find jobs, better housing, and freedom
from oppression was a subject he associated with his parents, who had
themselves migrated from South Carolina to Virginia, and finally, to
New York.

142. The Jungle

Wifredo Lam. 1943 C.E. Cuban. Gouache on paper mounted on canvas
The work, "intended to communicate a psychic state," Lam said, depicts
a group of figures with crescent-shaped faces that recall African or
Pacific Islander masks, against a background of vertical, striated poles
suggesting Cuban sugarcane fields. Together these elements obliquely
address the history of slavery in colonial Cuba.

143. Dream of a Sunday Afternoon in the Alameda Park

Diego Rivera. 1947-1948 C.E. Mexico City, Mexico. Fresco
The artist reminds the viewer that the struggles and glory of four
centuries of Mexican history are due to the participation of Mexicans
from all strata of society.

144. Fountain
Marcel Duchamp. 1950 C.E. (original 1917). New York. Readymade
glazed sanitary china with black paint
It was unexpectedly a rather beautiful object in its own right and a
blindingly brilliant logical move, check-mating all conventional ideas
about art. But it was also a highly successful practical joke.
145. Woman, I
William de Kooning. 1950-1952 C.E. New York. Oil on canvas
Woman, I reflects the age-old cultural ambivalence between reverence
for and fear of the power of the feminine.

146. Seagram Building

New York City, U.S. Ludwig Miles van er Rohe and Philip Johnson
(architects). 1954-1958 C.E. Steel frame with glass curtain wall and
bronze
This building epitomizes the importation of modernist ideals from Europe to the
United States. In its monumental simplicity, expressed structural frame and rational
use of repeated building elements, the building embodies Ludwig Mies van der Rohe's
oft-repeated aphorisms that "structure is spiritual" and "less is more." He believed
that the more a building was pared to its essential structural and functional elements,
and the less superfluous imagery is used, the more a building expresses its structure
and form.

147. Marilyn Diptych

Andy Warhol. 1962 C.E. USA. Oil, acrylic, and silkscreen enamel on
canvas
Marilyn Diptych he has produced effects of blurring and fading strongly
suggestive of the star's demise. The contrast of this panel, printed in
black, with the brilliant colors of the other, also implies a contrast
between life and death. The repetition of the image has the effect both
of reinforcing its impact and of negating it, creating the effect of an all-
over abstract pattern.

148. Narcissus Garden

Yayoi Kusama. Original Installation and performance 1966. Japan Mirror
balls
Her work as emerging from her mental illness: she says has had
hallucinations since she was a child. She also says that her ability to
produce artistic works is a therapy for her. has often revisited mirrored
forms in her work, exploring notions of infinity, illusion, and repetition
in discrete sculptures and room-size installations.

149. The Bay

Helen Frankenthaler. 1963 C.E. New York (Detroit, MI.) Acrylic on
canvas
The colors on the canvas don't have to represent something in
particular, but can have a more ambiguous, emblematic quality for the
viewer. The basic act of responding to color, the way one would
respond to a sunset, or to light from a stained-glass window, simplicity
and pure emotion through clarity of color and form.
150. Lipstick (Ascending) on Caterpillar Tracks
Claes Oldenburg. 1969-1974 C.E. Yale University, New Haven,
Connecticut
Cor-Ten steel, steel, aluminum, and cast resin; painted with
polyurethane enamel.
Lipstick (Ascending) on Caterpillar Tracks claimed a visible space for the
anti-war movement while also poking fun at the solemnity of the plaza.
The sculpture served as a stage and backdrop for several subsequent
student protests.

151. Spiral Jetty

Great Salt Lake, Utah. U.S. Robert Smithson. 1970 C.E. Earthwork: mud,
precipitated salt crystals, rocks, and water coil
The wind alters the intensity of the water's changing colors, as does the
quality of the light and the density of the overhead cloud-cover. As you
start to walk the spiral, you enter a kaleidoscope of moaning wind,
relentless light, and mercurial water colors.

152. House in New Castle County

Delaware, U.S. Robert Venturi, John Rauch, and Denise Scott Brown
(architects). 1978-1983 C.E. Wood frame and stucco
While the Vanna Venturi house is widely considered to be the first
postmodern building, Robert Venturi insists he wasn't trying to create a
new movement. With his Vanna Venturi house widely considered to be
the first postmodern building design Robert Venturi showed us that
sometimes, rules are meant to be broken.

153. Chavín de Huántar UNIT 5

Northern highlands, Peru. Chavín.900-200 B.C.E. Stone (architectural
complex); granite (Lanzón and sculpture); hammered gold alloy
(jewelry)
Over the course of 700 years, the site drew many worshipers to its
temple who helped in spreading the artistic style of Chavín throughout
highland and coastal Peru by transporting ceramics, textiles, and other
portable objects back to their homes.

154. Mesa Verde cliff dwelling

Montezuma County, Colorado Ancestral Puebloan (Anasazi) 450-1300
C.E. Sandstone
The cliff dwellings remain, though, as compelling examples of how the
Ancestral Puebloans literally carved their existence into the rocky
landscape of today's southwestern United States.

155. Yaxchilán
Chiapas, Mexico. Maya. 725 C.E. Limestone (architectural complex)
Yaxchilán is located on the south bank of the Usumacinta River, in Chiapas, Mexico. It
was a significant Maya center during the Classic period (250-900 C.E.) and a number of
its buildings stand to this day. Many of the exteriors had elaborate decorations, but it
is the carved stone lintels above their doorways which have made this site famous.
These lintels, commissioned by the rulers of the city, provide a lengthy dynastic record
in both text and image.
156. Great Serpent Mound
Adams County, southern Ohio. Mississippian (Eastern Woodlands). c.
1070 C.E. Earthwork/effigy mound

157. Templo Mayor (Main Temple)

Tenochtitlan (modern Mexico). Mexica (Aztec). 1375-1520 C.E. Stone
(temple); volcanic stone (The Coyolxauhqui Stone); jadeite (Olmec-style
mask); basalt (Calendar Stone)
The most spectacular expansion of the Templo Mayor took place in the
year "1 Rabbit" (1454 A.D.) under the ruler Motecuhzoma I when
impressive art works and architectural elements were added.

158. Ruler's feather headdress (probably of Motecuhzoma II)

Mexica (Aztec). 1428-1520 C.E. Feathers (quetzal and cotinga) and gold
The headdress was probably part of the collection of artefacts given by
Motecuhzoma to Cortés who passed on the gifts to Charles V. The
headdress is made from 450 green quetzal, blue cotinga and pink
flamingo feathers and is further embellished with gold beads and jade
disks.

159. City of Cusco, including O0rikancha (Inka main temple), Santo Domingo
(Spanish colonial convent), and Walls at Saqsa Waman (Sacsayhuaman)
Central highlands, Peru. Inka. c. 1440 C.E.; convent added 1550-1650
C.E. Andesite
Cuzco, which had a population of up to 150,000 at its peak, was laid out
in the form of a puma and was dominated by fine buildings and palaces,
the richest of all being the sacred gold-covered and emerald-studded
Coricancha complex which included a temple to the Inca sun god Inti.

160. Maize cobs

Inka. c. 1440-1533 C.E. Sheet metal/repoussé, metal alloys
While many ancient Andean art traditions favored abstract and
geometric forms, Inka visual expression often incorporated more
naturalistic forms in small-scale metal objects. This silver alloy corncob
sculpture is one example of this type of object.
161. City of Machu Picchu
Central highlands, Peru. Inka. c. 1450-1540 C.E. Granite (architectural
complex)
The site contains housing for elites, retainers, and maintenance staff,
religious shrines, fountains, and terraces, as well as carved rock
outcrops, a signature element of Inka art.

162. All-T'oqapu tunic

Inka. 1450-1540 C.E. Camelid fiber and cotton
The All-T'oqapu Tunic is an example of the height of Andean textile
fabrication and its centrality to Inka expressions of power.

163. Bandolier bag

Lenape (Delaware tribe, Eastern Woodlands). c. 1850 C.E. Beadwork on
leather
This is an object that invites close looking to fully appreciate the
process by which colorful beads animate the bag, making a dazzling
object and showcasing remarkable technical skill.

164. Transformation mask

Kwakwaka'wakw, Northwest coast of Canada. Late 19th century C.E.
Wood, paint, and string
The masks, whether opened or closed, are bilaterally symmetrical.
Typical of the formline style is the use of an undulating, calligraphic
line. The ovoid shape, along with s- and u-forms, are common features
of the formline style.

165. Painted elk hide

Attributed to Cotsiogo (Cadzi Cody), Eastern Shoshone, Wind River
Resservation, Wyoming. c. 1890-1900 C.E. Painted elk hide
Cotsiogo began depicting subject matter that "affirmed native identity"
and appealed to tourists. The imagery placed on the hide was likely
done with a combination of free-hand painting and stenciling.
166. Black-on-black ceramic vessel
Maria Martinez and Julian Martinez, Tewa, Puebloan, San Ildefonso Pueblo, New
Mexico. c. mid-20th century C.E. Blackware ceramic
They discovered that smothering the fire with powdered manure removed the
oxygen while retaining the heat and resulted in a pot that was blackened. This
resulted in a pot that was less hard and not entirely watertight, which worked
for the new market that prized decorative use over utilitarian value. The areas
that were burnished had a shiny black surface and the areas painted with guaco
were matte designs based on natural phenomenon, such as rain clouds, bird
feathers, rows of planted corn, and the flow of rivers.

167. Conical tower and circular wall of Great Zimbabwe UNIT 6

Southeastern Zimbabwe, Shona peoples. c. 1000-1400 C.E. Coursed
granite blocks
In some places, the walls are several meters thick, and many of the
massive walls, stone monoliths and conical towers are decorated with
designs or motifs. Patterns are worked into the walls, such as
herringbone and dentelle designs, vertical grooves, and an elaborate
chevron design decorates the largest building called the Great
Enclosure

168. Great Mosque of Djenné

Mali. Founded c. 1200 C.E.; rebuilt 1906-1907. Adobe.
As one of the wonders of Africa, and one of the most unique religious
buildings in the world, the Great Mosque of Djenné, in present-day
Mali, is also the greatest achievement of Sudano-Sahelian architecture.
It is also the largest mud-built structure in the world. We experience its
monumentality from afar as it dwarfs the city of Djenné.

169. Wall plaque, from Oba's palace

Edo peoples, Benin (Nigeria). 16th century C.E. Cast brass
It was the first of three exceptional masterpieces from the Kingdom of
Benin acquired under Goldwater's guidance that dramatically
transformed the collection.

170. Sika dwa kofi (Golden Stool)

Ashanti peoples (south central Ghana). c. 1700 C.E. Gold over wood and
cast-gold attachments
The Golden Stool has been such a part of their culture for so long, with
so much mythology around it, that we can't be sure exactly when it was
made. The color to represent royalty changes between times and
cultures. Many of the brighter colors simply weren't available
throughout Africa until Europe began to colonize
171. Ndop (portrait figure) of King Mishe miShyaang maMbul
Kuba peoples (Democratic Republic of the Congo). c. 1760-1780 C.E.
Wood
The ndop of Mishe miShyaang maMbul is part of a larger genre of
figurative wood sculpture in Kuba art. These sculptures were
commissioned by Kuba leaders or nyim to preserve their
accomplishments for posterity. Because transmission of knowledge in
this part of Africa is through oral narrative, names and histories of the
past are often lost. The ndop sculptures serve as important markers of
cultural ideals. They also reveal a chronological lineage through their
visual signifiers.

172. Power figure (Nkisi n'kondi)

Kongo people's (Democratic Republic of Congo). c. late 19th century
C.E. Wood and metal
Nkisi nkondi figures are highly recognizable through an accumulation
pegs, blades, nails or other sharp objects inserted into its surface.

173. Female (Pwo) mask

Chokwe peoples (Democratic Republic of the Congo). Late 19th to early
20th century C.E. Wood, fiber, pigment, and metal
Chokwe masks are often performed at the celebrations that mark the
completion of initiation into adulthood. That occasion also marks the
dissolution of the bonds of intimacy between mothers and their sons.
The pride and sorrow that event represents for Chokwe women is
alluded to by the tear motif.

174. Portrait mask (Mblo)

Baule peoples ( Côte d'Ivoire). Early 20th century C.E. Wood and
pigment
The mask is exceptional for its nuanced individuality, highly refined details, powerful
presence, and considerable age. It is especially appealing for its unusual depth that
affords strong three-quarter views. The broad forehead and downcast eyes are classic
features associated with intellect and respect in Baule aesthetics. The departure from
a rigidly symmetrical representation suggests an individual physiognomy. The
expression is one of intense introspection. Its serenity is subtly animated by two
opposing formal elements: the flourishes of the coiffure and beard at the summit and
base.
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
The masks are worn by women who have a certain standing within the society, to
receive the younger women at the end of their three month's reclusion in the forest.
The different elements that compose the masks of this type, the half-closed and
lengthened eyes, the delicate contours of the lips, the slim nose, the serenity of the
forehead, the complexity of the headdress and the presence of neck and nape refer
not only to aesthetic values, but also to philosophical and religious concepts.

176. Ikenga (shrine figure)

Igbo peoples (Nigeria).c. 19th to 20th century C.E. Wood
The shrine reflects the great value the Igbo place on individual
achievement. Personal shrines are created in the form of figures known
as ikenga to honor the power and skills of a person's right hand, as the
right hand holds the hoe, the sword, and the tools of craftsmanship.
The basic form of an ikenga is a human figure with horns symbolizing
power, sometimes reduced to only a head with horns on a base.

177. Lukasa (memory board)

Mbudye Society, Luba peoples (Democratic Rpublic of the Congo). c.
19th to 20th century C.E. Wood, beads, and metal
More detailed information is conveyed on the front and back of the board. On the
lukasa's "inside" surface (the front), human faces represent chiefs, historical figures,
and mbudye members. The rectangular, circular, and ovoid elements denote
organizing features within the chief's compound and the association's meeting house
and grounds. Its "outside" surface displays incised chevrons and diamonds
representing the markings on a turtle's carapace.

178. Aka elephant mask

Bamileke (Cameroon, western grassfields region). c. 19th to 20th
century C.E. Wood, woven raffia, cloth, and beads
The elite Kuosi masking society controls the right to own and wear elephant masks,
since both elephants and beadwork are symbols of political power in the kingdoms of
the Cameroon grasslands. Masked performances have a variety of purposes. Both of
the masks displayed here were performed to support political authority, but in
different contexts. The mask may have exerted the will of village elders by imposing
economic prohibitions or organizing hunting parties to provide for and protect the
village.
179. Reliquary figure (byeri)
Fang peoples (southern Cameroon). c. 19th to 20th century C.E. Wood
The Fang figure, a masterpiece by a known artist or workshop, has
primarily been reduced to a series of basic shapes—cylinders and
circles.

180. Veranda post of enthroned king and senior wife (Opo Ogoga)
Olowe of Ise (Yoruba peoples). c. 1910-1914 C.E. Wood and pigment
It is considered among the artist's masterpieces for the way it embodies
his unique style, including the interrelationship of figures, their
exaggerated proportions, and the open space between them

181. Petra, Jordan: Treasury and Great Temple UNIT 7

Nabateen Ptolemaic and Roman. c. 400 B.C.E - 100 C.E. Cut rock
These elaborate carvings are merely a prelude to one's arrival into the
heart of Petra, where the Treasury, or Khazneh, a monumental tomb,
awaits to impress even the most jaded visitors. The natural, rich hues of
Arabian light hit the remarkable façade, giving the Treasury its famed
rose-red color.

182. Buddha
Bamiyan, Afghanistan. Gandharan. c. 400-800 C.E. (destroyed in 2001).
Cut rock with plaster and polychrome paint
The cultural landscape and archaeological remains of the Bamiyan
Valley represent the artistic and religious developments which from the
1st to the 13th centuries characterized ancient Bakhtria, integrating
various cultural influences into the Gandhara school of Buddhist art.
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
Cubed building known as the Kaba may not rival skyscrapers in height or mansions in
width, but its impact on history and human beings is unmatched. The Kaba is the
building towards which Muslims face five times a day, everyday, in prayer. This has
been the case since the time of Prophet Muhammad (peace and blessings be upon
him) over 1400 years ago.

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 sempirecious stones, pearls, and paint; various
offerings
The Jowo Rinpoche statue, Tibet's most revered religious icon, was made in India by
Vishakarma during Buddha Shakyamuni's lifetime. At the time of the Buddha, there
were only two statues of this type. The other one is still at Bodhgaya.

185. Dome of the Rock

Jerusalem. Islamic, Umayyad. 691-629 C.E., with multiple renovations.
Stone masonry and wooden roof decorated with glazed ceramic tile,
mosaics, and gilt aluminum and bronze dome
The Dome of the Rock is a building of extraordinary beauty, solidity, elegance, and
singularity of shape... Both outside and inside, the decoration is so magnificent and
the workmanship so surpassing as to defy description. The greater part is covered
with gold so that the eyes of one who gazes on its beauties are dazzled by its
brilliance, now glowing like a mass of light, now flashing like lightning.

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
The Great Mosque of Isfahan in Iran is unique in this regard and thus enjoys a special
place in the history of Islamic architecture. Its present configuration is the sum of
building and decorating activities carried out from the 8th through the 20th centuries.
It is an architectural documentary, visually embodying the political exigencies and
aesthetic tastes of the great Islamic empires of Persia.

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
The Qur'an is the sacred text of Islam, consisting of the divine revelation to the
Prophet Muhammad in Arabic. Over the course of the first century and a half of Islam,
the form of the manuscript was adapted to suit the dignity and splendor of this divine
revelation. However, the word Qur'an, which means "recitation," suggests that
manuscripts were of secondary importance to oral tradition. In fact, the 114 chapters
of the Qur'an were compiled into a textual format, organized from longest to shortest,
only after the death of Muhammad, although scholars still debate exactly when this
might have occurred.
188. Basin (Baptistère de Saint Louis)
Muhammad ibn al-Zain. c. 1320-1340 C.E. Brass inlaid with gold and
silver
The Mamluks, the majority of whom were ethnic Turks, were a group of warrior slaves
who took control of several Muslim states and established a dynasty that ruled Egypt
and Syria from 1250 until the Ottoman conquest in 1517.The political and military
dominance of the Mamluks was accompanied by a flourishing artistic culture
renowned across the medieval world for its glass, textiles, and metalwork.
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
This folio is from a celebrated copy of the text known as the Great Ilkhanid Shahnama,
one of the most complex masterpieces of Persian art. Because of its lavish production,
it is assumed to have been commissioned by a high-ranking member of the Ilkhanid
court and produced at the court scriptorium. The fifty-seven surviving illustrations
reflect the intense interest in historical chronicles and the experimental approach to
painting of the Ilkhanid period (1256-1335). The eclectic paintings reveal the
cosmopolitanism of the Ilkhanid court in Tabriz, which teemed with merchants,
missionaries, and diplomats from as far away as Europe and China. Here the Iranian
king Bahram Gur wears a robe made of European fabric to slay a fearsome horned
wolf in a setting marked by the conventions of Chinese landscape painting.

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
His painting combines an ingenious composition with a broad palette dominated by
cool colors, each element minutely and precisely rendered in a technique that defies
comprehension. Though the painting is large and even spills out into the gold-flecked
margins, Sultan Muhammad populates the scene with countless figures, animals, and
details of landscape, but in such a way that does not compromise legibility. The level
of detail is so intense that the viewer is scarcely able to absorb everything, no matter
how closely he looks

191. The Ardabil Carpet

Maqsud of Kashan. 1539-1540 C.E. Silk and wool
The Ardabil Carpet is exceptional; it is one of the world's oldest Islamic
carpets, as well as one of the largest, most beautiful and historically
important. It is not only stunning in its own right, but it is bound up
with the history of one of the great political dynasties of Iran.

192. Great Stupa at Sanchi UNIT 8

Madhya Pradesh, India. Buddhist; Maurya, late Sunga Dynasty. c. 300
B.C.E. - 100 B.C.E. Stone masonry, sandstone on dome
It was probably begun by the Mauryan emperor Ashoka in the mid-3rd
century bce and later enlarged. Solid throughout, it is enclosed by a
massive stone railing pierced by four gateways, which are adorned with
elaborate carvings (known as Sanchi sculpture) depicting the life of the
Buddha.

193. Terra cotta warriors from mausoleum of the first Qin emperor of China
Qin Dynasty. c. 221-209 B.C.E. Painted terra cotta
One of the most extraordinary features of the terracotta warriors is
that each appears to have distinct features—an incredible feat of
craftsmanship and production. Despite the custom construction of
these figures, studies of their proportions reveal that their frames were
created using an assembly production system that paved the way for
advances in mass production and commerce.
194. Funeral banner of Lady Dai (Xin Zhui)
Han Dynasty, China. c. 180 B.C.E. Painted silk
In the mourning scene, we can also appreciate the importance of Lady
Dai's banner for understanding how artists began to represent depth
and space in early Chinese painting. They made efforts to indicate
depth through the use of the overlapping bodies of the mourners. They
also made objects in the foreground larger, and objects in the
background smaller, to create the illusion of space in the mourning hall.

195. Longmen caves

Luoyang, China. Tang Dynasty. 493-1127 C.E. Limestone
The aesthetic elements and features of the Chinese cave temples' art,
including the layout, material, function, traditional technique and
location, and the intrinsic link between the layout and the various
elements have been preserved and passed on. Great efforts have been
made to maintain the historical appearance of the caves and preserve
and pass on the original Buddhist culture and its spiritual and aesthetic
functions, while always adhering to the principle of "Retaining the
historic condition".

196. Gold and jade crown

Three Kingdoms Period, Silla Kingdom, Korea. Fifth to sixth century C.E.
Metalwork
The general structure and imagery of this set echo the regalia used by
rulers of the many nomadic confederations that roamed the Eurasian
steppes for millennia, and, to a lesser extent, pieces found in China.
However, Silla tombs such as Hwangnam Daechong have yielded larger
quantities and more spectacular gold adornments.

197. Gold and jade crown

Three Kingdoms Period, Silla Kingdom, Korea. Fifth to sixth century C.E.
Metalwork
The general structure and imagery of this set echo the regalia used by
rulers of the many nomadic confederations that roamed the Eurasian
steppes for millennia, and, to a lesser extent, pieces found in China.
However, Silla tombs such as Hwangnam Daechong have yielded larger
quantities and more spectacular gold adornments.
198. Borobudur Temple
Central Java, Indonesia. Sailendra Dynasty. c. 750-842 C.E. Volcanic-
stone masonry
The temple sits in cosmic proximity to the nearby volcano Mt. Merapi. During certain
times of the year the path of the rising sun in the East seems to emerge out of the
mountain to strike the temple's peak in radiant synergy. Light illuminates the stone in
a way that is intended to be more than beautiful. The brilliance of the site can be
found in how the Borobudur mandala blends the metaphysical and physical, the
symbolic and the material, the cosmological and the earthly within the structure of its
physical setting and the framework of spiritual paradox.

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
Angkor is one of the most important archaeological sites in South-East Asia. There
were many changes in architecture and artistic style at Angkor, and there was a
religious movement from the Hindu cult of the god Shiva to that of Vishnu and then to
a Mahayana Buddhist cult devoted to the bodhisattva Avalokiteshvara.

200. Lakshmana Temple

Khajuraho, India. Hindu, Chandella Dynasty. c. 930-950 C.E. Sandstone
Though the temple is one of the oldest in the Khajuraho fields, it is also one of the
most exquistely decorated, covered almost completely with images of over 600 gods
in the Hindu Pantheon. The main shrine of the temple, which faces east, is flanked by
four freestanding subsidiary shrines at the corners of the temple platform.

201. Travelers among Mountains and Streams

Fan Kuan. c. 1000 C.E. Ink and colors on silk
Fan Kuan's masterpiece is an outstanding example of Chinese landscape
painting. Long before Western artists considered landscape anything
more than a setting for figures, Chinese painters had elevated
landscape as a subject in its own right. Bounded by mountain ranges
and bisected by two great rivers—the Yellow and the Yangzi—China's
natural landscape has played an important role in the shaping of the
Chinese mind and character. From very early times, the Chinese viewed
mountains as sacred and imagined them as the abode of immortals.
The term for landscape painting in Chinese is translated as "mountain
water painting."

202. Shiva as Lord of Dance (Nataraja)

Hindu; India (Tamil Nadu), Chola Dynasty. c. 11th century C.E. Cast
bronze
It combines in a single image Shiva's roles as creator, preserver, and
destroyer of the universe and conveys the Indian conception of the
never-ending cycle of time. Although it appeared in sculpture as early
as the fifth century, its present, world-famous form evolved under the
rule of the Cholas.
203. Night Attack on the Sanjō Palace
Kamakura Period, Japan. c. 1250-1300 C.E. Handstroll (ink and color on
paper)
The scene appearing here, entitled "A Night Attack on the Sanjo Palace" is the
property of the Boston Museum of Fine Arts and provides a rare and valuable
depiction of Japanese armor as it was worn during the early Kamakura era (1185-
1333). By contrast, most surviving picture scrolls showing warriors date from the
fourteenth century and show later styles of armor.

204. The David Vases

Yuan Dynasty, China. 1351 C.E. White porcelain with cobalt-blue
underglaze
These vases are among the most important examples of blue-and-white porcelain in
existence, and are probably the best-known porcelain vases in the world. They were
made for the altar of a Daoist temple and their importance lies in the dated
inscriptions on one side of their necks, above the bands of dragons. The long
dedication is the earliest known on Chinese blue-and-white wares. These vases were
owned by Sir Percival David (1892-1964), who built the most important private
collection of Chinese ceramics in the world.
205. Portrait of Sin Sukju (1417-1475)
Imperial Bureau of Painting. c. 15th century C.E. Hanging scroll (ink and
color on silk)
The importance of this painting is represented in its location sat the Imperial Bureau
of Painting. Silk was one of Asia's main trade goods during the time; the popularity of
this soft material was evident in the formation of the Silk Road. The high demand and
value of this material indicates thus a high value of this artwork.

206. Forbidden City

Beijing, China. Ming Dynasty. 15th century C.E. and later. Stone
masonry, marble, brick, wood, and ceramic tile
It stands for the culmination of the development of classical Chinese and East Asian
architecture and influences the development of Chinese architecture. The largest
surviving wooden structure in China is surrounded by 7.9 meters (26 feet) high walls
and 3,800 meters (2.4 miles) long moat.

207. Ryoan-ji
Kyoto, Japan. Muromachi Period, Japan. 1480 C.E.; current design most likely dates to
the 18th century. Rock garden
Kyoto's most famous Zen garden is Ryoan-ji. Its raked gravel and 15 carefully placed
stones make it the world's most recognisable garden image. I love Ryoan-ji, which,
despite the hoards of visitors adding their own snaps to the image load of the garden,
still manages to instil a mood of mystery and quiet reflection. It was made by an
unnamed monk in the 15th century and was the template for a dry stone Zen garden
for four centuries - until Mirei Shigemori brought the Zen garden into the 20th
century and introduced it to modernism.

208. Jahangir Preferring a Sufi Shaikh

Bichitr. India c. 1620 C.E. Watercolor gold, and ink on paper
Jahangir's artists begin to create allegorical portraits with symbolic
references. This painting, for example, asserts that Jahangir favors the
spiritual over the worldly. He hands a book, the most respected of
objects in both Islam and the Mughal court, to a Sufi shaykh (a religious
scholar). Below (and therefore implicitly less important than) the
shaykh stand an Ottoman sultan and King James I of England. Bichitr's
self-portrait in the lower left corner conveys the respect that Jahangir
accorded to painters.
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 stones; gardens
The Taj Mahal is an excellent example of the golden age of Muslim architecture. The
design of the complex incorporates Iranian features such as octagonal shape, Indian
features such as the bulbous dome and Asian features such as cylindrical minarets.
Muslim decorative arts include calligraphy, geometry and flower forms. Most
important was the ideal of symmetry as a major element in the design of the Taj
Mahal
210. White and Red Plum Blossoms
Ogata Korin. Japan. c. 1710-1716 C.E. Ink, watercolor, and gold leaf on
paper
This painting is one of his most famous works. The composition is rather startling. The
white plum tree's trunk is mostly outside of the screen, and one major branch comes
back into the screen horizontally. All of these elements are combined to yield a
stunning decorative effect which makes this pair of screens one of the greatest
masterpieces in the history of Japanese art.
211. Under the Wave of Kanagawa (Kanagawa oki nami ura), as known as
the Great Wave, from the series Thirty-six Views of Mount Fuji
Katsushika Hokusai. Japan. 1830-1833 C.E. Polychrome woodblock print; ink and color
on paper
The Great Wave has become one of the most famous works of art in the world—and
debatably the most iconic work of Japanese art. Initially, thousands of copies of this
print were quickly produced and sold cheaply. Despite the fact that it was created at a
time when Japanese trade was heavily restricted, Hokusai's print displays the
influence of Dutch art, and proved to be inspirational for many artists working in
Europe later in the nineteenth century.

212. Chairman Mao en Route to Anyuan

Artist unknown; based on oil painting by Lui Chunhua. c. 1969 C.E. Color
lithograph
Chunhua Liu used the ideals of the Cultural Revolution and Socialist
Realism to create his masterpiece. This poster is a lithographic
reproduction of a painting in the style of Socialist Realism. the ideas
conveyed in artworks were meant to permeate other cultures and to
spread their philosophies

213. Nan Madol UNIT 9

Pohnpei, Micronesia. Saudeleur Dynasty. c. 700-1600 C.E. Basalt
boulders and prismatic columns
The megalithic architecture that characterizes the site consists of long, naturally
prismatic log-like basalt stones which were often built up over foundations of large
basalt boulders to form high-walled rectangular enclosures. This type of architecture
occurs only sporadically on the main island which suggests that the people who used
these structures were of very high status.
214. Moai on platform (ahu)
Rapa Nui (Easter Island). c. 1100-1600 C.E. Volcanic tuff figures on
basalt base
Rapa Nui, also known as Easter Island (a name given to it by
Europeans), is located in the southeast Pacific and is famous for its
approximately 1,000 carvings of moai, human-faced statues.
215. Ahu 'ula (feather cape)
Hawaiian. Late 18th century C.E. Feathers and fiber
Cloaks and helmets were beautiful in colour and design, intricately
crafted, and of unusual materials. To add to their appeal, stories could
be told of their effectiveness as armour in battle helmets strong enough
to ward off blows to the head, cloaks that acted like flak jackets against
sling stones and other weapons.

216. Staff god

Rarotonga, Cook Islands, central Polynesia. Late 18th to early 19th
century C.E. Wood, tapa, fiber, and feathers
A standing semihuman figure having claws, a feline face with crossed
fangs, and a staff in each hand. Above his head, occupying two-thirds of
the stone, is a towering, pillarlike structure

217. Female Diety

Rarotonga, Cook Islands, central Polynesia. Late 18th to early 19th
century C.E. Wood, tapa, fiber, and feathers
A standing semihuman figure having claws, a feline face with crossed
fangs, and a staff in each hand. Above his head, occupying two-thirds of
the stone, is a towering, pillarlike structure

218. Buk (mask)

Torres Strait. Mid-to late 19th century C.E. Turtle shell, wood, fiber,
feathers, ad shell
Turtle-shell masks in the western Torres Strait reportedly were used
during funerary ceremonies and increase rites (rituals designed to
ensure bountiful harvests and an abundance of fish and game).
219. Hiapo (tapa)
Niue. c. 1850-1900 C.E. Australia. Tapa or bark cloth, freehand painting
Tapa traditions were regionally unique and historically widespread
throughout the Polynesian Islands. Eastern Polynesia did not
experience a continuous tradition of tapa production, however, the art
form is still produced today, particularly in the Hawaiian and the
Marquesas Islands.

220. Tamati Waka Nene

Gottfried Lindauer. 1890 C.E. New Zealand. Oil on canvas
Smooth brushstrokes, painted to show kind nature of the chief,
compassionate, similar portrait style to the Mona Lisa, painted with
tribal face paint to reinforce culture

221. Navigation chart

Marshall Islands, Micronesia. 19th to early 20th century C.E. Wood and
fiber
Slopped lines that indicate wave swell show technological advancement
in society, intricate weaving

222. Malagan display and mask

New Ireland Province, Papua New Guinea. c. 20th century C.E. Wood,
pigment, fiber, and shell
To serve as visual part of ceremony in which the dead are celebrated
and assisted in their transition to the spiritual realm, the ceremonies
length can be from months to years so sturdy materials for elaborate
structures can withstand long time frame.
223. Presentation of Fijian mats and tapa cloths to Queen Elizabeth II
Fiji, Polynesia. 1953 C.E. Multimedia performance (costume; cosmetics,
including scent; chant; movement; and pandanus fiber/hibiscus fiber
mats), photographic documentation
To show respect and gratitude towards Queen Elizabeth II for visiting
Tonga and for commemorating the war memorial. Also I believe this
served as a way of the two countries signaling their alliance and
partnership.

224. The Gates UNIT 10

New York City, U.S. Christo and Jeanne-Claude. 1979-2005 C.E. Mixed-
media installation
The Gates remains a complex testament to two controversial topics in
contemporary art: how to create meaningful public art and how art
responds to and impacts our relationship with the built environment.
225. Vietnam Veterans Memorial.
Washington, D.C., U.S. Maya Lin. 1982 C.E. Granite.
The strength of the granite contrasts with softness of the grass and
brings a balance to both nature and architecture.

226. Horn Players

Jean-Michel Basquiat. 1983 C.E. New York. Acrylic and oil paintstick on
three canvas panels
Honed his signature painting style of obsessive scribbling, elusive
symbols and diagrams, and mask-and-skull imagery by the time he was
20.

227. Summer Trees

Song Su-nam. 1983 C.E. Korea. Ink on paper
He wanted to show appreciation for the ancient Asian brush techniques
and to redisplay/re-envoke the Asian landscape. This painting blends
traditional subtle brush techniques with modern day style
228. Androgyne III
Magdalena Abakanowicz. 1985 C.E. Polish. Burlap, resin, wood, nails,
and string
The creases, ridges, and veins of the hardened-fiber surface assume
organic characteristics, reminiscent of the earth's rough surface or the
cellular composition of human skin. The artist felt that it was these
characteristics and manifestations that make fiber the base unit of the
universe.

229. A Book from the sky

Xu Bing. Beijing, China. 1987-1991 C.E. Mixed-media installation
The book's characters were carved into individual pieces of movable
type made from pear wood, in a style slightly squatter than that of Song
typefaces.

230. Pink Panther

Jeff Koons. 1988 C.E. New York. Glazed porcelain
This piece is a part of his Banality series. It is a reflection of pop culture,
juxtaposing the namesake popular children's' cartoon character with
Jayne Mansfield, a sex symbol. Four essentially identical Pink Panther
sculptures exist. They are an example of kitsch, meant to appeal to the
masses. This piece later grew to be considered high art due to its
popularity.
231. Untitled (#228), from the History Portraits series
Cindy Sherman. Rome, Italy. 1990 C.E. Photograph
She draws attention to the staged and often mannered nature of
historical portrait paintings, while also playfully mocking the discipline
of art history.

232. Dancing at the Louvre, from the series The French Collectiom, Part I; #1
Faith Ringgold. France, Europe. 1991 C.E. Acrylic on canvas, tie-dyed,
pieced fabric border
To break boundaries and combine a multitude of artistic techniques.
Combines Modern art, African-American culture, and personal
experiences

233. Trade (Gifts for Trading Land with White People) Jaune Quick-to-See
Smith. Virginia. 1992 C.E. Oil and mixed media on canvas.
Illustrates historical and contemporary inequities between Native
Americans and the United States government.

234. Earth's Creation

Emily Kame Kngwarreye. Utopia Australia. 1994 C.E. Synthetic polymer
paint on canvas. Dump dot technique - using the brush to pound the
paint onto the canvas and create layers of colour and movement.
235. Rebellious Silence, from the Women of Allah series Shirin Neshat
(artist); photo by Cynthia Preston. 1994 C.E. Ink on photograph.
Photograph, Farsi decorates the artists face, black and white, image
shows a veiled woman with the barrel of a gun pointing straight up
dividing her face. Her gaze looks directly at the viewer with unwavering
confidence.

236. En la Barberia no se Llora (No Crying Allowed in the Barbershop)

Pepon Osorio. 1994 C.E. Mixedmedia installation.
Challenges definitions of masculinity, it also brings up in a more subtle
way—the relationship between machismo and homophobia, violence,
and infidelity, and the ways in which popular culture, religion, and
politics help craft these identities and issues.

237. Pisupo Lua Afe (Corned Beef 2000)

Michel Tuffery. New Zealand. 1994 C.E. Mixed media
The meaning of this work is to raise questions about the effects colonial
economies have had on Pacific peoples and whether foreign
intervention actually encourages independence or fosters dependency.
The way in which it is presented is very different and shocking.

238. Electronic Superhighway

Nam June Paik. 1995 C.E. Mixed-media installation (49-channel
closedcircuit video installation, neon, steel, and electronic
components).
It is an enormous physical object that occupies a middle ground
between the virtual reality of the media and the sprawling country
beyond our doors.

239. The Crossing

Bill Viola. 1996 C.E. US. Video/sound installation
To evoke the viewer's senses and create a feeling of spirituality. His
work focuses and sensory perception and tries to take viewers on a trip
to the spiritual realm. The videos are able to accomplish this through
slow motion, contrasts in scale, shifts in focus, mirrored reflections, etc.
240. Guggenheim Museum Bilbao
Spain. Frank Gehry (architect). 1997 C.E. Bilbao, Spain.
Titanium, glass, and limestone.
A museum to challenge assumptions about art museum collecting and
programming with its inventive design. To showcase great fine art
exhibitions and further the redevelopment of the city Bilbao.

241. Pure Land

Mariko Mori. Tokyo, Japan. 1998. C.E. Color photograph on glass
To create a meditative environment that provides the audience with a
sense of tranquility and transcendence. Allow the viewer to transport
to Nirvana, as well as to represent a personal journey

242. Lying with the Wolf

Kiki Smith. New York. 2001 C.E. Ink and pencil on paper
Featuring an act of bonding between human and animal, reverence for
the natural world. ther domestic piece of fabric. The depiction of a
woman and dangerous animal so easily coexisting is a powerful visual
message, one that reminds us of Biblical characters, figures from Greek
myth, and even eastern deities.

243. Darkytown Rebellion

Kara Walker. 2001 C.E. Cut paper and projection on wall.
Black silhouettes against colorful background, sharp lines, distinct and defined shapes.
The actual subject of the work is meant to reflect the antebellum South during the
time of slavery. Many southern African-American stereotypes are still present today
and Walker hoped to make viewers realize how subconsciously they had these
premeditated ideas about the figures and the assumptions about race they
automatically made because of popular culture.

244. The Swing (after Fragonard)

Yinka Shonibare. Sheffield. 2001 C.E. Mixed-media installation
Meant to be seen straight on but due to 3 dimensions viewers can walk
around the installation and view from different points, like the original
subjects in the painting. The work depicts a summary of the scene in
the original painting but leaves out some elements of the painting.
245. Old Man's Cloth
El Anatsui. Southern Nigeria. 2003 C.E. Aluminum and copper wire
A statement piece to remember his regions history and culture through
using elements related to the most influential and culture-shaping
events. This piece specifically is meant to serve as a reminder of the
uneasy history of trade between Europe and Africa.

246. Stadia II
Julie Mehretu. New York. 2004 C.E. Ink and acrylic on canvas
Stadia II is meant to portray a large stadium, A sports arena. Country
flags, confetti, and the eruption of the crowd are prevalent.

247. Preying Mantra

Wangechi Mutu. 2006 C.E. Mixed media on Mylar
The function of this piece is to invite viewers to explore the stereotypes
about the female African body as explicitly sexual, dangerous, and
aesthetically deformed in relation to those of Western lands.

248. Shibboleth
Doris Salcedo. Turbine Hall, London. 2007-2008 C.E. Installation
She uses this giant crack on the floor of ceremonial hall as a symbol of
racism, discrimination, and colonialism that separated one being from
each other. Through this art piece she addresses that the modernity is a
result of colonial exploitation of the "stronger" from the "weaker".
249. MAXXI National Museum of XXI Century Arts
Rome, Italy. Zaha Hadid (architect). 2009 C.E. Glass, steel, and cement.
The building is repetitive in that the architecture is supposed to mimic
movement to depict the progressiveness of the future of architecture
and building.

250. Kui Hua Zi (Sunflower Seeds)

Ai Weiwei. 2010-2011 C.E. Sculpted and painted porcelain.
The material used, the way it was produced and the narrative/personal
content make this work a powerful commentary on the human
condition.