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86 Cards in this Set
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Ganga (19th c. British Raj) Hand-colored woodblock print Deity of the River Ganges (water spirit) Possible European influence due to British Colonial Rule (i.e. halo?) |
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Shiva as Gangadhara (1740 Mughal) Gouache on paper Deity of consistency and stability Common symbols: tiger, skull necklace, snake, water spout Wife: Pavrati (fertility) Mughal style, miniature Rajput painting |
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Kali Dancing on Shiva (1890 British Raj) Calcutta, India Lithograph Change conquers consistency Story of Kali and the Demons Often misrepresented in Western media |
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Ragini Painting a Portrait (1690 Mughal) Rajasthan, India Gouache on paper Miniature Ragmala painting = incorporates various forms of art (e.g. painting, writing, music) Emphasizes architecture Implies close correlation between art and reality |
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Akbar Inspecting Construction Works (1590 Mughal) Gouache on paper Akbarnama = biography of Akbar the Great Fatehpur Sikri, India Strong movement created by diagnol No perspective, sense of depth by placement |
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Hour of Cowdust (1790 Mughal) Gouache on paper Uttar Pradesh, India Miniature Rajput painting (Pahari) Stagnant movement Emphasis on architecture, but no perspective |
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Battle at Lanka, Ramayana (1650 Mughal) Udaipur, India Gouache on paper Time-lapse = multiple moments portrayed simultaneously Demonstrates heroism (Story of the Battle at Lanka) Created by Muslim artist = shows religious tolerance of Mughal dynasty |
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Theorama (1994) Serigraph print Maqbool Fida Husain (Muslim) Illustrates many Hindu deities = modern representation of stories Krishna (flute), Braman (faces), Ganesha (elephant), Shiva (water spout) |
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Autumn Colors on the Qiao and Hua Mountains (1296 Yuan) Handscroll with ink and color on paper Zhou Mengfu Yuan Dynast leads to rise of Literati (embraced Chinese identity amidst chaos of Mongol invasion) Naturalistic and stylized, saturated palette |
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The Ronxi Studio (1372 Yuan) Hanging scroll with ink on paper Ni Zan (Literati) Simplistic, monochrome landscape Drybrushing technique and absence of color creates sense of breadth Drawn from meditative qualities of Zen Buddhism |
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Hundreds of Birds Admiring the Peacocks (late 15th c. Ming) Hanging scroll with ink on silk Yin Hong North School = traditional, realist, emphasizes conformity Peacocks = government officials (Ming Dynasty = very strict and somewhat abusive power regime) Birds = the people Represents people's devotion towards leaders |
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Returning Home Late from a Spring Outing (late 15th c. Ming) Hanging scroll with ink on silk Dia Jin South School = experimental, open to contemporary, emphasizes personal expression Sense of isolation and oneness with nature Line variation in trees shows individuality |
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Spring Dawn in the Han Palace (1500-1550 Ming) Handscroll with ink and color on silk Qui Ying North School Extreme precision and attention to detail 'Perfection' in execution and representation of society (promotes conformity and conservatism) |
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Poet on a Mountaintop (1500 Ming) Ink and color on paper Shen Zhou (Literati) Sense of individual experience, emphasized through combination of art forms (e.g. painting, poetry) Illustrates an 'epiphany' (Zen Buddhist and Transcendentalist feel) |
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The Qingbian Mountains (1617 Ming) Hanging scroll with ink on paper Don Qichang = believed art was a fundamental abstraction of nature, therefore any attempts to realistically portray landscapes was pointless Extremely abstract and chaotic |
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Landscape (1700 Qing) Ink and color on paper from An Album of Landscapes, Shitao More abstract than previous (extreme emphasis on individuality) Harsh lines represent jagged mountain side, splatter marks represent lichen Peaceful monk amidst chaotic landscape |
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Panoramic View of the Diamond Mountains (1734 Joseon) Hanging scroll with ink and color on paper Jeong Seon Korean Silhak Movement (emphasizes incorporation of classic Chinese and Korean) Displays individuality through intensely personal style and energetic Very experimental and bold |
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Pine Spirit (1984) Ink and color on paper Wu Guanzhong Contemporary artist draws of traditional Chinese art while also incorporating outside influence (rise of Abstract Expressionism) |
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No. 34 (1949) Jackson Pollock Abstract Expressionism |
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Siege of Rhodes (1522 Ottoman) Miniature painting on paper Arifi or Nasuh Crusades allowed for extensive trade between Europe and the Middle-East & Asia Very Islamic style with colorful mosaic and stylization Extremely different from the true Palace of the Grand Master, which is quite austere and functional (artist never visited palace) |
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Alhambra (1330 Moorish) Granada, Spain = final stronghold of Islamic Spaniards before heavy christianization tactics were implemented Islamic architecture incorporates an open center (courtyard) and ornate decorations (pattern mosaics) |
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Alcazar of Seville (1360 Moorish) Seville, Spain Moorish architecture (Mudejar style) with classical Spanish structures |
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First Courtyard of the Palazzo Vecchio (1450) Florence, Italy Romanesque architecture with grotesque décor (Grotesque = Arabesque = Moresque) Incorporates Muslim architectural elements, which demonstrates cultural appropriation |
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The Bad City (1340) Fresco Western wall of the Sala dei Nove, Palazzo Pubblico (Siena, Italy) Ambrogio Lorenzetti Very Roman traditional with dark, tight rendering and methodical details Push for the spirit of antiquity |
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Cargo from the Hoi An Shipwreck (1450) Vietnamese white ceramic and porcelain with cobalt Increase in maritime trade (Silk Road) led to Vietnamese trade with Europe (cobalt technique not present in Europe yet) Private excavation rather than professional archeological site led to few sustained artifacts (commercial side worried about inflation) |
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Dragon Flasks (1430 Ming) Porcelain and cobalt blue = exotic goods for Europeans (adapted by Netherlands later to create Delft Tiles in 16th c.) Fueled trade particularly with the Dutch East India Company Use of traditional patterns with striking contrast |
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Cargo from the Vung Tau Shipwreck (1690 Qing) Porcelain and cobalt blue Silk Road = Arab-Asiatic trade with Europe |
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Virgin & Child Reliquary (1330 French Gothic) Silver gilt and enamel Figure has kourotrophic contrapposto pose Chest supposedly contains lock of Virgin Mary's hair Animals associated with prophets (Lion = Mark, Bull = Luke, Man = Matthew, Eagle = John) |
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Hours of Jeanne d'Evreux (French Gothic) Grisaille and color on vellum Jean Pucelle Illustrates crucifixion scene and the decree of King Herod Grisaille and color on vellum |
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Danse Macabre (1493 German Gothic) Machael Wolgemut Woodblock print Dark comedy sheds humor during the dark ages of the plague and its consequent death (common characteristic of German printmakers) |
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Expulsion (1526 German Gothic) Danse Macabre Series Hans Holbein the Younger Woodblock print Satirical illustration that shows death is inevitable |
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The Temptations of St. Anthony (1475 Late German Gothic) Engraving Martin Schongauer = big influence on Hieronymous Bosch specifically with renderings of demons Shows St. Anthony as stoic and steadfast amidst an onslaught of demonic attacks (subtle connection with Chinese monks who remained detached in a very materialistic, chaotic world) |
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Mary at Her Devotions (1480 Late Gothic) Hours of Mary of Burgundy (important figure in Hapsburg empire following her father's death and large inheritance of land) Illuminated manuscript on parchment Kourotrophic Virgin Mary Layering of perspective and ideas, creating "windows" |
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Unicorn at the Fountain (1500 Netherlandish) Hunt of the Unicorn Series (tapestry) Unicorn Allegory = Jesus (previously represented sexuality and innocence of a virgin) Extreme attention to detail and greater symbolic meaning which typically identified Netherlandish work Large tapestries hung on walls to create a "false window" |
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Merode Altarpiece (1430 Early Netherlandish) Oil paint on wood Oblique perspective to show each item and its symbolism (white lilies = virginity, mouse trap = Jesus, mouse = devil) Emphasizes shared space with divine entities Patrons: Engelbrecht (angels) & Schrynmeur (carpenter) Illustrates Enunciation scene = angel Gabriel comes to inform Mary |
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Arnolfini Portrait (1434 Early Netherlandish) Jan van Eyck Oil paint on wood panel creates sense of luminosity Manifestation of wealth |
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The Ghent Altarpiece (1430 Early Netherlandish) Oil paint on wood Jan van Eyck Illustrates the enunciation scene Adam and Eve on sides (Eve portrayed as antagonist) |
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Diptych of Maarten van Nieuwenhove (1487 Netherlandish) Oil paint on wood Hans Memling Kourotrophic Virgin Mary Illustrates shared space with divinity (connection with Merode Altarpiece) = Virgin Mary's cloak crosses over into Maarten's space |
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Deposition (1435 Early Netherlandish) Rogier van der Weyden Oil and tempera paint on wood panel Continued strict attention to detail Virgin Mary's position mimics that of Jesus as he's being taken down from the cross = strong emotional pull |
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Sermon to the Birds (1300 Pre-Renaissance) San Francesco, Assisi, Italy Fresco painting Giotto Demonstrates beginning works of depth through lighting Breakaway from medieval figure drawing Doves and pigeons = common birds (possibly reflects growing attitudes towards an individual relationship with God) |
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Exorcism of the Demons at Arezzo (1300 Pre-Renaissance) San Francesco, Assisi, Italy Giotto, fresco painting with Lapis Lazuli (blue pigment from Afghanistan, shows wealth) Dark and realistic portrayals of figures emphasize Humanism Working progress towards depth and perspective, but lacks proportion in architecture |
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Birth of Venus (1485 Renaissance) Tempera and gold on canvas Florence, Italy (Medici Family controlled city-state of Florence and patronized many works of art) Botticelli Artist focus on human form (reflects current humanist attitudes) and the ideal form of female beauty and sexuality |
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Map of Hell (1490 Renaissance) Tempera on parchment Florence, Italy Botticelli Darker shift from previous focus on nude females Illustrates the nine circles of hell (Dante's Inferno) |
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Akbar Receiving the Akbarnama (1600 Mughal) Traditional miniature painting, gouache on paper Displays multiple vantage points as opposed to the use of a single vantage point in Renaissance art |
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Trinity with the Virgin, St. John the Evangelist, and Donors (1425 Renaissance) Church of Santa Maria Novella, Florence, Italy Masaccio, fresco painting Single vantage point emphasizes sense of depth and exemplifies Renaissance handle of perspective (as opposed to oblique perspective of Pre-Renaissance works such as Merode Altarpiece) |
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Vitruvian Man (1490 Renaissance) Ink sketch da Vinci Illustrates Renaissance focus on proportions and the ideal representation of the human form (i.e. aspect of Humanism) |
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Vesperbild (1330 German Gothic) wood and polychrome Rather unproportioned Facial expression of Mary exaggerated to allude to the pain and misery of death (as opposed to the peaceful, accepting expression of Pieta) |
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Pieta (1500 Renaissance) The Vatican, Rome, Italy Michelangelo, marble statue Emotion is more repressed than the Vesperbild and seems more accepting of sacrifice Placed in Vatican, church officials would want viewers to feel at peace with sacrifice (i.e. monetary donations?) |
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David (1460 Pre-Renaissance) Bronze Florence, Italy Donatello David is displayed in a contrapposto pose with long curls Feminine and sensual (homoerotic) = Florence was much more liberal and open to homosexuality |
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David (1475 Pre-Renaissance) Bronze Florence, Italy Del Verocchio More masculine than Donatello's David Modeled after young da Vinci |
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David (1504 Renaissance) Florence, Italy Michelangelo, marble statue Emphasizes masculinity, especially in juxtaposition to previous David statues (Donatello and Verocchio) Stump behind leg acts as counterbalance = technique used by Romans |
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Venus of Urbino (1538 Renaissance) Oil on canvas Titian Illustrates the "male gaze" by blatantly sexualizing the female form Modeled after prostitute |
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Winter Landscape (1470s Muromachi) Ink on paper Sesshu = studied and surpassed Shubun (regarded as Japan's first great master of ink landscape) Japanese style of Zen Ink painting Broke away from refined landscape of Shubun by emphasizing the jagged mountainside and boldly expressing the harsh sense of cold |
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Landscape (1495 Muromachi) Ink on silk Sesshu Further emphasizes breakaway from the traditionally refined landscape Sumi-e style (ink wash painting) incorporates a lot of negative space to show breadth and absence |
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Pine Forest (Late 16th c. Momoyama) Ink on paper screen Tohaku = founded the Hasegawa School, which emphasized simplicity Illustrated in a Sumi-e style that drew back to minimalist expression, as opposed to the flashy bold expressions of the Moyomama period |
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Tea Bowl "Mount Fuji " (Late 16th c. Momoyama) Koetsu Example of Raku = handmade, low-fired ceramic developed for use in tea ceremonies Characterisitics: small foot, straight sides, irregular shape, and crackled texture |
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Arrival of Portuguese Ship (1600 Nanban) Illuminated screen (Nanban = "Southern Barbarian" = early Europeans) Portrays the arrival of Portuguese ship at the port of Nagasaki |
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Takiyasha the Witch and the Skeleton Spectre(1840 Edo) Kuniyoshi, polychrome woodblock triptych Ukiyo-e (the floating world = described hedonistic lifestyle) woodblock prints were inexpensively produced and not considered serious fine art Illustrates the story of Princess Takiyasha and the aftermath of a failed rebellion |
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Tamatori Evades Ryujin (1840 Edo) Kuniyoshi, polychrome woodblock triptych Ukiyo-e Style Edo Period: characterized by strict social order, high enjoyment of arts and culture, and economic growth Illustrates the legend of Princess Tamatori |
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Irezumi (1860 Edo) Kimbei, tatoo Form of traditional Japanese tattooing for spiritual and decorative purposes, resurfaced in popularity during Edo Period Elaborately designed tattoos were associated with courage and bravery (drawn from heroes featured in the Chinese novel, Suikoden) |
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Sea Life: Dreaming of the Artist's Mother (1950) Wanjuk Marika Bark painting Refers to ancient idea of "dreamtime" = the period before humans existed. Indigenous belief system recognizes ancestral spirit beings (who formed the Earth's physical features) as emerging from the earth or the sea and taking on many forms Indigenous people = descendants of the ancestral spirit beings |
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Man's Bush Tucker Dreaming (1971) Acrylic on board Tjangala Abstract representation of the desert floor. Large shapes are footprints of a man who's hunting for grubs and the elongated shapes are sand markings made by his fingers. His weapon (boomerang) is illustrated near the top |
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Asmat Ancestral Spirit Poles (1960) Carved and decorated wood New Guinea Asmat: fierce, cannibalistic tribe Carved and decorated wood poles embodied the spirits of ancestors (figures on poles represented dead individuals that needed to be avenged) Lacy phalluses near top symbolize male fertility, and surface decoration implies body ornamentation` |
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Mokomokai New Zealand Preserved heads of Maori tribe members, faces decorated in facial tattoos. The heads of enemy chiefs were also preserves as war trophies Later became commercial trade items among European and American merchants to barter for firearms and ammo |
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Tapa Cloth Mulberry bark and dye Tonga, Polynesia Tapa: traditional bark cloth made for clothing (very decorative and labor-intensive) Generally traded for special occasions and symbolize wealth |
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Ta'Ovala Tonga, Polynesia Unisex dress made from woven plant leaves Worn on formal occasions (decoration depends on occasion) Handicraft good made by women |
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Moai (1500) Carved stone Rapa Nui (Easter Island), Polynesia One of the most iconic traits of Polynesian culture and common throughout the islands Very stylized form Massive figures could represent deceased chiefs Formation stopped around 1500 (entered period of civil war) |
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Wapepe Navigation Chart (19th c.) Marshall Islands, Polynesia Made from sticks, coconut fibers, and shells Constructed diagrams to represent portions of the archipelago and interpret patterns of ocean swells Acted as memory aids (exclusively on land prior to voyages) |
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Columbus' Map (1490) (unknown cartographer) Ink on vellum Illustrated Europeans' limited view of the world Highly decorative and illustrated |
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Map of Piri Reis (1513) Ottoman Ink on paper World map compiled by military intelligence Demonstrated the extent of exploration of the New World by 1510 |
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The True History of His Captivity (1557) Hans Staden Book illustrated the life of natives through the use of woodblock prints Helped to humanize indigenous people for Europeans |
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Compendium Maleficarum (1608) Francesco Guazzo Woodcut prints Illustrated acts of witchcraft (during the witch scare) |
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Witches' Sabbath (1508) Hans Baldung Woodblock print Utilizes Chiaroscuro (influenced by Albrecht Durer) Hebrew writing on jar shows anti-Semitic values |
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Horsemen of the Apocalypse(1498) Albrecht Durer Woodblock print Infers underlying resentment towards Catholics (displayed by Pope being trampled by death) |
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Adam & Eve (1504) Albrecht Durer Engraving Italian style renderings of human form Animals represent the 4 Greek Temperments (which correlate to the 4 seasons: Cholerie = summer, Sanguine = spring, Melancholic = fall, Phlegmatic = winter) |
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Adam & Eve (1519) Hans Baldung Woodblock print Chiaroscuro Sexualilzes Adam and Eve more than Durer's rendition Shows that humans are inherently flawed |
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Sedna (1800) Inuit, Alaska/Canada Walrus ivory Story of Sedna: father attempted to rescue her from demons but throws her overboards and cuts off fingers, which become different sea animals Hunters appeal to Sedna to hunt walruses and seals |
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Sedna (2008) Serpentine statue Ovilu Tunnillie Inuit Represented as mermaid-like sexualizes the story of Sedna. Artist is trying to draw connections with contemporary issues of domestic violence |
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Dzunukwa (1850) Wood carving Kwakiutl Tribes Dzunukwa ("the wind that blows through pine trees"): mythological figure often portrayed as somewhat demonic and steals children to eat |
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Endless Snake (1987) Sand and pigment on muslin Lynda and Roger Hathale Southern Athabaskan Contemporary but still respects traditional Navajo gender roles (women = weaving, men = sand painting) |
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Whirling Log Ceremony (1925) Hosteen Klah Southern Athabaskan Woven wool tapestry imitation of sand painting 3rd gender person, "berdache" (highly respected in Navajo culture as great mediators) |
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New Dawn (nd) Diego Romero Puebloan artist, ceramic Critique on contemporary society: Illustrates the use of renewable energy (i.e. windmills) in comparison to fossil fuels in his other work, Industrial Landscape Utilizes dark humor and draws influence from pop art |
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Okesa (2006) Oil on canvas Norman Akers New Mexico Contemporary artist incorporates traditional Southwest art elements (i.e. anthropomorphic petroglyph) with color pop art to make statement about cultural heritage |
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Gorget with Spider and Hands (1800) Cherokee Shell Gorget: object of prestige, worn as pendant Based of the Suncatching Myth: Grandmother Spider successfully "caught" a piece of the sun for the animal people Storytelling explains natural occurrences |
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Inappropriate 3 (2013) Acrylic on canvas Frank Buffalo Hyde Critique on contemporary society an mocking pop culture Focuses on cultural appropriation |
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Stereotype: The Barrymore (2013) Mixed Media Cannupa Hanska Mocking pop cultural and calling out cultural appropriation as kitsch and dishonoring by "stealing and consuming an identity" |
