Art Past, Art Present (with MyArtKit Student Access Code Card), 6E David Wilkins Solution Manual

Type:

Solution Manual

Resource:

Art Past, Art Present

Edition:

6th Edition

Author(s):

David Wilkins Bernie Schultz Katheryn M. Linduff

TABLE OF CONTENTS INSTRUCTOR’S MANUAL

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Introduction Some Teaching Strategies A List of the Works by “Issue” Useful Comparisons Sample Multiple Choice Questions Answers to Multiple Choice Questions

3 5 10 44 75 108

TEST ITEM FILE

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Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14

125 133 139 146 153 160 167 173 179 184 190 195 200 206

Experiencing Art Prehistoric Art Ancient Art Later Ancient Art Art from 200 to 1000 Art from 1000 to 1400 Fifteenth-Century Art Sixteenth-Century Art Seventeenth-Century Art Eighteenth-Century Art Nineteenth-Century Art Art from 1900 to 1949 Art from 1950 to 1999 Art in the New Millennium

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INTRODUCTION Each instructor has his or her own manner of teaching, leading discussion, and evaluating student performance. This is especially true in the area of art, which allows for a wide variety of different approaches. The purpose of this manual is to provide some suggestions that might be useful in using Art Past/Art Present as a textbook in a one or two semester Art History or Art Appreciation class. One of the book’s strengths is its incorporation of material outside of the western tradition within a chronological framework, making possible a global understanding of developments in art.

Art Past/Art Present Art Past/Art Present begins with introductory essays that discuss experiencing and studying art, the analysis of works of art, and the role of the artist. After this introductory material, the book is strictly chronological and is divided into sections that follow the usual historical divisions (Prehistoric, Ancient, Art from 200-1400, and the Fifteenth, Sixteenth, Seventeenth, Eighteenth, Nineteenth, and Twentieth Centuries).

Within each of these larger sections there is an introduction devoted to the historical context (including the role of the artist) that is followed by self-contained two- and fourpage “spreads” that discuss the most important works of art; each spread also has timeline information. Technique sections are introduced at the point in the historical chronology when that technique becomes important in the history of art.

The manner in which the material in Art Past/Art Present is divided into two- and four-page sections allows you to emphasize those works you wish to discuss. It also means that the students (or you in lecture) must work to make the connection between the works of art discussed in the sections and the historical context of the introductions.

Our shrinking world and the greater consciousness of other cultures that is being demanded of today’s global citizen suggest that a worldwide view of art should replace the usual European and American oriented survey course in art history or art appreciation. We have tried to encompass the art of many world cultures within the limited scope of Art Past/Art Present, and we urge you to incorporate Chinese, Japanese, Indian, African, Islamic, and other traditions into your course.

How to Use Art Past/Art Present for a One Semester Course Art Past/Art Present was developed for a one semester course. Your course can easily be personalized through your choice of particular periods and works to be emphasized.

How You Might Use Art Past/Art Present for a Two Semester Course Art Past/Art Present was developed for a one semester course, but the expanded sixth edition is more complete and could easily, with supplementary readings, be used for a two semester course. You might wish to give your course a special emphasis by assigning a second book on a particular topic that you could follow throughout the course. For example, if you are interested in women artists, you might assign Whitney Chadwick’s Women, Art, and Society; if you wish a more theoretical and feminist

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approach, you could use Norma Broude and Mary Garrard (eds.), The Expanding Discourse: Feminism and Art History or Linda Nochlin’s Women, Art, and Power and Other Essays. For an emphasis on documentation from the period, you might consider using some of the volumes by Elizabeth Holt or examples from the Sources and Documents series that are now back in print, or Robert Goldwater and Marco Treves, Artists on Art. For art historical theory you could use Norman Bryson, Michael Ann Holly, and Keith Moxey (eds.), Visual Theory: Painting and Interpretation, or Michael Podro’s The Critical Historians of Art. Another possibility is Brucia Witthoft’s Art History: Selected Readings.

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SOME TEACHING STRATEGIES Orienting Your Course Around a Series of Issues Given the extensive material available in Art Past/Art Present, you might consider giving your course additional focus by emphasizing issues that you would follow, when pertinent, throughout the course. Such issues can become the foci for class discussion, for example, and specific essay questions can be developed around each issue that would help to focus students’ attention; examples might include “Discuss the representation of the nude in ancient Greek and Renaissance art,” “Compare the representation of the nude in the Doryphorus with Michelangelo’s David,” or “Compare the Ancient Egyptian Old Kingdom Pharaoh Khafre with the ancient Roman Emperor Augustus (of Prima Porta) as examples of political art.” Such an approach can give students an understanding of the issues raised by some of the most common kinds of art and can help provide tools for understanding paintings, sculptures, and architecture that they will encounter after the end of the course.

There is some overlap between the issues listed below, as is indicated in the list of suggested questions for each issue and, of course, it must be remembered that not every work in Art Past/Art Present is encompassed within one of the categories listed here.

Some Suggested Issues: 1. Political Art and Architecture 2. Domestic Architecture: Home and Palace 3. The Urban Environment: The City 4. The Techniques of Art, including Construction Techniques in Architecture 5. Religious Architecture and Its Decoration 6. Representations of Deities, Religious Figures, Religious Scenes 7. History 8. The Portrait and Self-Portrait 9. Humanity’s Relationship to Nature: Landscape, Seascape, and Still Life 10. Genre (subjects drawn from everyday life, represented naturalistically) 11. The Role of the Patron 12. Representations of the Nude Human Body, Male and Female 13. Gender Issues, including the manner in which men and women are represented, and the role of women artists 14. The Artist’s Changing Relationship to Society, including Self-Portraiture 15. Abstraction

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The Opening Lecture Starting the course is always difficult, and to begin immediately with Prehistoric Art or formal analysis or historical context without giving students an overview of the discipline can be daunting. One suggestion is to pick a favorite work (such as Van Eyck’s Arnolfini Wedding Portrait or Manet’s Olympia) and to spend the entire first lecture discussing it and subjecting it to the questions found on page 3. It is useful to pick a work that is open to different interpretations in order to emphasize how much we don’t know about a work of art.

The Comparative Method Many instructors prefer this method. The only drawback is that students can easily fall back on formal analysis when two slides are shown on the screen for discussion or during an exam; as a result, cultural and iconographic factors are often ignored. This can be in part prevented by using the “issue” approach discussed above, which encourages students to discuss the works in the light of a broader idea.

Focusing the Course by Using Key and Related Works One good way to focus students’ attention on the most important works is to designate some artworks as “key” works (those on which they will be tested) and others as “related” works (those that are used for comparison and discussion); this means that students know immediately which works are more important. Using a list of key and related works also makes reference easier and means that students won’t write down “Gernini” instead of “Bernini.”

Using Unknown Works to Stimulate Discussion The showing of slides of unknown works that are related to works in the textbook is always a good vehicle for encouraging discussion; after discussing the Parthenon, for example, you might discuss an earlier Doric temple for comparison, or you might analyze an unknown kore or kouros after discussing the traditions of early Greek sculpture.

Bringing in Examples of Local Art and Architecture It is important that students understand the particular physical and visual qualities that give a painting, sculpture, work of architecture, or other object its particular impact when seen in the original and not in the illustration in a book. One way to emphasize the importance of studying original works is to include local examples in lecture, in exams, and in papers and projects. Even if there is no local museum or monument available, an example of local architecture, no matter how undistinguished, or a group of cemetery monuments can provide the focus for a paper or project. When these are compared/contrasted with examples illustrated in Art Past/Art Present, the student can emerge with a richer understanding of the local culture and of the global, historical culture.

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Grading Standards It is important that students understand the basis of grading. One approach to grading is the following: a simple repetition of the material from the lectures and readings will earn a C, an effort that demonstrates that the student has incorporated additional reading and information will earn a B, and an A is the reward for an individualized effort that shows originality, additional reading, and a new attempt to synthesize the material offered in the lectures and readings.

Papers/Projects Here again, there is an almost infinite variety in the kind of paper or project that can be useful to students and helpful in evaluating their understanding of the ideas of the course. New studies have stressed that creative involvement on the part of students can be an important part of the learning process. We have included several new types of paper/projects below.

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2.

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The standard research paper, using bibliography and notes.

The standard formal analysis paper, comparing and contrasting two works that are dissimilar in style.

The creative project. In this project students are to create an object on their own; for example, a kachina doll, a perspective rendering, or a rap song about the Italian Renaissance (with specific details about artists, etc.). This project works best when the students are also asked to write a short paper discussing what they hoped to accomplish and how they tried to achieve this. The quality of the finished project is less important than the explanation of what they have tried to accomplish and why.

The “you-are-there” paper. In this project, you ask students to put themselves back into the period when the work of art was created — as the artist, the patron, a member of the patronizing group, or an observer. You ask them to state exactly which of these they are and what social group they belong to. They are then asked to assume the character of the person they have chosen and to write a letter to another individual; if the student has chosen to be a Florentine businessman, he/she might choose to write to a brother who is in the banking system in Flanders, for example. In their papers the students will discuss the particular qualities of the “new” work and how it represents the ideas and problems of the period in which they have chosen to live. If you ask students to become the patron, they will need to stress why they needed the work and what function it fulfilled for them, and how they are satisfied (or dissatisfied) with the completed work. If the assignment is to assume the role of the artist, you should encourage them to discuss the relationship to the patron (or to the type of patron, if the patron is unknown) and to analyze at least one crucial decision in the creative process that has affected the character of the work. How would it have been different if a different decision had been made?

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5.

The “work-as-seen-through-different-eyes” assignment. In this assignment you ask the students to write three letters. One is their description of the work and their initial response to it as a 20th-century person. The second is a discussion of the work from the point of view of someone (see above) alive at the time of its creation. The third is a discussion of the actual function of the work in its present location: What is the contemporary impact of a particular Italian Renaissance painting at a museum in London on the contemporary scene? or What role might the Temple of Borobudur play in contemporary Indonesian life and ritual?

Examinations Some possible ideas for examinations include: •

• • • • • • •

•

Identification of key works by name, name of artist, location (if architecture), cultural period, medium, and approximate date. (For large classes, identification information can be tested by using multiple choice, machine graded exams; a typical question would be “The slide on the screen is a product of the __________ culture: a. Greek; b. Roman; etc.”).

True/False Multiple Choice Matching Chronological listing of works or cultural periods Unknown works of art; identify probable cultural period or artist, approximate date, and write a brief justification for your conclusion.

Short Essay Questions. Example: Discuss the significance of construction techniques for the ancient Roman Pantheon.

Long Essay Questions. Examples: Discuss the significance of the nude male and female figure for the development of ancient Greek and Hellenistic art; Compare and contrast the religious architecture and architectural decoration of the ancient Greeks and the early Indian Buddhists.

Image Comparisons. This type of question works best when there is a focus to the essay; for example, “Identify the two works shown and discuss how they are both typical of new developments in the fifteenth century.” or “Identify the works shown and discuss them as examples of the development of the portrait.” The danger with image comparisons is that students will write two mini-essays that do not compare and contrast the two works, or that they will only discuss the stylistic differences and similarities of the two works. Later in this manual (see table of contents) you will find a number of comparison suggestions based on the issues.

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Take Home Questions This type of examination is perhaps best used for the final examination, where the mastery of vast amounts of material and a synthesis are expected of the student. You can set up a series of questions, perhaps 6 or 8, and give them to the students a week or so before the examination. You will inform them in advance that the final examination will consist of 4 of these questions, and they must select to write on 2. You can also allow students to bring a set of notes for each question to the examination, or a 3 x 5 inch card with a topic sentence and a list of works for each question, to be turned in with the completed examination.

Take Home Examinations Another alternative is to give out a set of questions and ask that students prepare and write up the answers at home, using any available materials, including class notes and the textbook.

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A LIST OF THE WORKS BY “ISSUE” 1A. POLITICAL ART 1.13. American 19th-century. DANIEL CHESTER FRENCH. Minuteman. 1873-1475.

Bronze. Old North Bridge, Concord, Massachusetts 3.10. Ancient Egyptian Old Kingdom. The Pharaoh Khafre. c. 2500 BCE. Diorite 3.11. Ancient Egyptian New Kingdom. Queen Hatshepsut. c. 1495 BCE. Limestone 3.14. Ancient Egyptian New Kingdom. The Throne of Tutankhamen. c. 1350 BCE. Gold, silver, colored glass paste, glazed ceramic, and inlaid calcite 3.16. Ancient Egyptian New Kingdom. Queen Nefertiti. c. 1360 BCE. Limestone and plaster 3.17. Ancient Egyptian Old Kingdom. Votive Palette of King Narmer. c. 3168 BCE. Slate 3.19. Ancient Egyptian Old Kingdom. Colossal Statue of Khafre as the God Hu (“Great Sphinx”). c. 2500 BCE. Sandstone 3.40. Chinese, Shang Dynasty. Fang ding, from Tomb of Lady Hao, Anyang, Henan Province, China. Shang dynasty, c. 1200 BCE. Bronze. Commissioned by Lady Hao or her family 3.43. Assyrian. Human Headed Winged Bull (“Lamassu”), from the gateway of the Palace of Sargon II, Dur Sharrukin (Khorsabad, Iraq). c. 720 BCE. Limestone 3.44. Assyrian. Dying Lioness, from the North Palace of Ashurbanipal at Nineveh (Kuyunjik, Iraq). c. 645-835 BCE. Limestone 3.46. Early Persian. Bull Capital from the Apadana, Persepolis 3.71 to 3.76. Ancient Greek. KALLIKRATES and IKTINOS (architects), PHIDIAS AND WORKSHOP (sculpture). Parthenon at Athens. 447-438 BCE 4.2. Hellenistic. Alexander the Great with Amun Horns. Four-drachma coin. c. 300 BCE. Silver 4.32. Ancient Roman. The Emperor Augustus. c. CE 15. Marble, with traces of paint and perhaps also gilding 4.33. Ancient Roman. Altar of Peace (Ara Pacis), Rome. Reconstructed. 13-9 BCE. Marble 4.37. Ancient Roman. Equestrian Monument of the Emperor Marcus Aurelius. c. CE 161-80.

Bronze 4.38. Ancient Roman. The Spoils of the Temple at Jerusalem Exhibited in Rome. Marble relief, Arch of Titus 4.39. Ancient Roman. Column of Trajan, Rome. CE 113. Marble 5.5. Proto-Historic Japan. Haniwa of a Warrior. Kofun (Old Tomb) period, 3rd-6th century. Earthenware 5.25 to 5.29. Byzantine. Mosaics of San Vitale, Ravenna, Italy. 526-50 5.50. Buddhist. Prince Sudhana’s Search for Enlightenment, upper terrace of the Temple of Borobudur. 835-60. Lava stone 6.9. Romanesque. King Harold Receiving a Messenger from the Bayeux “Tapestry.” c. 10701080. Embroidered wool on linen 6.49. African Tribal. Head of Queen Olokun. Ife. 11th-15th centuries. Clay and brass

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7.7. Italian Renaissance. DONATELLO. Equestrian Monument of Erasmo da Narni, called “Gattamelata.” 1445-70. Bronze, originally with gilded details 7.8. Italian Renaissance. PIERO DELLA FRANCESCA. Battista Sforza; Federigo da Montefeltro. 1465. Oil and tempera on wood 7.37. Italian Renaissance. DONATELLO. David. 1440s? Bronze with gilded details 7.38. Italian Renaissance. MINO DA FIESOLE. Portrait Bust of Piero de’Medici. 1453.

Marble 7.44. Italian Renaissance. ANDREA MANTEGNA. Camera Picta, Ducal Palace in Mantua. 1465-74. Fresco 8.15. Italian Renaissance. MICHELANGELO BUONARROTI. David. 1501-04. Marble 8.35, 8.36. Italian Renaissance. RAPHAEL. Philosophy (The School of Athens) and Theology, known as the Disputà. 1509-21. Frescoes. Stanza della Segnatura, Vatican Palace, Rome 9.20. Flemish Baroque. SIR PETER PAUL RUBENS AND WORKSHOP. The Arrival and Reception of Marie de Medici at Marseilles. 1622-23. Oil on canvas 9.21. Flemish Baroque. SIR PETER PAUL RUBENS AND WORKSHOP. Allegory of the Outbreak of War. 1638. Oil on canvas 9.40. Spanish Baroque. DIEGO VELÁZQUEZ. Las Meninas (The Maids of Honor). 1656. Oil on canvas 9.43. French Classicizing Baroque. NICOLAS POUSSIN. Landscape with the Body of Phocion Carried Out of Athens. 1648. Oil on canvas 10.6. French Rococo. HYACINTHE RIGAUD. Portrait of Louis XIV. 1701. Oil on canvas 10.26. Rococo. ROSALBA CARRIERA. Portrait of Louis XV as a Young Man. 1720-21.

Pastel on paper 11.2. Romanticism. EUGÈNE DELACROIX. Liberty Leading the People. 1830. Oil on canvas 11.3. Impressionism. CLAUDE MONET. Rue Saint-Denis Festivities on June 30, 1878. 1878.

Oil on canvas 11.13. American 19th-century. EDMONIA LEWIS. Forever Free. 1867. Marble 11.15. Neo-Classicism. ANTONIO CANOVA. Napoleon. 1806. Marble with gilded bronze staff and figure of victory 11.16. Neo-Classicism. JEAN-FRANÇOIS-THERESE CHALGRIN AND OTHERS. Arc de Triomphe, Paris. 1806-36 11.17. Neo-Classicism. HORATIO GREENOUGH. George Washington. 1832-41. Marble 11.18. Spanish 19th-century. FRANCISCO GOYA. The Execution of Madrileños on the Third of May. 1808. 1814-15. Oil on canvas 11.19. Spanish 19th-century. FRANCISCO GOYA. Great Courage! Against Corpses! c.

1810-15. Etching 11.20. Romanticism. THÉODORE GÉRICAULT. The Raft of the Medusa. 1818-19.

11.21. Romanticism. FRANÇOIS RUDE. The Departure of the Volunteers of 1792 (“La Marseillaise”). 1833-36. Limestone. Arc de Triomphe, Paris 11.24. British 19th-century. J. M. W. TURNER. The Slave Ship. 1840. Oil on canvas 11.28. French 19th-century. HONORÉ DAUMIER. Rue Transnonain, April 15, 1834. 1834.

Lithograph

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11.29. French 19th-century. HONORÉ DAUMIER. Freedom of The Press: Don’t Meddle with It. 1834. Lithograph 11.36. Realism. GUSTAVE COURBET. A Burial at Ornans. 1849-50. Oil on canvas 12.53, 12.54. Mexican 20th-century. DIEGO RIVERA. Night of the Rich and Night of the Poor. 1923-24. Frescoes. Ministry of Education, Mexico City 12.67. American 20th-century. JACOB LAWRENCE. Toussaint L’Ouverture Series, No. 10 The Cruelty of the Planters Led the Slaves to Revolt, 1776. These Revolts Kept Springing Up from Time to Time—Finally Came to a Head in the Rebellion. 1937-38. Tempera on paper 12.1, 12.68, 12.69. Spanish 20th-century. PABLO PICASSO. Guernica. May 1-June 4, 1937.

Oil on canvas 13.38. American 20th-century. JENNY HOLZER. Untitled (Selections from Truisms, Inflammatory Essays, The Living Series, The Survival Series, Under a Rock, Laments, and New Writing). Installation at the Solomon R. Guggenheim Museum, New York.

1989-90 13.41. American 20th-century. NAIM JUNE PAIK. Electronic Superhighway. 1995. Video installation, neon, steel, and electronic components 13.44. Japanese 20th-century. YUKINORI YANAGI. Hinomaru Illumination (Amaterasu and Haniwa). 1993. Neon and painted steel, with reproductions of ceramic haniwa figures. Installation at The Museum of Art, Kochi, Japan, 1993

1B. POLITICAL ARCHITECTURE 3.13. Ancient Egyptian New Kingdom. Temple of Ramses II at Abu Simbel. c. 1257 BCE 3.19. Ancient Egyptian Old Kingdom. Colossal Statue of Khafre as the God Hu (“Great Sphinx”). c. 2500 BCE. Sandstone 3.22. Ancient Egyptian Old Kingdom. IMHOTEP (Architect). Funerary District of King Zoser at Saqqara. c. 2750 BCE 3.24. Ancient Egyptian New Kingdom. Courtyard built by Pharaoh Amenhotep III, Temple of Amun-Mut-Khonsu at Luxor. c. 1390 BCE and later 3.25. Ancient Egyptian New Kingdom. Typical pylon gate 3.27, 3.28. Ancient Egyptian New Kingdom. Temple of Khonsu, Karnak. (Patrons are the Pharaohs of Egypt) 3.31. Prehistoric Indian. Great Bath, granary, and houses, Mohenjo-Daro, Indus Valley (modern Pakistan). c. 2100-1750 BCE 3.37. Mycenaean. Lion Gate, Mycenae (Greece), c. 1250 BCE. Limestone 3.43. Assyrian. Human Headed Winged Bull (“Lamassu”), from the gateway of the Palace of Sargon II, Dur Sharrukin (Khorsabad, Iraq). c. 720 BCE. Limestone 3.44. Assyrian. Dying Lioness. From the North Palace of Ashurbanipal at Nineveh (Kuyunjik, Iraq), c. 645-835 BCE. Limestone 3.45. Early Persian. Portion of Royal Audience Hall (“Apadana”) and Stairway of the Palace of Darius at Persepolis (Iran). c. 500 BCE

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3.56. Ancient Greek. Acropolis, Athens. Reconstructed model 3.71 to 3.76. Ancient Greek. KALLIKRATES and IKTINOS (architects), PHIDIAS AND WORKSHOP (sculpture). Parthenon at Athens. 447-438 BCE 4.4. Ancient Roman. Arch of Titus in Rome. c. CE 81. Marble over concrete core 4.34, 4.35. Ancient Roman. Roman and Imperial Forums in Rome. CE early 4th century 4.49. Ancient Roman. Interior, Basilica of Maxentius and Constantine, Rome. c. CE 306313 4.52 to 4.54. Hellenistic/Ancient Roman. Pantheon, Rome. CE 117-125 5.25 to 5.29. Byzantine. Mosaics of San Vitale, Ravenna, Italy. 526-50 5.49. Buddhist. Temple of Borobudur, Java, Indonesia. Sailendra dynasty, 835-60. Lava stone 7.31. Italian Renaissance. FILIPPO BRUNELLESCHI. Dome, Cathedral, Florence. 1420-36 7.35, 7.36. Italian Renaissance. MICHELOZZO. Courtyard and Exterior, Medici Palace, Florence. 1444-59 8.4. Russian. POSNIK and BARMA (?). Cathedral of St. Basil the Blessed, Moscow. 155460 and later 8.59 to 8.61. Ottoman. SINAN. Suleymaniye Complex, Istanbul. 1551-58. Commissioned

by Sultan Suleiman I the Magnificent 9.47. French Classicizing Baroque. LE VAU AND HARDOUIN-MANSART. Garden facade, Palace of Versailles, France. 1669-85 9.48. French Baroque. ANDRE LE NOTRE. Plan of the gardens and park, Versailles.

Designed 1661-68; executed 1662-80 9.50, 9.51. Japanese. Katsura Imperial Villa, near Kyoto, Japan. 1620-63. Commissioned

by Prince Hachijo Toshihito and his son Toshitada 10.23. German Rococo. JOHANN BALTHASAR NEUMANN. Kaisersaal (Imperial Hall), Episcopal Palace, Würzburg, Germany. 1735-44 10.29. Neo-Classicism. THOMAS JEFFERSON. State Capitol, Richmond, Virginia. 178589 11.16. Neo-Classicism. JEAN-FRANÇOIS-THERESE CHALGRIN AND OTHERS. Arc de Triomphe, Paris. 1806-36 11.31. Gothic Revival. SIR CHARLES BARRY AND AUGUSTUS W. N. PUGIN. Houses of Parliament, London. Begun 1836; opened in 1852; completed 1870 11.43. Romanesque Revival. HENRY HOBSON RICHARDSON. Allegheny County Courtyhouse and Jail, Pittsburgh. 1884-8

2. DOMESTIC ARCHITECTURE: HOME & PALACE 1.6. Japanese. Katsura Imperial Villa, near Kyoto, Japan. 1620-63. Commissioned by Prince Hachijo Toshihito and his son Toshitada 1.8, 1.9. Italian Renaissance. ANDREA PALLADIO. Villa Rotonda. Vicenza, (Italy). c.

1567-70 1.7, 1.10, 1.11. American 20th-century. FRANK LLOYD WRIGHT. Fallingwater, Bear Run, Pennsylvania. 1936 3.35, 3.36. Minoan. Palace at Knossos, Crete. c. 1600-1400 BCE

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3.45. Early Persian. Portion of Royal Audience Hall (“Apadana”) and Stairway of the Palace of Darius at Persepolis (Iran). c. 500 BCE 3.57. Hellenistic/Ancient Roman. The Unswept Floor, Roman copy of a Hellenistic mosaic

by SOSOS. CE 2nd century. Mosaic fragment 4.29. Ancient Roman. House of Pansa, Pompeii, Italy. 2nd century BCE 4.30. Ancient Roman. Atrium, House of Menander, Pompeii. c. CE 70 4.31. Ancient Roman. Frescoed room from the House of the Vettii, Pompeii. CE 63-79 4.43. Ancient Roman. Garden, wall painting from the Villa of Livia at Prima Porta near Rome. Late 1st century BCE. Fresco 4.45. Ancient Roman. Still Life with Eggs and Thrushes, from the House (or Villa) of Julia Felix at Pompeii. Before CE 79. Fresco 7.35, 7.36. Italian Renaissance. MICHELOZZO. Courtyard & Exterior, Medici Palace, Florence. 1444-59 7.44. Italian Renaissance. ANDREA MANTEGNA. Camera Picta, Ducal Palace in Mantua. 1465-74. Fresco 8.52. Italian Renaissance. BENVENUTO CELLINI. Saltcellar of Francis I. 1543. Gold and enamel 9.12. Japanese. Great Audience Hall, Nijo Castle. c. 1625 9.47. French Classicizing Baroque. LE VAU AND HARDOUIN-MANSART. Garden facade, Palace of Versailles, France. 1669-85 9.48. French Baroque. ANDRE LE NOTRE. Plan of the gardens and park, Versailles.

Designed 1661-68; executed 1662-80 9.50, 9.51. Japanese. Katsura Imperial Villa, near Kyoto, Japan. 1620-63. Commissioned

by Prince Hachijo Toshihito and his son Toshitada 10.2. French Rococo. GERMAIN BOFFRAND. Salon de la Princesse, Hôtel de Soubise, Paris. 1736-34 10.4. Neo-Classicism. ROBERT ADAM. Fireplace Niche, Entrance Hall, Osterley Park House, Middlesex, England. Begun 1761 10.23. German Rococo. JOHANN BALTHASAR NEUMANN. Kaisersaal (Imperial Hall), Episcopal Palace, Würzburg, Germany. 1735-44 10.30. Neo-Classicism. RICHARD BOYLE. Chiswick House, West London, England.

1724-29 10.31. Neo-Classicism. THOMAS JEFFERSON. Monticello, Charlottesville, Virginia.

1768-82, 1796-1809 10.33. Neo-Classicism. ANTON RAPHAEL MENGS. Parnassus. 1761. Ceiling fresco from the Villa Albani, Rome 11.14. British 19th-century. MAJOR CHARLES MANT and R. F. CHISHOLM. Laxmi Vilas Palace, Vadodara, Gujarat, India. 1878-90 11.32. Neo-Classicism. UNKNOWN ARCHITECT. Gaineswood, Demopolis, Alabama.

1842-c. 1860 11.33. Gothic Revival. ALEXANDER JACKSON DAVIS. William Rotch House. New Bedford, Massachusetts. 1845 12.5. Swiss 20th-century. ALBERTO GIACOMETTI. City Square. 1948. Bronze

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12.30, 12.31. American 20th-century. FRANK LLOYD WRIGHT. Robie House, Chicago.

1909 12.29. HOPI. First Mesa, Walpi Village in foreground, Hopi Reservation, Arizona. 20th century 12.47 to 12.49. De Stijl. GERRIT RIETVELD. Schröder House, Utrecht, The Netherlands.

1923-24 12.64. American Regionalism. GRANT WOOD. American Gothic. 1930. Oil on beaverboard 12.75. International Style. PHILIP JOHNSON. Glass House. 1949. New Canaan, Connecticut

3. THE URBAN ENVIRONMENT: THE CITY 1.1. 21st-century. ANISH KAPOOR. Cloud Gate. 2004. Stainless steel 3.31. Prehistoric Indian. Great Bath, granary, and houses, Mohenjo-Daro, Indus Valley (modern Pakistan). c. 2100-1750 BCE 3.37. Mycenaean. Lion Gate, Mycenae (Greece). c. 1250 BCE. Limestone 3.56. Ancient Greek. Acropolis, Athens. Reconstructed model 4.34, 4.35. Ancient Roman. Roman and Imperial Forums in Rome. CE early 4th century 4.36. Ancient Roman. Baths of Caracalla, Rome. CE 211-217 4.40. Ancient Roman. Plan, Thamugadis (Timgad), Algeria. Founded c. CE 100 4.46, 4.47. Ancient Roman. Flavian Amphitheater (Colosseum), Rome. CE 72-86 4.48. Ancient Roman. Interior, Basilica Ulpia, Rome. c. CE 98-117 4.55. Teotihuacán, with Pyramids of the Sun and Moon, central Mexico. c.100 BCE - 650 CE 5.35. Chinese. Plan of Chang’an in the 7th-8th centuries (Tang dynasty) 6.40, 6.41. Chinese. The Forbidden City, Beijing, China. First built 1279-1368 (Yuan Dynasty) 9.5. Italian Baroque. GIANLORENZO BERNINI. Fountain of the Four Rivers. 1648-51.

Marble and travertine, with obelisk. Piazza Navona, Rome 10.10. Italian 18th-century. GIOVANNI BATTISTA PIRANESI. View of the Piazza della Rotunda. 1746-48. Etching 11.3. Impressionism. CLAUDE MONET. Rue Saint-Denis Festivities on June 30, 1878. 1878.

Oil on canvas 11.27. Japanese 19th-century. ANDO HIROSHIGE. Cotton Goods Lane, Odenma-cho, from One Hundred Famous Views of Edo. 1858. Woodblock print 11.43. Romanesque Revival. HENRY HOBSON RICHARDSON. Allegheny County Courthouse and Jail, Pittsburgh. 1884-8 11.55. Impressionism. CLAUDE MONET. Gare St. Lazare, Paris. 1877. Oil on canvas 11.74. American 19th-century. LOUIS SULLIVAN. Wainwright Building, St. Louis. 189091 11.75. American 19th-century. LOUIS SULLIVAN. Carson-Pirie-Scott Store, Chicago.

1899-2306 12.5. Swiss, 20th-century. ALBERTO GIACOMETTI. City Square, 1948. Bronze

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12.29. HOPI. First Mesa, Walpi Village in foreground, Hopi Reservation, Arizona. 20th century 12.39. German Expressionism. ERNST LUDWIG KIRCHNER. Street, Berlin. 1913. Oil on canvas 12.41. Italian 20th-century. GIORGIO DE CHIRICO. Melancholy and Mystery of a Street.

1914. Oil on canvas 12.76. International Style. MIES VAN DER ROHE. Seagram Building. 1956-8. New York 13.27. Post-Modernism. MICHAEL GRAVES. Portland Public Service Building, Oregon.

1980-82 13.24. New Brutalism. RENZO PIANO AND RICHARD ROGERS. Georges Pompidou National Arts and Cultural Center, Paris. 1971-78 13.37. Graffiti Art. KEITH HARING. Art in Transit. 1982. Graffiti in New York City subway station 13.49. American 20th-century. FRANK GEHRY. Guggenheim Museum Bilbao, Spain.

1997 14.4. 21st-century. REM KOOLHAAS. Prada Flagship Store in Soho, New York City.

2001 14.11. 21st-century. JULIE MEHRETU. Empirical Construction, Istanbul. 2003. Ink and synthetic polymer on canvas 14.12. 21st-century. ANDREAS GURSKY. Shanghai. 2000. Photograph

4. THE TECHNIQUES OF ART, INCLUDING CONSTRUCTION TECHNIQUES IN ARCHITECTURE 2.5. Neolithic. Clay pot. c. 3100-2500 BCE. Terra-cotta 3.15. Ancient Egyptian. Diagram showing the Ancient Egyptian proportional system 3.20. Ancient Egyptian. Section of the Great Pyramid of Khufu, Giza 3.21. Ancient Egyptian Mastabas reconstruction, with section 3.42. Chinese. The technique of bronze casting in ancient China 3.65. Ancient Greek. Lost-wax bronze casting 3.68. Ancient Greek. Diagram of Doric, Ionic, Corinthian orders 3.70. Ancient Greek. Diagram of the evolution of Doric proportions 4.44. Ancient Roman. Diagram of fresco patches at the Villa of the Mysteries 4.46, 4.47. Ancient Roman. Flavian Amphitheater (Colosseum), Rome. CE 72-86 4.50. Ancient Roman. Diagrams of a round arch, an arch with centering, a tunnel (or barrel) vault, a cross (or groin) vault, a dome on pendentives, and a dome on squinches 4.51. Ancient Roman. Pont du Gard (bridge and aqueduct) near Nimes, France. Late 1st century BCE 4.52 to 4.54. Ancient Roman. Pantheon, Rome. CE 117-125 6.27 to 6.32. French Gothic. Cathedral of Notre Dame, Chartres, France. 1194-1220 6.31. French Gothic. Isometric projection and cross section showing structure and parts of Chartres Cathedral 6.32. French Gothic. Diagrams of vaults constructed using round and pointed arches

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6.36. French Gothic. Photograph of a craftsperson making a stained-glass window 6.47. Schematic diagram of a section of a typical late medieval tempera painting 6.48. Schematic diagram of a section of a typical late medieval fresco painting 7.20. Italian Renaissance. Diagram of the orthogonals of the perspective scheme of Raphael’s Philosophy 7.21. Italian Renaissance. Diagram of the orthogonals of the perspective scheme of Ghiberti’s Story of Jacob and Esau from the “Gates of Paradise” 7.28. Flemish painting. Schematic, diagram of a section of a Flemish fifteenth-century oil painting 7.31. Italian Renaissance. FILIPPO BRUNELLESCHI. Dome, Cathedral, Florence. 1420-36 7.46. German 16th-century. ALBRECHT DÜRER. Artist Drawing a Lute with the Help of a Mechanical Device. 1525. Woodcut 8.24, 8.25. Diagrams of the woodcut and engraving techniques 8.49, 8.50. Italian Renaissance. TITIAN. Rape of Europa. c. 1559-54. Oil on canvas 9.37, 9.38. Diagrams of the etching and drypoint techniques 11.7. Diagram of the construction of The Statue of Liberty 11.30. Diagram of the lithography technique 11.40. American 19th-century. WILLIAM LE BARON JENNEY. Detail of steel-frame construction, 1890-91 11.41. French 19th-century. FRANÇOIS HENNEBIQUE. Diagram of monolithic reinforced-concrete joint. Patented in 1892 11.49. Diagram of a camera 11.74. American 19th-century. LOUIS SULLIVAN. Wainwright Building, St. Louis. 189091 13.4. Abstract Expressionism. Photograph of Jackson Pollock painting 13.41. American 20th-century. NAIM JUNE PAIK. Electronic Superhighway. 1995. Video installation, neon, steel, and electronic components

5. RELIGIOUS ARCHITECTURE AND ITS DECORATION 2.6. Neolithic. Animal Hunt, Çatal Hüyük, Turkey. c. 6000 BCE 2.8. Neolithic. Stonehenge, c. 2750-1300 BCE. Salisbury Plain, Wiltshire, England 2.9. Ancient Chinese. Ritual Center at Dongshanzui, Lianoing Province. Hongshan Culture. c. 3500-3000 BCE 3.9. Sumerian. Ziggurat at Ur. c. 2100 BCE. Fired brick over mud brick core 3.13. Ancient Egyptian New Kingdom. Temple of Ramses II at Abu Simbel. c. 1257 BCE 3.18. Ancient Egyptian Old Kingdom. The Pyramids of Menkure (c. 2470 BCE), Khafre (c. 2500 BCE), and Khufu (c. 2530 BCE), Giza 3.21. Ancient Egyptian Old Kingdom. Mastabas reconstruction, with section 3.22. Ancient Egyptian Old Kingdom. IMHOTEP (Architect). Funerary District of King Zoser at Saqqara. c. 2750 BCE 3.23. Ancient Egyptian Old Kingdom. Valley Temple of Khafre at Giza. c. 2500 BCE 3.24. Ancient Egyptian New Kingdom. Courtyard, Temple of Amun-Mut-Khonsu at Luxor. c. 1390 BCE and later

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3.25. Ancient Egyptian New Kingdom. Typical pylon gate 3.26. Ancient Egyptian New Kingdom. Hypostyle hall of the Temple of Amun, Karnak.

1350-1205 BCE 3.27, 3.28. Ancient Egyptian New Kingdom. Temple of Khonsu, Karnak. (Patrons are the Pharaohs of Egypt) 3.31. Prehistoric Indian. Great Bath, granary, and houses, Mohenjo-Daro, Indus Valley (modern Pakistan). c. 2100-1750 BCE 3.54. Ancient Greek, Severe Style. Apollo and the Battle of the Lapiths and the Centaurs, detail from the west pediment, Temple of Zeus at Olympia. 468-660 BCE. Marble 3.56. Ancient Greek. Acropolis, Athens. Reconstructed model 3.69. Ancient Greek. Second Temple of Hera, Paestum, Italy. c. 460 BCE 3.71 to 3.76. Ancient Greek. KALLIKRATES and IKTINOS (architects), PHIDIAS AND WORKSHOP (sculpture). Parthenon at Athens. 447-438 BCE 4.1, 4.21 to 4.23. Buddhist. The Great Stupa, Sanchi, India. 3rd century BCE-1st century CE 4.28. Ancient Roman. Temple of Portunus (“Temple of Fortuna Virilis”), Rome. Late 2nd century BCE 4.52 to 4.54. Ancient Roman. Pantheon, Rome. CE 117-125 5.7. Chinese. Great Mosque at Xi’an, Shaanxi, China. CE 685-762 5.8, 5.9. Early Jewish. Synagogue with Moses Giving Water to the Tribes and Elijah Revives the Widow’s Child, Dura Europos. Erected 244/245. Tempera on plaster 5.12, 5.13. Early Christian. Old St. Peter’s Basilica, Rome. CE c. 333-c. 390 5.14, 5.15. Early Christian. Santa Costanza, Rome. c. CE 354 5.16 to 5.19. Buddhist. Ajanta Caves, Deccan, India. c. CE 460-477. Living rock 5.20, 5.21. Shinto. Shrine complex, Ise, Japan. Late 5th-early 6th centuries 5.1, 5.23, 5.24. Byzantine. ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS (architects). Hagia Sophia (Holy Wisdom), Istanbul (Constantinople), Turkey. 532537 5.36 to 5.38. Buddhist, Horyu-ji complex, Nara, Japan, 7th century CE (Asuka period) 5.35. Chinese. Linde Hall of the Daming Palace, Chang’an. 7th century (Tang dynasty) 5.40, 5.41. Hindu. Kailasantha Temple, Ellora, India. c. 760-800, with later additions 5.42 to 5.44. Islamic. Mosque, Cordóba, Spain. Begun 786 5.47. Carolingian. St. Gall monastery plan. c. 819 5.48. Romanesque. Monastery, Cluny, France. c. 1157 5.49. Buddhist. Temple of Borobudur, Java, Indonesia. Sailendra dynasty, 835-60. Lava stone 5.50. Buddhist. Prince Sudhana’s Search for Enlightenment, upper terrace of the Temple of Borobudur. 835-60. Lava stone 6.10, 6.11, 6.14. Romanesque. Sainte Foy, Conques, France and Last Judgment. c. 10501120 6.17, 6.18. Cambodian. Temple complex, Angkor Wat, Kampuchea, Cambodia. First half of the 12th century

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6.22, 6.23. French Gothic. St. Denis, near Paris. Built under the direction of the Abbot Suger. 1140-1144 6.27 to 6.32. French Gothic. Cathedral of Notre Dame, Chartres, France. 1194-1220 6.34. French Gothic. West facade, Amiens Cathedral. c. 1225-35 6.51. African Tribal. Royal Ancestral Shrine, Benin, Nigeria. 17th century 7.22. Italian Renaissance. LORENZO GHIBERTI. “Gates of Paradise” for the Florentine Baptistery. 1425-52. Gilded bronze 7.29, 7.30. Italian Renaissance. FILIPPO BRUNELLESCHI. Church of Santo Spirito, Florence. Begun 1436 7.31. Italian Renaissance. FILIPPO BRUNELLESCHI. Dome, Cathedral, Florence. 1420-36 8.4. Russian. POSNIK and BARMA (?). Cathedral of St. Basil the Blessed, Moscow. 155460 and later 8.26, 8.27. Italian Renaissance. DONATO BRAMANTE. New St. Peter’s. 1506 8.28 to 8.30. Italian Renaissance. MICHELANGELO BUONARROTI. New St. Peter’s.

1546-64 8.59 to 8.61. Ottoman. SINAN. Suleymaniye Complex, Istanbul. 1551-58 8.65. Zen Buddhist, Teahouse, Japan. c. 1573-1615 9.22. Italian Baroque. GIANLORENZO BERNINI. Baldacchino (1624-63) and Cathedra Petri (1656-66). St. Peter’s Basilica, Rome 9.23. Italian Baroque. GIANLORENZO BERNINI. Colonnade, St. Peter’s, Rome. Begun 1656. Travertine 9.29 to 9.31. Italian Baroque. FRANCESCO BORROMINI. San Carlo alle Quattro Fontane, Rome. 1638-61, 1665-87 10.3. Polish, 18th-century. Synagogue, Wolpa, Poland (now destroyed). 18th century.

Wood 10.9. 18th-century Architecture. Façade of Havana Cathedral, Cuba. 1748 – c. 1777 13.10 to 13.12. Swiss 20th-century. LE CORBUSIER. Nôtre-Dame-du-Haut, Ronchamp, France. 1950-54.

13.50. Japanese 20th-century. TADEO ANDO. Water Temple, Island of Awaji, Japan.

1992 13.53. German 20th-century. THOMAS STRUTH. San Zaccaria, Venice. 1995. Photograph 14.18. American 20th-century. JAMES TURRELL. Roden Crater project. 1974-present.

San Francisco Volcanic Field, near Flagstaff, Arizona

6. REPRESENTATIONS OF DEITIES, RELIGIOUS FIGURES, RELIGIOUS SCENES 1.5. Italian Baroque. GIANLORENZO BERNINI. Apollo and Daphne. 1622-25. Marble 1.15. Ancient Greece. PHIDIAS AND WORKSHOP. Seated Deities, from the frieze of the Parthenon. c. 438-432 BCE. Marble 2.1. Prehistoric Amerindian. Fort Ancient culture (?), North America. The Great Serpent Mound, Peebles, Adams County, Ohio. Prehistoric in the Americas, c. CE 1070 3.2. Etruscan. Engraved Back of a Mirror. c. 400 BCE. Bronze 3.3. Chinese, Shang Dynasty. Fang ding (ceremonial food vessel). c. 1150 BCE. Bronze

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3.6. Sumerian. Vessel, found at Uruk (modern Iraq). c. 3200-3000 BCE. Alabaster 3.7. Sumerian. Worshippers and Deities. c. 2750 BCE. Gypsum 3.8. Sumerian. Storm God and Two Stags. Lintel from a temple at al’Ubaid (Iraq), c. 2500 BCE 3.17. Ancient Egyptian Old Kingdom. Votive Palette of King Narmer. c. 3168 BCE. Slate 3.19. Ancient Egyptian Old Kingdom. Colossal Statue of Khafre as the God Hu, later known as the “Great Sphinx.” c. 2500 BCE. Sandstone 3.29. Ancient Egyptian Old Kingdom. Ti Watching a Hippopotamus Hunt. c. 2400 BCE. Painted limestone relief 3.30. Ancient Egyptian New Kingdom. Pond in a Garden. c. 1390 BCE. Paint on plaster wall 3.32. Prehistoric Indian. Seal with Ithyphallic Figure, found at Mohenjo-Daro, Indus Valley (modern Pakistan). c. 2100-1750 BCE. Steatite 3.33. Minoan. Bull Leaping. From the Palace at Knossos, Crete. c. 1500 BCE. Fresco 3.34. Minoan. Snake Goddess or Priestess. c. 1600 BCE. Faience 3.38. Mycenaean. Tomb, Mycenae. c. 1400 BCE 3.39. Mycenaean. Funerary mask found at Mycenae. c. 1500 BCE. Gold 3.40. Chinese, Shang Dynasty. Fang ding, from the Tomb of Lady Hao, Anyang, Henan Province, China. Shang dynasty, c. 1200 BCE. Bronze. Commissioned by Lady Hao or her family 3.41. Chinese, Shang Dynasty. Pendant in the shape of a hawk, from the Tomb of Lady Hao, Anyang, Henan Province, China. Shang dynasty, c. 1200 BCE. Jade 3.43. Assyrian. Human Headed Winged Bull (“Lamassu”), from the gateway of the Palace of Sargon II, Dur Sharrukin (Khorsabad, Iraq). c. 720 BCE. Limestone 3.51. Etruscan. Ash urn, found at Castiglione del Lago, Italy. c. 650-600 BCE. Terra-cotta 3.52. Etruscan. Sarcophagus with Reclining Couple. c. 525-700 BCE. Terra-cotta 3.53. Etruscan. Tomb of Hunting and Fishing, Tarquinia, Italy. c. 510-500 BCE. Fresco 3.55. Ancient Greek Geometric Style. Vase with Mourners Around a Bier. c. 750 BCE. Terracotta 3.61. Ancient Greek Archaic style. Kouros, from the Tomb of Kroisos, Anavysos, Greece. c. 520 BCE. Marble 3.62. Ancient Greek Archaic style. Kore, from Chios (?). c. 510 BCE. Marble fragment 3.63. Ancient Greek Severe Style, Kouros (also known as the Kritian Boy). c. 480 BCE. Marble fragment 3.64. Ancient Greek Severe Style. Zeus. c. 460 BCE. Bronze with inlaid eyebrows, lips, and nipples 3.67. Ancient Greek 4th century. Copy after PRAXITELES. Aphrodite of Knidos, Roman copy after 4th-century BCE original. Marble 4.5. Ancient Roman. Flora, from the Villa of Arianna at Castellammare di Stabia. Before CE 79. Fresco 4.23. Buddhist. The Great Stupa at Sanchi. Detail of east gate, south pillar, adoration of the Bodhi tree. 2nd-1st century BCE

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4.42. Ancient Roman. The Bacchic Mysteries. Villa of the Mysteries at Pompeii, Italy. c. 30 BCE 4.55. Teotihuacán, with Pyramids of the Sun and Moon, central Mexico. c. 100 BCE - 650 CE 4.57. Teotihuacán, Maguey Bloodletting Ritual. Fresco. 600-750 5.2. Byzantine. Virgin Enthroned with Saints Theodore and George, and Angels, 6th century.

Encaustic on wood. Monastery of St. Catherine, Mount Sinai 5.3. Hindu. Descent of the Ganges, Mahamallapuram, India. c. 625-74 (Middle Pallava period). Carved on a granite cliff 5.6. French 16th-century. MASTER OF ST. GILES. The Mass of St. Giles. c. 1500. Oil on wood 5.8, 5.9. Early Jewish. Synagogue with Moses Giving Water to the Tribes and Elijah Revives the Widow’s Child, Dura Europos. Erected 244/245. Tempera on plaster 5.10. Early Christian. The Three Hebrew Children in the Fiery Furnace. Early 3rd century.

Fresco. Catacomb of Priscilla, Rome 5.11. Early Christian. Good Shepherd. Late 3rd century. Marble (restored) 5.19. Buddhist. Bodhisattva Padmapani. c. 460-477. Fresco, Ajanta Caves.

5.22. Byzantine. The Transfiguration of Christ. c. 560. Apse mosaic. Monastery of St. Catherine, Mt. Sinai, Egypt 5.31. Hiberno-Saxon. Incarnation Page, from the Book of Kells. c. 800? Manuscript painting on vellum 5.38. Japanese Buddhist. TORI BUSSHI (Master Craftworker Tori). Shaka Triad. 632 (Asuka Period). Bronze with gilt. Golden Hall (kondo), Horyu-ji complex 5.45. Carolingian. St. Matthew, from the Gospel Book of Archbiship Ebbo of Reims. Between 816-835. Manuscript painting on vellum 5.46. Ottonian. Christ Washing the Feet of St. Peter, from the Gospel Book of Otto III. c. 1000.

Manuscript painting on vellum 5.50. Buddhist. Prince Sudhana’s Search for Enlightenment, upper terrace of the Temple of Borobudur. 835-60. Lava stone 5.51, 5.52. Chinese. LI CHENG (attributed). Buddhist Temple in the Hills After Rain. c. 950 (Five Dynasties/Northern Song). Hanging scroll, ink and color on silk 6.2. German Romanesque. Reliquary in the Shape of a Church. c. 1170. Gilt cast bronze, enamel and walrus ivory reliefs on a wooden core 6.7. Romanesque. Christ in Majesty with Angels, Symbols of the Evangelists, and Saints, from San Clemente, Tahull, Spain. c. 1123. Apse fresco 6.8. Romanesque. Sainte Foy Reliquary. Later 10th century. Gold with filigree and precious stones over wooden core 6.13. Romanesque. Pentecost, the Peoples of the Earth, and St. John the Baptist. Abbey Church of La Madeleine, Vézelay, France. 1120-32 6.19. Angkor Wat. The Churning of the Sea of Milk, Angkor Wat. First half of the 12th century 6.24. French Gothic. Abbot Suger’s Chalice. c. 1140. Silver gilt and agate, with jewels 6.25. French Gothic. Madonna of Jeanne d’Evreux. 1339. Silver-gilt with enamel

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6.26. French Gothic. Annunciation, from the London Hours. c. 1400-1410. Manuscript painting on vellum 6.33. French Gothic. Beau Dieu. c. 1225-35. Stone. Cathedral of Notre Dame, Amiens, France 6.35. French Gothic. “Notre Dame de La Belle Verrière.” 12th century. Stained glass. Notre Dame, Chartres 6.42. Italian 14th-century. GIOTTO. Madonna Enthroned with Angels and Saints. c. 1300.

Tempera on wood 6.43. Italian 13th-century. CIMABUE. Madonna Enthroned with Angels and Prophets. c.

1285. Tempera on wood 6.44 to 6.46. Italian 14th-century. GIOTTO. The Lamentation, The Last Judgment. c. 1303905. Frescoes. Arena Chapel, Padua, Italy 6.49. African Tribal. Head of Queen Olokun. Ife. 11th-15th centuries. Clay and brass 6.50. African Tribal. Altar Head. Benin. 17th century. Cast alloy of copper and iron. Edo peoples, Benin kingdom, Nigeria 6.52. African Tribal. Head of a Woman. Owo. 15th century. Terra-cotta. Yoruba peoples, Owo, Nigeria 7.2. Italian Renaissance. PIERO DELLA FRANCESCA. Resurrection. c. 1460. Fresco 7.3. Flemish Painting. ROGIER VAN DER WEYDEN. Deposition. c. 1435-38 7.4. Tibetan, School of the Ngor Monastery. Mandala of Jnanadakini. Late 15th century.

Opaque watercolor on cloth 7.12. Italian Renaissance. DONATELLO. St. Mark. c. 1411-17. Marble. Formerly on Orsanmichele, Florence 7.13. Italian Renaissance. DONATELLO. The Penitent Magdalene. Late 1430s-1450s? Wood with polychromy and gilding 7.15. Flemish Painting. THE LIMBOURG BROTHERS. Crucifixion in the Darkness of the Eclipse, from the Très Riches Heures. Before 1416. Manuscript painting on vellum 7.16, 7.17. Flemish Painting. ROBERT CAMPIN. The Annunciation with Patrons and Saint Joseph in his Workshop. c. 1425. Oil on wood 7.18. Italian Renaissance. MASACCIO. The Trinity with the Virgin Mary, John, and Two Donors. c. 1425-28. Fresco. Santa Maria Novella, Florence 7.19. Italian Renaissance. Brancacci Chapel, Santa Maria del Carmine, Florence, with frescoes by Masaccio (c. 1425-28), Masolino (c. 1425-28), and Filippino Lippi (1484) 7.23, 7.24. Flemish Painting. HUBERT AND JAN VAN EYCK. The Altarpiece of the Lamb, completed 1432. Oil on panel. Cathedral of St. Bavo, Ghent 7.37. Italian Renaissance. DONATELLO. David. 1440s? Bronze with gilded details 7.43. Flemish Painting. HANS MEMLING. Madonna and Child; Martin van Nieuwenhove.

1487 7.45. Italian Renaissance. ANDREA MANTEGNA. A Foreshortened Christ. c. 1466.

Tempera on canvas 7.49. Italian Renaissance. LEONARDO DA VINCI. Madonna of the Rocks. 1483-85. Oil on wood, transferred to canvas 7.52. Italian Renaissance. LEONARDO DA VINCI. The Last Supper. c. 1495-98. Fresco

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7.53. Italian Renaissance. LEONARDO DA VINCI. Study for the Head of Judas. 1495-97.

Preparatory drawing for The Last Supper. Red chalk on red prepared paper 7.54. Italian Renaissance. MICHELANGELO BUONARROTI. Pietà. 1498-99. Marble 7.55. German Gothic. Pietà. Early 14th century. Polychromed wood 8.2. Italian Renaissance. MICHELANGELO BUONARROTI. Pietà. c. 1547-55. Marble 8.6. Italian Renaissance. RAPHAEL. Madonna and Child with St. John the Baptist. 1508. Oil on wood 8.7. Italian Renaissance/Mannerism. PARMIGIANINO. Madonna and Child with Angels.

1534-40. Oil on wood 8.8. Italian Baroque. LUDOVICO CARRACCI. Madonna and Child with Sts. Jerome and Francis. c. 1590. Oil on canvas 8.9. German 16th-century. ALBRECHT DÜRER. Praying Hands. 1508-09. Brush, heightened with white, on blue-grounded paper 8.13. Italian Renaissance. GIOVANNI BELLINI (and TITIAN). The Feast of the Gods.

1514/1529. Oil on canvas 8.15. Italian Renaissance. MICHELANGELO BUONARROTI. David. 1501-04. Marble 8.16, 8.17. Italian Renaissance. MICHELANGELO BUONARROTI. St. Matthew. 1504-08, Marble 8.20, 8.22. German 16th-century. ALBRECHT DÜRER. Adam and Eve. 1504. Engraving 8.21, 8.23. German 16th-century. ALBRECHT DÜRER. Four Horsemen of the Apocalypse. c.

1497-98. Woodcut 8.31 to 8.34. Italian Renaissance. MICHELANGELO BUONAROTTI. Sistine Chapel Ceiling. 1508-12. Fresco. Sistine Chapel, Vatican, Rome 8.35, 8.36. Italian Renaissance. RAPHAEL. Stanza della Segnatura. 1509-21. Theology, Philosophy, and Justice. Fresco 8.40, 8.41. Northern. HIERONYMUS BOSCH. The “Garden of Earthly Delights” Triptych. c. 1510-15. Oil on wood 8.42, 8.43. German 16th-century. MATTHIAS GRÜNEWALD. Isenheim Altarpiece. c. 151215. Oil on wood 8.44, 8.45. Italian Renaissance. TITIAN. Madonna of the Pesaro Family. 1519-20. Oil on canvas. Sta. Maria Gloriosa dei Frari, Venice 8.46. Italian Renaissance. TITIAN. Assumption of the Virgin. c. 1516-18. Oil on wood. Santa Maria Gloriosa dei Frari, Venice 8.51. Italian Renaissance. MICHELANGELO BUONARROTI. The Last Judgment. 1534-41.

Fresco. Sistine Chapel, Vatican, Rome 8.58. ISLAMIC ART OF THE OTTOMANS. Illuminated page of a Koran for Suleyman I. 1546-50 8.62. ISLAMIC ART OF THE OTTOMANS. Prayer rug. Second half of 16th century 8.63. Italian Renaissance. PAOLO VERONESE. Last Supper/Feast in the House of Levi. 1573.

Oil on canvas 8.64. Italian Renaissance/Mannerism. JACOPO TINTORETTO. Last Supper. 1592-84. Oil on canvas. San Giorgio Maggiore, Venice 9.2. Italian Baroque. GIANLORENZO BERNINI. David. 1623. Marble

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9.5. Italian Baroque. GIANLORENZO BERNINI. Fountain of the Four Rivers. 1648-51.

Marble and travertine, with obelisk. Piazza Navona, Rome 9.6. Italian Baroque. GAULLI (assisted by BERNINI). The Triumph of the Name of Jesus.

1672-85. Ceiling fresco with stucco, Il Gesù, Rome 9.14. Italian Baroque. CARAVAGGIO. Christ with the Doubting Thomas. c. 1602-3. Oil on canvas 9.15. Italian Baroque. CARAVAGGIO. Conversion of St. Paul. c. 1601. Oil on canvas 9.16. Italian Baroque. ARTEMISIA GENTILESCHI. Judith and her Maidservant with the Head of Holofernes. c. 1625. Oil on canvas 9.32, 9.33. Italian Baroque. GIANLORENZO BERNINI AND WORKSHOP. The Ecstasy of St. Teresa. 1645-72. Marble and bronze. Cornaro Chapel, Sta. Maria della Vittoria, Rome 9.36. Dutch. REMBRANDT VAN RIJN. Christ Preaching. c. 1652. Etching with drypoint and burin 9.39. Dutch. REMBRANDT VAN RIJN. The Three Crosses. 1653. Drypoint and burin (first state) 9.44. Dutch. REMBRANDT VAN RIJN. Return of the Prodigal Son. c. 1662-68. Oil on canvas 10.24. German Rococo. EGID QUIRIN ASAM. Assumption of the Virgin. 1721-23. Painted and gilded stucco and stained glass. Monastery Church, Rohr, Germany 10.33. Neo-Classicism. ANTON RAPHAEL MENGS. Parnassus. 1761. Ceiling fresco from the Villa Albani, Rome 10.35. Neo-Classicism. ANTONIO CANOVA. Cupid and Psyche. 1787-93. Marble 11.8. Malanggan. Tableau, New Ireland. 19th to 20th century. Bamboo, palm and croton leaves, painted wood. Museum für Völkerkund, Basel, Switzerland 11.34. American Romantic Landscape Painting. THOMAS COLE. Schroon Mountain, Adirondacks. 1838. Oil on canvas 11.68. Post-Impressionism. PAUL GAUGUIN. The Vision after the Sermon. 1888. Oil on canvas 12.14, 12.15. African Tribal. Bwa masked dancers at purification rites, Upper Volta. 20th century 12.34. American 20th century. EDWARD S. CURTIS. Photograph of Hamatsa dancers, Kwakiutl, Northwest Coast, Canada. Photographed 1914 12.27. HOPI Kachina dolls. Late 1800s to present. Cottonwood roots adorned with mineral paints and other natural materials 12.28. Hemis (JEMEZ) Kachina. 20th century. Costume of feathers, yarn, buckskin, and grass 13.36. Australian 20th-century. WANDJUK MARIKA. The Birth of the Djang’kawu Children at Yalanghara. 1982. Pigment on bark 13.40. Indian village women creating a mandana, Rajasthan, India. 1994. Rice paste on floor resurfaced with red ochre and cow dung wash

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13.44. Japanese 20th-century. YUKINORI YANAGI. Hinomaru Illumination (Amaterasu and Haniwa). 1993. Neon and painted steel, with reproductions of ceramic haniwa figures. Installation at The Museum of Art, Kochi, Japan, 1993 14.20, 14.21. Buddhist. Buddha. Bamiyan, Afghanistan. c. 5th century, destroyed 2001.

Native sandstone with mud, plaster, rope, paint

7. HISTORY 1.13. American 19th-century. DANIEL CHESTER FRENCH. Minuteman. 1873-1475.

Bronze with granite base. Old North Bridge, Concord, Massachusetts 3.58. Ancient Greek. EXEKIAS (painter and potter). Achilles and Ajax Playing Draughts, c.

530 BCE. Painted terra-cotta amphora 3.60. Ancient Greek. EUPHRONIOS (painter) and EUXITHEOS (potter). Death of Sarpedon during the Trojan War. c. 515 BCE. Painted terra-cotta calyx krator 4.14. Ancient Greek/Hellenistic. Winged Victory of Samothrace. c. 180-160 BCE. Marble 4.15. Hellenistic/Roman. Battle of Alexander the Great and King Darius of Persia. Roman copy of Hellenistic painting of c. 300 BCE. Stone and glass mosaic 4.16. Hellenistic/Roman. Dying Trumpeter, Roman copy after a bronze original of c. 230220 BCE from Pergamon. Marble 4.4, 4.38. Ancient Roman. Arch of Titus in Rome and The Spoils of the Temple at Jerusalem Exhibited in Rome. c. CE 81. Marble over concrete core 4.39. Ancient Roman. Column of Trajan, Rome. CE 113. Marble 9.20. Flemish Baroque. PETER PAUL RUBENS AND WORKSHOP. The Arrival and Reception of Marie de Medici at Marseilles. 1622-23. Oil on canvas 9.42. French Classicizing Baroque. NICOLAS POUSSIN. The Arcadian Shepherds. c. 1660.

Oil on canvas 10.32. Neo-Classicism. JACQUES-LOUIS DAVID. Death of Socrates. 1787. Oil on canvas 10.34. Neo-Classicism. ANGELICA KAUFFMAN. Cornelia, Mother of the Gracchi. 1785.

Oil on canvas 10.36. 18th-century. BENJAMIN WEST. The Death of General Wolfe. 1770. Oil on canvas 11.2. French Romanticism. EUGÈNE DELACROIX. Liberty Leading the People. 1830. Oil on canvas 11.6. French 19th-century. FRÉDÉRIC AUGUSTE BARTHOLDI. Liberty Enlightening the World (The Statue of Liberty). 1870-1886. Hammered copper. New York Harbor 11.13. American 19th-century. EDMONIA LEWIS. Forever Free. 1867. Marble 11.18. Spanish 19th-century. FRANCISCO GOYA. The Execution of Madrileños on the Third of May, 1808. 1814-15. Oil on canvas 11.37. American 19th-century. EMMANUEL LEUTZE. Washington Crossing the Delaware.

1851. Oil on canvas 11.64. French 19th-century. AUGUSTE RODIN. The Burghers of Calais. 1884-86. Bronze 12.4. Russian 20th-century. VLADIMIR TATLIN. Historic photograph of the model of the Monument to the Third International Communist Conference. 1919-15 12.9. Russian 20th-century. SERGEY EISENSTEIN. Film Still from Potemkin. 1925

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12.55. Mexican 20th-century. JOSÉ CLEMENTE OROZCO. Modern Human Sacrifice from The Epic of American Civilization. 1932-34. Fresco 12.57. Mexican 20th-century. JUAN O’GORMAN. The History of Mexico. 1952. Native stone mosaic.

12.66. American 20th-century. THOMAS HART BENTON. Pioneer Days and Early Settlers. 1935-36. Oil and egg tempera on linen mounted on panel. State Capitol, Jefferson City, Missouri 12.1, 12.68, 12.69. Spanish 20th-century. PABLO PICASSO. Guernica. May 1-June 4, 1937.

Oil on canvas 13.1. American 20th-century. The Names Project, San Francisco. AIDS Memorial Quilt.

Displayed on the Ellipse facing the White House, October 6-8, 1989 13.29. American 20th-century. MAYA LIN. Vietnam Veterans Memorial. 1982. Black granite. The Mall, Washington D.C. 13.21. American Photo-realism. AUDREY FLACK. World War II (Vanitas). 1976-77. Oil and acrylic on canvas 13.31. Post-Modernism. MARK TANSEY. Purity Test. 1982. Oil on canvas 13.42. Russian 20th-century. VITALY KOMAR and ALEX MELAMID. America’s Most Wanted. 1994. Oil on canvas 13.44. Japanese 20th-century. YUKINORI YANAGI. Hinomaru Illumination (Amaterasu and Haniwa). 1993. Neon and painted steel, with reproductions of ceramic haniwa figures. Installation at The Museum of Art, Kochi, Japan, 1993 13.47. South African 20th-century. WILLIAM KENTRIDGE. Drawing for Stereoscope.

1999. Video 13.51. Chinese 20th-century. YU YOUHAN. With Love, Whitney. 1992. Acrylic on canvas 13.53. German 20th-century. THOMAS STRUTH. San Zaccaria, Venice. 1995. Photograph 14.2. 21st-century. SANTIAGO CALATRAVA. World Trade Center Transportation Hub. Plan for steel and glass building. 2004 14.6. 21st-century. JOYCE KOZLOFF. Targets. 1999-2000. Wood and maps 14.13. 21st-century. ARMIT AND RABINDRA K.D. KAUR SINGH (SINGH TWINS).

Battle of the Giants. 2002. Poster color and gouache on paper

8A. THE PORTRAIT 2.7. African Tribal. Nok culture, Africa. Head. Prehistoric in Africa, c. 600 BCE–250 CE. 3.7. Sumerian, Worshippers and Deities. c. 2750 BCE. Gypsum 3.10. Ancient Egyptian Old Kingdom. The Pharaoh Khafre. c. 2500 BCE. Diorite 3.11. Ancient Egyptian New Kingdom. Queen Hatshepsut. c. 1495 BCE. Limestone 3.12. Ancient Egyptian New Kingdom. Akhenaten with Nefertiti and their Children. c. 13701353 BCE. Limestone relief 3.16. Ancient Egyptian New Kingdom. Queen Nefertiti. c. 1360 BCE. Limestone and plaster 3.19. Ancient Egyptian Old Kingdom. Colossal Statue of Khafre as the God Hu, later known as the “Great Sphinx.” c. 2500 BCE. Sandstone 3.51. Etruscan. Ash urn, found at Castiglione del Lago, Italy. c. 650-600 BCE. Terra-cotta

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3.52. Etruscan. Sarcophagus with Reclining Couple. c. 525-700 BCE. Terra-cotta 4.2. Hellenistic. Alexander the Great with Amun Horns. Four-drachma coin. c. 300 BCE. Silver 4.27. Roman Republic. Husband and Wife. Grave relief. 1st century BCE. Marble 4.32. Ancient Roman. The Emperor Augustus. c. CE 15. Marble, with traces of paint and perhaps also gilding 4.37. Ancient Roman. Equestrian Monument of the Emperor Marcus Aurelius. c. CE 161-80.

Bronze 6.5. Chinese. Portrait of Ni Tsan. c. 1370 (Ming dynasty). Scroll, ink on paper 6.49. African Tribal. Head of Queen Olokun. Ife. 11th-15th centuries. Clay and brass 7.7. Italian Renaissance. DONATELLO. Equestrian Monument of Erasmo da Narni, called “Gattamelata,” 1445-70. Bronze, originally with gilded details 7.8. Italian Renaissance. PIERO DELLA FRANCESCA. Battista Sforza; Federigo da Montefeltro. 1465. Oil and tempera on wood 7.11. Italian Renaissance. Nicolò and Maffeo Polo meeting the Kubulai Kahn from The Travels of Marco Polo. 15th century. Manuscript painting 7.16, 7.17. Flemish Painting. ROBERT CAMPIN. The Annunciation with Patrons and Saint Joseph in his Workshop. c. 1425. Oil on wood 7.18. Italian Renaissance. MASACCIO. The Trinity with the Virgin Mary, John, and Two Donors. c. 1425-28. Fresco. Santa Maria Novella, Florence 7.23, 7.24. Flemish Painting. HUBERT AND JAN VAN EYCK. The Altarpiece of the Lamb.

Completed 1432. Oil on panel. Cathedral of St. Bavo, Ghent 7.25 to 7.27. Flemish Painting. JAN VAN EYCK. Portrait of Giovanni Arnolfini and Giovanna Cenami (?). 1434. Oil on wood 7.38. Italian Renaissance. MINO DA FIESOLE. Portrait Bust of Piero de’Medici. 1453.

Marble 7.39. Italian Renaissance. DOMENICO GHIRLANDAIO. Portrait of a Man and a Boy. c.

1480. Tempera and oil on panel 7.40. Italian Renaissance. DOMENICO GHIRLANDAIO. Portrait of a Man on his Deathbed. c. 1480. Silverpoint 7.43. Flemish Painting. HANS MEMLING. Madonna and Child; Martin van Nieuwenhove.

1487. Oil on wood 8.5. German 16th century. LUCAS CRANACH THE ELDER. Portrait of Martin Luther. c.

1523. Oil on wood 8.12. Italian Renaissance. SOPHONISBA ANGUISSOLA. Portrait of the Artist’s Three Sisters with Their Governess. 1555. Oil on canvas 8.18, 8.19. Italian Renaissance. LEONARDO DA VINCI. Portrait of a Woman (“Mona Lisa”). c. 1503-5. Oil on wood 8.44, 8.45. Italian Renaissance. TITIAN. Madonna of the Pesaro Family. 1519-20. Oil on canvas. Sta. Maria Gloriosa dei Frari, Venice 9.24. Dutch. FRANS HALS. Banquet of the Officers of the Civic Guard of St. George. 1627. Oil on canvas

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9.25. Dutch. REMBRANDT VAN RIJN. The Militia Company of Captain Frans Banning Cocq. 1642. Oil on canvas 9.40. Spanish Baroque. DIEGO VELÁZQUEZ. Las Meninas (The Maids of Honor). 1656. Oil on canvas 9.41. Spanish Baroque. DIEGO VELÁZQUEZ. Portrait of Juan de Pareja. 1650. Oil on canvas 10.6. French Rococo. HYACINTHE RIGAUD. Portrait of Louis XIV. 1701. Oil on canvas 10.8. French Rococo. ELIZABETH VIGÉE-LEBRUN. Portrait of Marie Gabrielle de Gramont, Duchesse de Caderousse. 1784. Oil on wood 10.11. French Rococo. ADÉLAIDE LABILLE-GUIARD. Portrait of Madame Labille-Guiard and Her Pupils. 1785. Oil on canvas 10.25. American Colonial. JOHN SINGLETON COPLEY. Portrait of Paul Revere. c. 176870. Oil on canvas 10.26. Rococo. ROSALBA CARRIERA. Portrait of Louis XV as a Young Man. 1720-21.

Pastel on paper 10.27. British 18th-century. SIR JOSHUA REYNOLDS. Allegorical Portrait of Sarah Siddons as the Tragic Muse. 1784. Oil on canvas 10.28. British 18th-century. THOMAS GAINSBOROUGH. Portrait of Sarah Siddons. 178385. Oil on canvas 11.17. Neo-Classicism. HORATIO GREENOUGH. George Washington. 1832-41. Marble 11.47. French 19th-century. NADAR (GASPARD FÉLIX TOURNACHON). George Sand.

1864. Albumen print 11.50. British 19th-century. JULIA MARGARET CAMERON. Alfred Lord Tennyson. 1865.

Silver print 11.62. American Realism. THOMAS EAKINS. Portrait of Dr. Samuel Gross. 1875. Oil on canvas 12.22. Analytical Cubism. PABLO PICASSO. Ma Jolie (Woman with Guitar). 1911-12. Oil on canvas 12.62. American 20th-century. CHARLES DEMUTH. I Saw the Figure 5 in Gold. 1928. Oil on composition board 12.64. American Regionalism. GRANT WOOD. American Gothic. 1930. Oil on beaverboard 13.17. American 20th-century. ANDY WARHOL. Marilyn Diptych. 1962. Oil on canvas 13.39. Japanese 20th-century. YASUMASA MORIMURA. Portrait (Futago) (after Édouard Manet, Olympia, 1863). 1988. Color photographs, four panels 13.41. American 20th-century. NAIM JUNE PAIK. Electronic Superhighway. 1995. Video installation, neon, steel, and electronic components 13.51. Chinese 20th-century. YU YOUHAN. With Love, Whitney. 1992. Acrylic on canvas 14.5. 21st-century. MARIKO MORI. Wave UFO. Brain-wave interface, vision dome, projector, computer system, fiberglass, Technogel, acrylic, carbon fiber, aluminum, magnesium. 2003

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8B. THE SELF-PORTRAIT 7.9. Flemish Painting. JAN VAN EYCK. Self-Portrait. 1433. Oil on wood 7.10. Italian Renaissance. LORENZO GHIBERTI. Self-Portrait, from the East Doors of the Florentine Baptistry. 1425-72. Gilded bronze 8.2. Italian Renaissance. MICHELANGELO BUONARROTI. Pietà. c. 1547-55. Marble 8.10. Italian Renaissance/Mannerism. PARMIGIANINO. Self-Portrait in a Convex Mirror.

1524. Oil on wood 8.11. Italian Renaissance. LAVINIA FONTANA. Self-Portrait. c. 1577. Oil on copper 8.15. Italian Renaissance. MICHELANGELO BUONARROTI. David. 1501-04. Marble 8.33. Italian Renaissance. MICHELANGELO BUONAROTTI. Sonnet with a caricature of the artist standing, painting a figure on the ceiling over his head. c. 1510. Pen and ink 1.18, 8.35. Italian Renaissance. RAPHAEL. Philosophy (The School of Athens). 1509-21.

Fresco. Stanza della Segnatura, Vatican Palace, Rome 8.40, 8.41. Northern. HIERONYMUS BOSCH. The “Garden of Earthly Delights” Triptych. c. 1510-15. Oil on wood 9.7. Flemish Baroque. PETER PAUL RUBENS. Self-Portrait with Isabella Brandt. 1609-15.

Oil on canvas 9.8. Italian Baroque. ARTEMISIA GENTILESCHI. Self-Portrait as the Allegory of Painting.

1630. Oil on canvas 9.9. Dutch. JUDITH LEYSTER. Self-Portrait at the Easel. c. 1635. Oil on canvas.

9.25. Dutch. REMBRANDT VAN RIJN. The Militia Company of Captain Frans Banning Cocq. 1642. Oil on canvas 9.40. Spanish Baroque. DIEGO VELÁZQUEZ. Las Meninas (The Maids of Honor). 1656. Oil on canvas 10.11. French Rococo. ADÉLAIDE LABILLE-GUIARD. Portrait of Madame Labille-Guiard and Her Pupils. 1785. Oil on canvas 10.12. Neo-Classicism. ANGELICA KAUFFMANN. Self-Portrait Hesitating Between the Arts of Music and Painting. 1794. Oil on canvas 11.11. Spanish 19th-century. FRANCISCO GOYA. Self-Portrait being attended by Dr. Arrieta. 1820. Oil on canvas 11.12. Post-Impressionism. VINCENT VAN GOGH. Self-Portrait with Bandaged Ear and Pipe. 1889. Oil on canvas 12.10. German Expressionism. KÄTHE KOLLWITZ. Self-Portrait. 1934. Lithograph 12.11. Mexican 20th-century. FRIDA KAHLO. The Two Fridas. 1939. Oil on canvas 13.22. American 20th-century. JACOB LAWRENCE. Self-Portrait. 1977. Gouache on paper 13.34. American 20th-century. ALICE NEEL. Nude Self-Portrait. 1980. Oil on canvas 13.39. Japanese 20th-century. YASUMASA MORIMURA. Portrait (Futago) (after Édouard Manet, Olympia, 1863). 1988. Color photographs, four panels 14.17. 21st-century. CHUCK CLOSE. Self-Portrait. 2006. Oil on canvas

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9. HUMANITY’S RELATIONSHIP TO NATURE: LANDSCAPE, SEASCAPE, AND STILL LIFE 1.4. Chinese. Guo Xi, Early Spring. 1072 (Northern Song Dynasty). Hanging scroll 2.2, 2.3. Paleolithic. Lascaux cave, Dordogne, France. c. 15,000-13,000 BCE 2.6. Neolithic, Animal Hunt, Çatal Hüyük, Turkey. c. 6000 BCE 2.8. Neolithic. Stonehenge. c. 2750-1300 BCE. Salisbury Plain Wiltshire, England 3.8. Sumerian. Storm God and Two Stags. Lintel from a temple at al’Ubaid (Iraq). c. 2500 BCE 3.9. Sumerian. Ziggurat at Ur. c. 2100 BCE. Fired brick over mud brick core 3.30. Ancient Egyptian New Kingdom. Pond in a Garden. c. 1390 BCE. Paint on plaster wall 3.44. Assyrian. Dying Lioness, from the Palace of Ashurbanipal at Nineveh. c. 645-835 BCE. Limestone 3.53. Etruscan. Tomb of Hunting and Fishing, Tarquinia, Italy. c. 510-500 BCE. Fresco 3.57. Hellenistic/Ancient Roman. The Unswept Floor, Roman copy of a Hellenistic mosaic

by SOSOS, CE 2nd century. Mosaic fragment 4.22. Indian Buddhist. Yakshi, from the East Torana, Great Stupa. c. CE 10-30 4.23. Buddhist. The Great Stupa at Sanchi. Detail of east gate, south pillar, adoration of the Bodhi tree. 2nd-1st century BCE 4.43. Ancient Roman. Garden, wall painting from the Villa of Livia at Prima Porta near Rome. Late 1st century BCE. Fresco 4.45. Ancient Roman. Still Life with Eggs and Thrushes, from the House (or Villa) of Julia Felix at Pompeii. Before CE 79. Fresco 5.3. Hindu. Descent of the Ganges, Mahamallapuram, India. c. 625-74 (Middle Pallava period). Carved on a granite cliff 5.51, 5.52. Chinese. Li Cheng (attributed). Buddhist Temple in the Hills After Rain. c. 950.

Hanging scroll 5.53. Chinese. Xia Gui (attributed). Sailboat in the Rain. c. 1180. Fan-shaped album leaf, ink and light color on silk 6.4. Chinese. Ni Zan. Rongxi Studio. 1372. Hanging scroll, ink on paper 8.39. Italian Renaissance. GIORGIONE. Tempestuous Landscape with a Gypsy and a Soldier (The Tempest). c. 1505-10. Oil on canvas 8.40, 8.41. Northern. HIERONYMUS BOSCH. The “Garden of Earthly Delights” Triptych. c. 1510-15. Oil on wood 8.54. Northern. PIETER BRUEGEL THE ELDER. December Landscape (The Hunters in the Snow). 1565. Oil and tempera on wood 8.55. Spanish 16th-century. EL GRECO. Toledo. c. 1600-1610. Oil on canvas 8.67. Zen Buddhist. SESSHU. Winter Landscape c. 1500 (Ashikaga period). Hanging scroll 9.10. Dutch. FRANS POST. A Village in Brazil. After 1644. Oil on canvas 9.34. Dutch. REMBRANDT VAN RIJN. A Man Rowing a Boat on the Bullewyk. c. 1650.

Quill pen and wash 9.42. French Classicizing Baroque. NICOLAS POUSSIN. The Arcadian Shepherds. c. 1660.

Oil on canvas

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9.43. French Classicizing Baroque. NICOLAS POUSSIN. Landscape with the Body of Phocion Carried Out of Athens. 1648. Oil on canvas 9.45. Dutch. MARIA VAN OOSTERWYCK. Still-Life with a Vanitas Theme. 1668. Oil on canvas 9.46. Dutch. RACHEL RUYSCH. Flower Still-Life. After 1700. Oil on canvas 9.48. French Baroque. ANDRE LE NOTRE. Plan of the gardens and park, Versailles.

Designed 1661-68; executed 1662-80 9.49. Japanese. Sotatsu. Pair of six-panel byobu, known as the Matsushima Screens. 17th century. Ink, color, and gold leaf on paper 9.50, 9.51. Japanese. Katsura Imperial Villa, near Kyoto, Japan. 1620-63. Commissioned

by Prince Hachijo Toshihito and his son Toshitada 9.52. Dutch. JACOB VAN RUISDAEL. The Dutch Landscape from the Dunes at Overveen. c.

1670. Oil on canvas 9.53. Flemish Baroque. PETER PAUL RUBENS. Landscape with Het Steen. c. 1636. Oil on panel 10.15. French Rococo. ANTOINE WATTEAU. A Pilgrimage to the Island of Cythera. 1717.

Oil on canvas 10.19. French 18th-century. JEAN-BAPTISTE SIMÉON CHARDIN. Kitchen Still Life. c.

1731. Oil on canvas 11.10. French 19th-century. HENRI ROUSSEAU. The Sleeping Gypsy. 1897. Oil on canvas 11.22. British 19th-century. JOHN CONSTABLE. The Hay Wain. 1821. Oil on canvas 11.23. German Romanticism. CASPAR DAVID FRIEDRICH. Abbey in an Oak Forest. 180915 11.24. British Romanticism. J. M. W. TURNER. The Slave Ship. 1840. Oil on canvas 11.25. Japanese 19th-century. KATSUSHIKA HOKUSAI. The Great Wave, from Thirty-Six Views of Mt. Fuji. c. 1823-29. Woodblock print 11.34. American Romantic Landscape Painting. THOMAS COLE. Schroon Mountain, Adirondacks. 1838. Oil on canvas 11.35. American Romantic Landscape Painting. GEORGE CALEB BINGHAM. Fur Traders Descending the Missouri. 1845. Oil on canvas 11.54. Impressionism. CLAUDE MONET. Impression-Sunrise. 1872. Oil on canvas 11.60. Impressionism. BERTHE MORISOT. Marine (The Harbor at Lorient). 1869. Oil on canvas 11.66. American Realism. WINSLOW HOMER. The Fog Warning. 1885. Oil on canvas 11.67. American Realism. WINSLOW HOMER. The Blue Boat. 1892. Watercolor over graphite 11.71. Post-Impressionism. VINCENT VAN GOGH. Starry Night, June 1889. Oil on canvas 11.72. Post-Impressionism. PAUL CÉZANNE. Still Life with Basket of Apples. 1890-94. Oil on canvas 11.73. Post-Impressionism. PAUL CÉZANNE. Mont Ste.-Victoire. 1904-06. Oil on canvas 12.12. Fauvism. HENRI MATISSE. The Joy of Life. 1905-8. Oil on canvas

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12.30, 12.31. American 20th-century. FRANK LLOYD WRIGHT. Robie House, Chicago.

1909 12.33. 20th-century Native American. Chilkat Blanket. Tlingit, Northwest Coast, Canada.

Before 1928. Mountain-goat wool and shredded cedar bark backing 12.36. Romanian 20th-century. CONSTANTIN BRANCUSI. Bird in Space. 1919. Bronze (unique cast) 12.42. Swiss 20th-century. PAUL KLEE. Ad Parnassum. 1932. Oil on canvas 12.63. American 20th-century. CHARLES SHEELER. American Landscape. 1930. Oil on canvas 12.65. American 20th-century. GEORGIA O’KEEFFE. The Lawrence Tree. 1929. Oil on canvas 12.70. British 20th-century. HENRY MOORE. Recumbent Figure. 1938. Gray-green Hornton stone 12.72. American 20th-century. ALEXANDER CALDER. Lobster Trap and Fish Tail. 1939.

Mobile 13.25. Earth Art. ROBERT SMITHSON. Spiral Jetty. 1969-70. Black rock, salt crystals, earth, red water (algae). Great Salt Lake, Utah 13.26. Earth Art. CHRISTO AND JEANNE-CLAUDE. Running Fence. 1976. Sonoma and Marin Counties, California 13.28. Post-Modernism. PETER EISENMAN. Wexner Center for the Visual Arts, Columbus, Ohio 1983-88.

13.31. Post-Modernism. MARK TANSEY. Purity Test. 1982. Oil on canvas 13.42. Russian 20th-century. VITALY KOMAR and ALEX MELAMID. America’s Most Wanted. 1994. Oil on canvas 13.43. American 20th-century. LOUISE BOURGEOIS. Maman. 1999. Bronze and steel 13.52. Pop Art. CLAES OLDENBERG and COOSJE VAN BRUGGEN. Shuttlecocks (detail, one of four). 1994. Aluminum and fiberglass-reinforced plastic, painted with polyurethane enamel 14.1. 21st-century. CAI GUO-QIANG. Transient Rainbow, Fireworks Performance in the Shape of a Rainbow for the Moving of the Museum of Modern Art to Queens. 2002 14.7. 21st-century. VITO ACCONCI. The Island in the Mur. Graz, Austria. 2003 14.15. 21st-century. ANDY GOLDSWORTHY. Icicles. 2002 14.19. 21st-century. CHARWEI TSAI. Frog Mantra. 2006. Tree frog, olive branch, and ink

10. GENRE (SUBJECTS DRAWN FROM EVERYDAY LIFE, REPRESENTED NATURALISTICALLY) 3.29. Ancient Egyptian. Old Kingdom. Ti Watching a Hippopotamus Hunt. c. 2400 BCE. Painted limestone relief 3.53. Etruscan. Tomb of Hunting and Fishing, Tarquinia, Italy. c. 510-500 BCE. Fresco 5.33. Chinese. Copy after ZHANG XUAN. Court Ladies Preparing Newly Woven Silk. 8th century. Hand scroll 6.20, 6.21. Japanese. TAKAYOSHI (attributed). Illustrations to The Tale of Genji. 12th Century. Hand scroll

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7.14. Flemish Painting. THE LIMBOURG BROTHERS. February, calendar page from the Très Riches Heures du Duc de Berry. Before 1416. Manuscript painting on vellum 7.16, 7.17. Flemish Painting. ROBERT CAMPIN. The Annunciation with Patrons and Saint Joseph in his Workshop. c. 1425. Oil on wood 8.12. Italian Renaissance. SOPHONISBA ANGUISSOLA. Portrait of the Artist’s Three Sisters with Their Governess. 1555. Oil on canvas 8.54. Northern. PIETER BRUEGEL THE ELDER. December Landscape (The Hunters in the Snow). 1565. Oil and tempera on wood 8.56. Northern. PIETER BRUEGEL THE ELDER. Peasant Wedding Feast. c. 1566. Oil on wood 9.3. Dutch. FRANS HALS. The Merry Drinker. 1628-30. Oil on canvas 9.17. Spanish Baroque. VELÁZQUEZ. The Water Carrier. c. 1619. Oil on canvas 9.18. Dutch. JAN VERMEER. A Maidservant Pouring Milk. c. 1660. Oil on canvas 9.34. Dutch. REMBRANDT VAN RIJN. A Man Rowing a Boat on the Bullewyk. c. 1650.

Quill pen and brown wash heightened with white 9.35. Dutch. REMBRANDT VAN RIJN. Two Women Teaching a Child How to Walk. c. 1637.

Drawing 10.17. British 18th-century. WILLIAM HOGARTH. Marriage à la Mode, Scene II. 1743. Oil on canvas 11.4. Japanese. KUNISADA. A Woman Frightened by Thunder. 1849-53. Woodblock print 11.5. French 19th-century. ÉDOUARD MANET. A Bar at the Folies-Bergères. 1881-82. Oil on canvas 11.27. Japanese 19th-century. ANDO HIROSHIGE. Cotton Goods Lane, Odenma-cho, from One Hundred Famous Views of Edo. 1858. Woodblock print 11.35. American Romanticism. GEORGE CALEB BINGHAM. Fur Traders Descending the Missouri. 1845. Oil on canvas 11.36. Realism. GUSTAVE COURBET. A Burial at Ornans. 1849-50. Oil on canvas 11.45. French 19th-century. ÉDOUARD MANET. Le Déjeuner sur l’herbe (The Picnic). 1863.

Oil on canvas 11.51. French 19th-century. JEAN-BAPTISTE CARPEAUX. The Dance. 1867-68. Plaster model 11.53. French 19th-century. EDGAR DEGAS. Little Fourteen-Year-Old Dancer. c. 1881.

Wax, silk, satin ribbon, hair 11.57, 11.58. Impressionism. AUGUSTE RENOIR. A Luncheon at Bougival (The Luncheon of the Boating Party). 1881. Oil on canvas 11.59. French 19th-century. EDGAR DEGAS. The Rehearsal. 1873-74. Oil on canvas 11.61. American 19th-century. MARY CASSATT. The Boating Party. 1893-4. Oil on canvas 11.63. American 19th-century. HENRY O. TANNER. The Banjo Lesson. c. 1893. Oil on canvas 11.69. Post-Impressionism. GEORGES SEURAT. A Sunday Afternoon on the Island of La Grande Jatte. 1884-86. Oil on canvas 11.70. Post-Impressionism. VINCENT VAN GOGH. The Night Cafe. September 1888. Oil on canvas

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12.5. Swiss 20th-century. ALBERTO GIACOMETTI. City Square, 1948. Bronze.

12.6. American 20th-century. EDWARD HOPPER. Nighthawks. 1942. Oil on canvas 12.13. French 20th-century. HENRI MATISSE. The Dance 1909-15. Oil on canvas 12.19. French 20th-century. HENRI CARTIER-BRESSON. Sunday on the Banks of the Marne. 1938. Gelatin-silver print 12.53, 12.54. Mexican 20th-century. DIEGO RIVERA. Night of the Rich and Night of the Poor. 1923-24. Frescoes 13.8. American 20th-century. ROBERT FRANK. Trolley, New Orleans. 1958. Gelatin-silver print 13.9. Pop Art. RICHARD HAMILTON. Just What Is It That Makes Today’s Homes So Different, So Appealing? 1956. Collage 13.13. Japanese Cinema. YASUJIRO OZU (Director). Tokyo Story. 1953 13.20. American 20th-century. DUANE HANSON. Tourists. 1970. Fiberglass and polyester, polychromed 13.23. American 20th-century. DIANE ARBUS. Untitled (6). 1970-71. Gelatin silver print 13.30. American 20th-century. GEORGE SEGAL. Gay Liberation Tableau. 1983. Bronze 13.33. American 20th-century. ROBERT COLESCOTT. Les Demoiselles d’Alabama. 1985.

Acrylic on canvas 13.35. American 20th-century. FAITH RINGGOLD. Tar Beach. 1988. Acrylic on canvas, tie dyed and pieced fabric 13.52. Pop Art. CLAES OLDENBERG and COOSJE VAN BRUGGEN. Shuttlecocks (detail, one of four). 1994. Aluminum and fiberglass-reinforced plastic, painted with polyurethane enamel 14.14. 21st-century. KARA WALKER. Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On). 2000. Cut paper silhouettes and light projection

11. THE ROLE OF THE PATRON (Because patronage is a question to be raised for the great majority of works of art created before the nineteenth century, the list below could include almost all the works in Art Past/Art Present; those listed below are only those for whom the patron is pictured in the work or is specifically identified in the text. The portraits, palaces, temples, monuments, and tombs of rulers listed below were commissioned by the rulers themselves unless otherwise indicated.)

3.10. Ancient Egyptian Old Kingdom. The Pharaoh Khafre. c. 2500 BCE. Diorite 3.11. Ancient Egyptian New Kingdom. Queen Hatshepsut. c. 1495 BCE. Limestone 3.13. Ancient Egyptian New Kingdom. Temple of Ramses II at Abu Simbel. c. 1257 BCE 3.14. Ancient Egyptian New Kingdom. The Throne of Tutankamen. c. 1350 BCE. Gold, silver, colored glass paste, glazed ceramic, and inlaid calcite 3.17. Ancient Egyptian Old Kingdom. Votive Palette of King Narmer. c. 3168 BCE. Slate (Patron is King Narmer) 3.18. Ancient Egyptian Old Kingdom. The Pyramids of Menkure (c. 2470 BCE), Khafre (c. 2500 BCE), and Khufu (c. 2530 BCE), Giza (Patrons are the Pharaohs)

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3.19. Ancient Egyptian Old Kingdom. Colossal Statue of Khafre as the God Hu, later known as the “Great Sphinx.” c. 2500 BCE. Sandstone (Patron is Khafre) 3.22. Ancient Egyptian Old Kingdom. IMHOTEP (Architect). Funerary District of King Zoser at Saqqara. c. 2750 BCE 3.24. Ancient Egyptian New Kingdom. Courtyard built by Pharaoh Amenhotep III, Temple of Amun-Mut-Khonsu at Luxor. c. 1390 BCE and later 3.27, 3.28. Ancient Egyptian New Kingdom. Temple of Khonsu, Karnak. (Patrons are the Pharaohs of Egypt) 3.35, 3.36. Minoan. Palace at Knossos, Crete. c. 1600-1400 BCE (Patrons are the Kings of Crete) 3.43. Assyrian. Human Headed Winged Bull (“Lamassu”), from the gateway of the Palace of Sargon II, Dur Sharrukin (Khorsabad, Iraq). c. 720 BCE. Limestone 3.44. Assyrian. Dying Lioness, from the North Palace of Ashurbanipal at Nineveh (Kuyunjik, Iraq). c. 645-835 BCE. Limestone 3.45. Early Persian. Portion of Royal Audience Hall (“Apadana”) and Stairway of the Palace of Darius at Persepolis (Iran). c. 500 BCE 3.71 to 3.76. Ancient Greek. KALLIKRATES and IKTINOS (architects), PHIDIAS and workshop (sculpture). Parthenon at Athens, 447-438 BCE (Patrons are Pericles and the government of Athens) 4.32. Ancient Roman. The Emperor Augustus. c. CE 15. Marble (Patron is probably Livia, Augustus’ wife) 4.33. Ancient Roman. Altar of Peace (Ara Pacis), Rome. 13-9 BCE. Marble. (Patron is the Emperor Augustus) 4.34, 4.35. Ancient Roman. Roman and Imperial Forums in Rome, CE early 4th century (Patrons are the Roman Emperors) 4.37. Ancient Roman. Equestrian Monument of the Emperor Marcus Aurelius. c. CE 16180. Bronze 4.4, 4.38. Ancient Roman. Arch of Titus in Rome and The Spoils of the Temple at Jerusalem Exhibited in Rome. c. CE 81. Marble over concrete core 4.39. Ancient Roman. Column of Trajan, Rome. CE 113. Marble 4.49. Ancient Roman. Basilica of Maxentius and Constantine, Rome. c. CE 306-313 5.7. Chinese. Great Mosque at Xi’an, Shaanxi, China. CE 685-762 (Patron is naval admiral Cheng Ho) 5.25 to 5.29. Byzantine. Mosaics of San Vitale, Ravenna, Italy. 526-50 (Patron is the Byzantine Emperor Justinian) 5.49. Buddhist. Temple of Borobudur, Java, Indonesia. Sailendra dynasty, 835-60. Lava stone 5.50. Buddhist. Prince Sudhana’s Search for Enlightenment, upper terrace of the Temple of Borobudur. 835-60. Lava stone 6.9. Romanesque. King Harold Receiving a Messenger, from the Bayeux “Tapestry,” c. 10701080. Embroidered wool on linen (Patron is probably William the Conqueror) 6.22, 6.23. French Gothic. St. Denis, near Paris. Built under the direction of the Abbot Suger. 1140-1144

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7.8. Italian Renaissance. PIERO DELLA FRANCESCA. Battista Sforza; Federigo da Montefeltro. 1465. Oil and tempera on wood (Patron is Federigo da Montefeltro) 7.7. Italian Renaissance. DONATELLO. Equestrian Monument of Erasmo da Narni, called “Gattamelata,” 1445-70. Bronze, originally with gilded details (Patron is the Venetian Senate) 7.16, 7.17. Flemish Painting. ROBERT CAMPIN. The Annunciation with Patrons and Saint Joseph in his Workshop. c. 1425. Oil on wood 7.18. Italian Renaissance. MASACCIO. The Trinity with the Virgin Mary, John, and Two Donors. c. 1425-28. Fresco. Santa Maria Novella, Florence 7.23, 7.24. Flemish Painting. HUBERT AND JAN VAN EYCK. The Altarpiece of the Lamb, completed 1432. Cathedral of St. Bavo, Ghent 7.31. Italian Renaissance. FILIPPO BRUNELLESCHI. Dome, Cathedral, Florence. 1420-36 7.35, 7.36. Italian Renaissance. MICHELOZZO. Medici Palace, Florence. 1444-59 (Patron is Medici family) 7.37. Italian Renaissance. DONATELLO. David. 1440s? Bronze (Patron is probably the Medici family) 7.38. Italian Renaissance. MINO DA FIESOLE. Portrait Bust of Piero de’Medici. 1453.

Marble 7.44. Italian Renaissance. ANDREA MANTEGNA. Camera Picta, Ducal Palace in Mantua. 1465-74. Fresco (Patron is Lodovico Gonzaga, Duke of Mantua) 8.4. Russian. POSNIK and BARMA (?). Cathedral of St. Basil the Blessed, Moscow. 155460 and later. Commissioned by Tsar Ivan the Terrible 8.15. Italian Renaissance. MICHELANGELO BUONARROTI. David. 1501-04. Marble (Patron is the city of Florence) 8.26, 8.27. Italian Renaissance. DONATO BRAMANTE. New St. Peter’s. 1506 (Patron is Pope Julius II) 8.31 to 8.34. Italian Renaissance. MICHELANGELO BUONARROTI. Sistine Chapel Ceiling. 1508-12. Fresco. Sistine Chapel, Vatican, Rome (Patron is Pope Julius II) 8.35, 8.36. Italian Renaissance. RAPHAEL. Philosophy (The School of Athens) and Theology (the Disputà). 1509-21. Frescoes. Stanza della Segnatura, Vatican Palace, Rome (Patron is Pope Julius II) 8.59 to 8.61. ISLAMIC ART OF THE OTTOMANS. SINAN. Suleymaniye Complex, Istanbul. 1551-58. Commissioned by Sultan Suleiman I the Magnificent 8.58. ISLAMIC ART OF THE OTTOMANS. Illuminated title page of a Koran for Suleiman I. 1546-47 9.1. French Classicizing Baroque. JULES HARDOUIN-MANSART, CHARLES LEBRUN, AND ANTOINE COYSEVOX. Salon de la Guerre (“Room of War”), Palace of Versailles. Begun 1678 (Patron is King Louis XIV) 9.12. Japanese. Great Audience Hall, Nijo Castle. c. 1625 (Patron is the Tokugawa Shogun) 9.20. Flemish Baroque. PETER PAUL RUBENS AND WORKSHOP. The Arrival and Reception of Marie de Medici at Marseilles. 1622-23. Oil on canvas (Patron is Marie de’ Medici)

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9.40. Spanish Baroque. DIEGO VELÁZQUEZ. Las Meninas (The Maids of Honor). 1656. Oil on canvas (Patron is King Philip of Spain) 9.47. French Classicizing Baroque. LOUIS LE VAU AND JULES HARDOUINMANSART. Garden façade, Palace of Versailles, France. 1669-85 (Patron is King Louis XIV) 9.48. French Baroque. ANDRE LE NOTRE. Plan of the gardens and park, Versailles.

Designed 1661-68; executed 1662-80 (Patron is King Louis XIV) 9.50, 9.51. Japanese. Katsura Imperial Villa, near Kyoto, Japan. 1620-63. Commissioned

by Prince Hachijo Toshihito and his son Toshitada 10.6. French Rococo. HYACINTHE RIGAUD. Portrait of Louis XIV. 1701. Oil on canvas 10.23. German Rococo. JOHANN BALTHASAR NEUMANN. Kaisersaal (Imperial Hall), Episcopal Palace, Würzburg, Germany. 1735-44 (Patron is the local Prince-Bishop) 10.29. Neo-Classicism. THOMAS JEFFERSON. State Capitol, Richmond, Virginia. 178589 (Patron is the State of Virginia) 11.15. Neo-Classicism. ANTONIO CANOVA. Napoleon. 1806. Marble (Patron is Napoleon) 11.16. Neo-Classicism. JEAN-FRANÇOIS-THERESE CHALGRIN AND OTHERS. Arc de Triomphe, Paris. 1806-36 (Original patron was Napoleon; completed by the French government after his fall) 11.17. Neo-Classicism. HORATIO GREENOUGH. George Washington. 1832-41, Marble (Patron is the US Congress) 11.25. Japanese 19th-century. KATSUSHIKA HOKUSAI. The Great Wave, from Thirty-Six Views of Mt. Fuji. c. 1823-29. Woodblock print. Commissioned by the publisher 11.43. Romanesque Revival, HENRY HOBSON RICHARDSON. Allegheny County Courthouse and Jail, Pittsburgh. 1884-8 (Patron is the County of Allegheny)

12. REPRESENTATIONS OF THE NUDE HUMAN BODY, MALE AND FEMALE 3.1. Ancient Greek Archaic Style. Panathenaic Amphora with Runners. c. 520 BCE. Painted terra-cotta 3.32. Prehistoric Indian. Seal with Ithyphallic Figure, found at Mohenjo-Daro, Indus Valley (modern Pakistan). c. 2100-1750 BCE. Steatite 3.54. Ancient Greek Severe Style. Apollo and the Battle of the Lapiths and the Centaurs, detail from the west pediment, Temple of Zeus at Olympia, 468-660 BCE. Marble 3.60. Ancient Greek. EUPHRONIOS (painter) and EUXITHEOS (potter). Death of Sarpedon during the Trojan War. c. 515 BCE. Painted terra-cotta calyx krator 3.61. Ancient Greek Archaic style. Kouros, from the Tomb of Kroisos, Anavysos, Greece. c. 520 BCE. Marble 3.63. Ancient Greek Severe Style. Kouros (also known as the Kritian Boy). c. 480 BCE. Marble fragment 3.64. Ancient Greek Severe Style. Zeus. c. 460 BCE. Bronze with inlaid eyebrows, lips, and nipples

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3.67. Ancient Greek 4th century. Copy after PRAXITELES. Aphrodite of Knidos, Roman copy after 4th-century BCE original. Marble 4.16. Hellenistic/Roman. Dying Trumpeter. Roman copy after a bronze original of c. 230220 BCE from Pergamon. Marble 4.22. Indian Buddhist. Yakshi, from the East Torana, Great Stupa. c. CE 10-30 4.41. Hellenistic/Roman? HAGESANDROS, ATHENODOROS, and POLYDOROS, Laocoön and His Sons. Early 1st century BCE(?). Marble 7.2. Italian Renaissance. PIERO DELLA FRANCESCA. Resurrection. c. 1460. Fresco 7.3. Flemish Painting. ROGIER VAN DER WEYDEN. Deposition. c. 1435-38. Oil on wood 7.23, 7.24. Flemish Painting. HUBERT AND JAN VAN EYCK. The Altarpiece of the Lamb, completed 1432. Oil on panel. Cathedral of St. Bavo, Ghent 7.47. Italian Renaissance. SANDRO BOTTICELLI. Realm of Venus (or Primavera). c. 1482.

Tempera on wood with oil glazes 7.37. Italian Renaissance. DONATELLO. David. 1440s? Bronze with gilded details 7.48. Italian Renaissance. SANDRO BOTTICELLI. The Birth of Venus. c. 1484-86. Tempera on canvas 7.50. Italian Renaissance. LEONARDO DA VINCI. Vitruvian Man. c. 1485-90. Pen and ink 8.15. Italian Renaissance. MICHELANGELO BUONARROTI. David. 1501-04. Marble 8.20, 8.22. German 16th-century. ALBRECHT DÜRER. Adam and Eve. 1504. Engraving 8.37. Italian Renaissance. GIORGIONE (completed by TITIAN). Sleeping Venus. c. 1510.

Oil on canvas 8.38. Italian Renaissance. TITIAN. Venus of Urbino. 1538. Oil on canvas 8.39. Italian Renaissance. GIORGIONE. Tempestuous Landscape with a Gypsy and a Soldier (The Tempest). c. 1505-10. Oil on canvas 8.40, 8.41. Northern. HIERONYMUS BOSCH. The “Garden of Earthly Delights” Triptych. c. 1510-15. Oil on wood 8.49, 8.50. Italian Renaissance. TITIAN. Rape of Europa. c. 1559-54. Oil on canvas 8.52. Italian Renaissance/Mannerism. BENVENUTO CELLINI. Saltcellar of Francis I. 1543.

Gold and enamel 8.53. Italian Renaissance/Mannerism. GIAMBOLOGNA. Rape of the Sabine Women, completed 1583. Marble. Loggia dei Lanzi, Florence 9.2. Italian Baroque. GIANLORENZO BERNINI. David. 1623. Marble 10.13. British 18th-century. JOHANN ZOFFANY. The Life Drawing Class at the Royal Academy. 1772. Oil on canvas 10.35. Neo-Classicism. ANTONIO CANOVA. Cupid and Psyche. 1787-93. Marble 11.15. Neo-Classicism. ANTONIO CANOVA. Napoleon. 1806. Marble 11.20. Romanticism. THÉODORE GÉRICAULT. The Raft of the Medusa. 1818-19 11.21. Romanticism. FRANÇOIS RUDE. The Departure of the Volunteers of 1792 (“La Marseillaise”). 1833-36. Limestone. Arc de Triomphe, Paris 11.45. French 19th-century. ÉDOUARD MANET. Le Déjeuner sur l’herbe (The Picnic). 1863.

Oil on canvas 11.46. French 19th-century. ÉDOUARD MANET. Olympia. 1863. Oil on canvas

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11.51. French 19th-century. JEAN-BAPTISTE CARPEAUX. The Dance. 1867-68. Plaster model 11.52. French 19th-century. MARCELLO (ADÉLE D’AFFRY). Pythia. 1870. Bronze 11.65. French 19th-century. CAMILLE CLAUDEL. The Waltz. 1892-1905. Bronze 12.12. Fauvism. HENRI MATISSE. The Joy of Life. 1905-8. Oil on canvas 12.13. French 20th-century. HENRI MATISSE. The Dance 1909-15. Oil on canvas 12.20. French 19th-century. PABLO PICASSO. Les Demoiselles d’Avignon. 1907. Oil on canvas 12.24. Influence of Cubism. MARCEL DUCHAMP. Nude Descending a Staircase, No. 2.

1912. Oil on canvas 12.1, 12.68, 12.69. Spanish 20th-century. PABLO PICASSO. Guernica. May 1-June 4, 1937.

Oil on canvas 12.70. British 20th-century. HENRY MOORE. Recumbent Figure. 1938. Gray-green Hornton stone 12.73. Japanese/American 20th-century. ISAMU NOGUCHI. Kouros. 1944-45. Pink Georgia marble 13.34. American 20th-century. ALICE NEEL. Nude Self-Portrait. 1980. Oil on canvas 13.39. Japanese 20th-century. YASUMASA MORIMURA. Portrait (Futago) (after Édouard Manet, Olympia, 1863). 1988. Color photographs, four panels

13. GENDER ISSUES, INCLUDING THE MANNER IN WHICH MEN AND WOMEN ARE REPRESENTED AND THE ROLE OF WOMEN ARTISTS (see also all self-portraits by women artists and all representations of the nude) 1.22. Ancient Greek. “Leningrad Painter” Greek Potters at Work, Greek vase. c. 450 BCE 2.4. Paleolithic. Statuette of a Woman, found at Willendorf, Austria. c. 25,000-20,000 BCE. Stone 2.11. Neolithic. Clay Figurine of a Woman. c. 3200 BCE. Liaoning Province, China.

Unbaked clay 3.16. Ancient Egyptian New Kingdom. Queen Nefertiti. c. 1360 BCE. Limestone and plaster 3.34. Minoan. Snake Goddess or Priestess. c. 1600 BCE. Faience 3.52. Etruscan. Sarcophagus with Reclining Couple. c. 525-700 BCE. Terra-cotta 4.5. Ancient Roman. Flora, from the Villa of Arianna at Castellammare di Stabia. Before CE 79. Fresco 4.22. Indian Buddhist. Yakshi, from the East Torana, Great Stupa. c. CE 10-30 4.27. Ancient Roman. Husband and Wife. Grave relief. 1st century BCE. Marble 7.47. Italian Renaissance. SANDRO BOTTICELLI. Realm of Venus (or Primavera). c. 1482.

Tempera on wood with oil glazes 7.48. Italian Renaissance. SANDRO BOTTICELLI. The Birth of Venus. c. 1484-86. Tempera on canvas 8.12. Italian Renaissance. SOPHONISBA ANGUISSOLA. Portrait of the Artist’s Three Sisters with Their Governess. 1555. Oil on canvas

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9.16. Italian Baroque. ARTEMISIA GENTILESCHI. Judith and her Maidservant with the Head of Holofernes. c. 1625. Oil on canvas 10.16. French Rococo. JEAN-HONORÉ FRAGONARD. Happy Accidents of the Swing.

1767. Oil on canvas 10.17. British 18th-century. WILLIAM HOGARTH. Marriage à la Mode, Scene II. 1743. Oil on canvas 10.18. Swiss 18th-century. JOHN HENRY FUSELI. The Nightmare. 1781. Oil on canvas 10.34. Neo-Classicism. ANGELICA KAUFFMAN. Cornelia, Mother of the Gracchi. 1785.

Oil on canvas 11.5. French 19th-century. ÉDOUARD MANET. A Bar at the Folies-Bergères. 1881-82. Oil on canvas 11.13. American 19th-century. EDMONIA LEWIS. Forever Free. 1867. Marble 11.27. Japanese 19th-century. ANDO HIROSHIGE. Cotton Goods Lane, Odenma-cho, from One Hundred Famous Views of Edo. 1858. Woodblock print 11.45. French 19th-century. ÉDOUARD MANET. Le Déjeuner sur l’herbe (The Picnic). 1863.

Oil on canvas 11.46. French 19th-century. ÉDOUARD MANET. Olympia. 1863. Oil on canvas 12.20. Spanish 20th-century. PABLO PICASSO. Les Demoiselles d’Avignon. 1907. Oil on canvas 12.37. Russian 20th-century. NATALYA GONCHAROVA. Electric Light. 1913. Oil on canvas 12.56. Mexican 20th-century. ANTONIO RUIZ. The Dream of Malinche. 1939. Oil on wood 13.32. P+D. MIRIAM SCHAPIRO. Wonderland. 1983. Acrylic and fabric on canvas 13.35. American 20th-century. FAITH RINGGOLD. Tar Beach. 1988. Acrylic on canvas, tie dyed and pieced fabric 13.39. Japanese 20th-century. YASUMASA MORIMURA. Portrait (Futago) (after Édouard Manet, Olympia, 1863). 1988. Color photographs, four panels 13.43. American 20th-century. LOUISE BOURGEOIS. Maman. 1999. Bronze and steel 13.45. Japanese 20th-century. WATARU YOSHIZUMI. Page from Marmalade Boy. 1995 13.51. Chinese 20th-century. YU YOUHAN. With Love, Whitney. 1992. Acrylic on canvas 14.9. 21st-century. MATTHEW BARNEY. Cremaster 3. 2003. Film still

14. THE ARTIST’S CHANGING RELATIONSHIP TO SOCIETY, INCLUDING SELF-PORTRAITURE (Almost any work should be studied for the question of the relationship of its creator(s) to the world in which he, she, or they lived, and so this list could be very extensive. Here I have included only the works that actually show artists at work. For self-portraits see the self-portrait list.)

1.22. Ancient Greek. “Leningrad Painter” Greek Potters at Work, Greek vase. c. 450 BCE 6.5. Chinese. Portrait of Ni Tsan. c. 1370 (Ming dynasty). Scroll, ink on paper 7.46. German 16th-century. ALBRECHT DÜRER. Artist Drawing a Lute with the Help of a Mechanical Device. 1525. Woodcut

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8.12. Italian Renaissance. SOPHONISBA ANGUISSOLA. Portrait of the Artist’s Three Sisters with Their Governess. 1555. Oil on canvas 8.33. Italian Renaissance. MICHELANGELO BUONARROTI. Sonnet with a caricature of the artist standing, painting a figure on the ceiling over his head. c. 1510. Pen and ink 10.13. British 20th-century. JOHANN ZOFFANY. The Life Drawing Class at the Royal Academy. 1772. Oil on canvas 13.15. German 20th-century. JOSEPH BEUYS. Photographic images from performance Iphigenia/Titus Andronicus. 1969 13.31. Post-Modernism. MARK TANSEY. Purity Test. 1982. Oil on canvas 13.39. Japanese 20th-century. YASUMASA MORIMURA. Portrait (Futago) (after Édouard Manet, Olympia, 1863). 1988. Color photographs 13.41. American 20th-century. NAIM JUNE PAIK. Electronic Superhighway. 1995. Video installation, neon, steel, and electronic components 13.51. Chinese 20th-century. YU YOUHAN. With Love, Whitney. 1992. Acrylic on canvas 14.9. 21st-century. MATTHEW BARNEY. Cremaster 3. 2003. Film still

15. ABSTRACTION 1.1. 21st-century. ANISH KAPOOR. Cloud Gate. 2004. Stainless steel 1.7, 1.10, 1.11. American 20th-century. FRANK LLOYD WRIGHT. Fallingwater, Bear Run, Pennsylvania. 1936 1.14. American 20th-century. DAVID SMITH. Cubi XIX. 1964. Stainless steel 1.19. De Stijl. PIET MONDRIAN. Composition No. 8, 1939-42. Oil on canvas 11.73. Post-Impressionism. PAUL CÉZANNE. Mont Ste.-Victoire. 1904-06. Oil on canvas 12.2. Futurism. GIACOMO BALLA. Speeding Automobile-Study of Velocity. 1913. Oil on cardboard 12.4. Russian 20th-century. VLADIMIR TATLIN. Historic photograph of the model of the Monument to the Third International Communist Conference, 1919-15 12.5. Swiss, 20th-century. ALBERTO GIACOMETTI. City Square, 1948. Bronze 12.7. Romanian 20th-century. CONSTANTIN BRANCUSI. The Kiss. 1909. Limestone 12.8. American 20th-century. ANDRÉ KERTÉSZ. Distortion No. 4. 1933. Gelatin-silver print 12.13. French 20th-century. HENRI MATISSE. The Dance 1909-15. Oil on canvas 12.17. American 20th-century. ALFRED STIEGLITZ. Equivalent. 1930. Chloride print 12.20. Spanish 20th-century. PABLO PICASSO. Les Demoiselles d’Avignon. 1907. Oil on canvas 12.21. Analytical Cubism. GEORGES BRAQUE. Violin and Palette. 1909-15. Oil on canvas 12.22. Analytical Cubism. PABLO PICASSO. Ma Jolie (Woman with Guitar). 1911-12. Oil on canvas 12.23. Synthetic Cubism. PABLO PICASSO. Still Life with Chair Caning. 1911-14. Collage 12.24. Influence of Cubism. MARCEL DUCHAMP. Nude Descending a Staircase, No. 2.

1912. Oil on canvas

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12.26. Futurism. UMBERTO BOCCIONI. Unique Forms of Continuity in Space. 1913 (cast 1931). Bronze 12.38. Russian 20th-century. KASIMIR MALEVICH. Suprematist Composition: White on White. c. 1918. Oil on canvas 12.35. Romanian 20th-century. CONSTANTIN BRANCUSI. The Newborn. 1915. Marble 12.36. Romanian 20th-century. CONSTANTIN BRANCUSI. Bird in Space. 1919. Bronze (unique cast) 12.37. Russian 20th-century. NATALYA GONCHAROVA. Electric Light. 1913. Oil on canvas 12.40. Russian. WASSILY KANDINSKY. First Abstract Watercolor. 1913. Watercolor and ink 12.43. French 20th-century. MARCEL DUCHAMP. Bottle Rack, Fountain, and other works; reproductions of works originally created between 1914 and 1919 12.46. Swiss 20th-century. JEAN (HANS) ARP. Collage with Squares Arranged According to the Laws of Chance. 1916-17. Torn and pasted papers 12.47 to 12.49. De Stijl. GERRIT RIETVELD. Schröder House, Utrecht, The Netherlands.

1923-24 12.50 to 12.52. Bauhaus. WALTER GROPIUS. Workshop Wing, Bauhaus, Dessau, East Germany. 1925-26 12.59. Surrealism. SALVADOR DALÍ. The Persistence of Memory. 1931. Oil on canvas 12.60. Surrealism. ANDRÉ MASSON. Battle of Fishes. 1926. Sand, gesso, oil, pencil, and charcoal 12.62. American 20th-century. CHARLES DEMUTH. I Saw the Figure 5 in Gold. 1928. Oil on composition board 12.70. British 20th-century. HENRY MOORE. Recumbent Figure. 1938. Gray-green Hornton stone 12.71. British 20th-century. BARBARA HEPWORTH. Sculpture with Color (Oval Form), Pale Blue and Red. 1943. Painted wood with strings 12.72. American 20th-century. ALEXANDER CALDER. Lobster Trap and Fish Tail. 1939.

Mobile 12.73. American/Japanese. ISAMU NOGUCHI. Kouros. 1944-45. Pink Georgia marble 12.75. International Style. PHILIP JOHNSON. Glass House. 1949. New Canaan, Connecticut 12.76. International Style. MIES VAN DER ROHE. Seagram Building. 1956-8. New York 13.2. Hard Edge Art. JOSEF ALBERS. Homage to the Square Affectionate. 1954. Oil on canvas 13.3. Abstract Expressionism. JACKSON POLLOCK. Convergence. 1952. Oil on canvas 13.5. New York School. MARK ROTHKO. White and Greens in Blue. 1957. Oil on canvas 13.18. Minimalism. DONALD JUDD. Untitled. 1968. Eight stainless steel boxes 13.19. Op Art. BRIDGET RILEY. Drift 2. 1966. Emulsion on canvas 13.37. Graffiti Art. KEITH HARING. Art in Transit. 1982. Graffiti in New York City subway station

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13.48. American 20th-century. NANCY GRAVES. Canoptic Legerdemain. 1990. Stainless steel, aluminum mesh, resin, and paper 13.50. Japanese 20th-century. TADEO ANDO. Water Temple, Island of Awaji, Japan.

1992. Commissioned by Honpukuji 14.8. 21st-century. RICHARD SERRA. Torqued Ellipses. 2003-5. Steel

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USEFUL COMPARISONS PREHISTORIC 9. Humanity’s Relationship to Nature: Landscape, Seascape, Still Life Fig. 2.2. Paleolithic. Lascaux cave, Dordogne, France. c. 15,000-13,000 BCE and Fig. 2.6. Neolithic, Animal Hunt. Çatal Hüyük, Turkey. c. 6000 BCE

ANCIENT 1. Political Art and Architecture Fig. 3.10. Ancient Egyptian Old Kingdom. The Pharaoh Khafre. c. 2500 BCE and Fig. 4.32. Ancient Roman. The Emperor Augustus. c. CE 15 Fig. 3.10. Ancient Egyptian Old Kingdom. The Pharaoh Khafre. c. 2500 BCE and Fig. 4.37. Ancient Roman. Equestrian Monument of the Emperor Marcus Aurelius. c. CE 161-80 Fig. 3.37. Mycenaean. Lion Gate, Mycenae (Greece). c. 1250 BCE and Fig. 4.38. Ancient Roman. Arch of Titus in Rome. c. CE 81 Fig. 3.71 to 3.76. Ancient Greek. KALLIKRATES and IKTINOS (architects), PHIDIAS and workshop (sculpture). Parthenon at Athens., 447-438 BCE and Fig. 4.34, 4.35. Ancient Roman. Roman and Imperial Forums in Rome. CE early 4th century 2. Domestic Architecture: Home and Palace Fig. 3.33 to 3.36. Minoan. Palace at Knossos, Crete. Partially reconstructed. c. 16001400 BCE and Fig. 4.31. Ancient Roman. House of the Vetti, Pompeii, Italy. 1st century CE 3. The Urban Environment: The City Fig. 4.40. Ancient Roman. Plan, Thamugadis (Timgad), Algeria. Founded c. CE 100 and Fig. 4.34, 4.35. Ancient Roman. Roman and Imperial Forums in Rome. CE early 4th century Fig. 3.56. Ancient Greek. Acropolis, Athens. Reconstructed model and Fig. 4.55. Teotihuacán, with Pyramids of the Sun and Moon, central Mexico. c. 100 BCE - 650 CE Fig. 3.56. Ancient Greek. Acropolis, Athens. Reconstructed model and Fig. 4.34, 4.35. Ancient Roman. Roman and Imperial Forums in Rome. CE early 4th century 4. The Techniques of Art, including Construction Techniques in Architecture Fig. 3.71 to 3.76. Ancient Greek. KALLIKRATES and IKTINOS (architects).

Parthenon at Athens. 447-438 BCE and Fig. 4.46, 4.47. Ancient Roman. Flavian Amphitheater (Colosseum), Rome.

Begun CE 72; dedicated CE 80; construction completed in 96 Fig. 3.71 to 3.76. Ancient Greek. KALLIKRATES and IKTINOS (architects).

Parthenon at Athens. 447-438 BCE and Fig. 4.52 to 4.54. Ancient Roman. Pantheon, Rome. CE 117-125

44

5. Religious Architecture and its Decoration Fig. 3.9. Sumerian. Ziggurat at Ur. c. 2100 BCE and Fig. 3.18 to 3.22. Ancient Egyptian Old Kingdom. The Pyramids of Zoser (c.

2680 BCE) at Saqqara, Khafre (c. 2500 BCE), and Khufu (c. 2530 BCE) at Giza Fig. 3.9. Sumerian. Ziggurat at Ur. c. 2100 BCE. and Fig. 4.55. Teotihuacán, with Pyramids of the Sun and Moon, central Mexico. c. 100 BCE - 650 CE Fig. 3.71 to 3.76. Ancient Greek. KALLIKRATES and IKTINOS (architects), PHIDIAS and workshop (sculpture). Parthenon at Athens. 447-438 BCE and Fig. 4.52 to 4.54. Ancient Roman. Pantheon, Rome. CE 117-125 Fig. 3.71 to 3.76. Ancient Greek. KALLIKRATES and IKTINOS (architects), PHIDIAS and workshop (sculpture). Parthenon at Athens. 447-438 BCE and Fig. 4.23 The Great Stupa, Sanchi, India. Begun 3rd c. BCE – 1st c. CE Fig. 4.23 The Great Stupa, Sanchi, India. Begun 3rd c. BCE – 1st c. CE and Fig. 4.52 to 4.54. Ancient Roman. Pantheon, Rome. CE 117-125 6. Representations of Deities, Religious Figures, Religious Scenes Fig. 3.4. Chinese, Shang Dynasty. Fang ding (ceremonial food vessel). c. 1150 BCE. and Fig. 3.17. Ancient Egyptian Old Kingdom. Votive Palette of King Narmer. c.

3168 BCE Fig. 3.4. Chinese, Shang Dynasty. Fang ding (ceremonial food vessel). c. 1150 BCE. and Fig. 3.8. Sumerian. Storm God and Two Stags. Lintel from a temple, al’Ubaid (Iraq). c. 2500 BCE Fig. 3.34. Minoan. Snake Goddess or Priestess. c. 1600 BCE and Fig. 3.67. Ancient Greek 4th century. Copy after PRAXITELES. Aphrodite of Knidos, Roman copy after 4th-century BCE original 7. History Fig. 3.60. Ancient Greek. EUPHRONIOS (painter) and EUXITHEOS (potter). Death of Sarpedon during the Trojan War. Kylix-krator. c. 515 BCE and Fig. 4.16. Hellenistic/Roman. Dying Trumpeter, Roman copy after a bronze original of c. 230-220 BCE 8. The Portrait and Self-Portrait Fig. 3.10. Old Kingdom. The Pharaoh Khafre. c. 2500 BCE and Fig. 4.37. Ancient Roman. Equestrian Monument of the Emperor Marcus Aurelius. c. CE 161-80 Fig. 3.19. Ancient Egyptian Old Kingdom. Colossal Statue of Khafre as the God Hu (“Great Sphinx”). c. 2500 BCE and Fig. 4.32. Ancient Roman. The Emperor Augustus. c. CE 15 9. Humanity’s Relationship to Nature: Landscape, Seascape, and Still Life Fig. 3.8. Sumerian. Storm God and Two Stags. Lintel from a temple, al’Ubaid (Iraq). c.

2500 BCE and Fig. 4.56. Teotihuacán. Façade of the Temple of the Feathered Serpent. c. 150 CE

45

Fig. 3.30. Ancient Egyptian New Kingdom. Pond in a Garden. c. 1390 BCE and Fig. 4.43. Ancient Roman. Garden, wall painting from the Villa of Livia at Prima Porta near Rome. Late 1st century BCE 10. Genre Fig. 3.29. Ancient Egyptian Old Kingdom. Ti Watching a Hippopotamus Hunt. Tomb of Ti at Saqqara. c. 2400 BCE. and Fig. 3.53. Etruscan. Tomb of Hunting and Fishing, Tarquinia, Italy. c. 510-500 BCE 11. The Role of the Patron Fig. 3.71 to 3.76. Ancient Greek. KALLIKRATES and IKTINOS (architects), PHIDIAS and workshop (sculpture). Parthenon at Athens, 447-438 BCE (Patrons are Pericles and the government of Athens) and Fig. 4.34, 4.35. Ancient Roman. Roman and Imperial Forums in Rome, CE early 4th (Patrons are the Roman Emperors) 12. Representations of the Nude Human Body, Male and Female Fig. 3.60. Ancient Greek. EUPHRONIOS (painter) and EUXITHEOS (potter). Death of Sarpedon during the Trojan War. Kylix-krator. c. 515 BCE and Fig. 4.16. Hellenistic/Roman. Dying Trumpeter, Roman copy after a bronze original of c. 230-220 BCE Fig. 3.61. Ancient Greek Archaic style. Kouros, from the Tomb of Kroisos, Anavysos, Greece. c. 520 BCE and Fig. 3.64. Ancient Greek Severe Style. Zeus. c. 460 BCE Fig. 3.67. Ancient Greek 4th century. Copy after PRAXITELES. Aphrodite of Knidos, Roman copy after 4th-century BCE original and Fig. 4.22. Hindu. Yakshi from The Great Stupa, Sanchi, India. Begun 3rd c BCE - 1st c CE 13. Gender Issues Fig. 3.34. Minoan. Snake Goddess or Priestess. c. 1600 BCE and Fig. 3.67. Ancient Greek 4th century. Copy after PRAXITELES. Aphrodite of Knidos, Roman copy after 4th-century BCE original Fig. 3.52. Etruscan. Sarcophagus with Reclining Couple. c. 525-700 BCE and Fig. 4.27. Roman Republican. Husband and Wife. Grave relief. 1st century BCE Fig. 3.64. Ancient Greek Severe Style. Zeus. c. 460 BCE. and Fig. 3.67. Ancient Greek 4th century. Copy after PRAXITELES. Aphrodite of Knidos, Roman copy after 4th-century BCE original

ART FROM 200 TO 1400 1. Political Art and Architecture Fig. 5.49 and 5.50. Buddhist. Prince Sudhana’s Search for Enlightenment, Borobudur.

835–60 and Fig. 6.9. Romanesque. King Harold Receiving a Messenger from Bayeux “Tapestry.” c. 1070-1080

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3. The Urban Environment: The City Fig. 4.55. Teotihuacán, with Pyramids of the Sun and Moon, central Mexico. c. 100 BCE - 650 CE and Fig. 5. 32. Chinese. Plan of Chang’an in the 7th-8th centuries (Tang dynasty) 4. The Techniques of Art, including Construction Techniques in Architecture Fig. 5.12, 5.13. Early Christian. Old St. Peter’s Basilica, Rome. c. 333-c. 390 CE and Fig. 5b, 6.27 to 6.31, 6.35. French Gothic. Cathedral of Notre Dame, Chartres, France. 1194-1220 Fig. 5.20, 5.21. Shinto Shrine complex, Ise, Japan. Late 5th - early 6th centuries and Fig. 5b, 6.27 to 6.31, 6.35. French Gothic. Cathedral of Notre Dame, Chartres, France. 1194-1220 Fig. 5.1, 5.23, 5.24. Byzantine. ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS (architects). Hagia Sophia (Holy Wisdom), Istanbul (Constantinople), Turkey and Fig. 5b, 6.27 to 6.31, 6.35. French Gothic. Cathedral of Notre Dame, Chartres, France. 1194-1220 Fig. 5.36, 5.37. Buddhist, Horyu-ji complex, Nara, Japan, 7th c. CE (Asuka period) and Fig. 5b, 6.27 to 6.31, 6.35. French Gothic. Cathedral of Notre Dame, Chartres, France. 1194-1220 Fig. 5d, 5.40, 5.41. Hindu. Kailasantha Temple, Ellora, India. c. 760-800, with later additions and Fig. 5b, 6.27 to 6.31, 6.35. French Gothic. Cathedral of Notre Dame, Chartres, France. 1194-1220 Fig. 5.42 to 5.44. Islamic. Mosque, Cordóba, Spain. Begun 786 and Fig. 5b, 6.27 to 6.31, 6.35. French Gothic. Cathedral of Notre Dame, Chartres, France. 1194-1220 Fig. 6.10 to 6.12 6.14. Romanesque. Sainte Foy, Conques, France. c. 1050-1120 and Fig. 5b, 6.27 to 6.31, 6.35. French Gothic. Cathedral of Notre Dame, Chartres, France. 1194-1220 5. Religious Architecture and its Decoration Fig. 5a, 5.8, 5.9. Early Jewish. Synagogue with Moses Giving Water to the Tribes, Dura Europos. Erected 244/245 and Fig. 5.36, 5.37. Buddhist, Horyu-ji complex, Nara, Japan, 7th c. CE (Asuka period) Fig. 5.12, 5.13. Early Christian. Old St. Peter’s Basilica, Rome. c. 333-c. 390 and Fig. 5.20, 5.21. Shinto Shrine complex, Ise, Japan. Late 5th - early 6th centuries Fig. 5.12, 5.13. Early Christian. Old St. Peter’s Basilica, Rome. c. 333-c. 390 and Fig. 5.36, 5.37. Buddhist, Horyu-ji complex, Nara, Japan, 7th c. CE (Asuke period) Fig. 5.12, 5.13. Early Christian. Old St. Peter’s Basilica, Rome. c. 333-c. 390 and Fig. 5.42 to 5.44. Islamic. Mosque, Cordóba, Spain. Begun 786

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Fig. 5.1, 5.23, 5.24. Byzantine. ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS (architects). Hagia Sophia (Holy Wisdom), Istanbul (Constantinople), Turkey, 532-537 and Fig. 5d, 5.40, 5.41. Hindu. Kailasantha Temple, Ellora, India. c. 760-800, with later additions Fig. 5.1, 5.23, 5.24. Byzantine. ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS (architects). Hagia Sophia (Holy Wisdom), Istanbul (Constantinople), Turkey, 532-537 and Fig. 5.42 to 5.44. Islamic. Mosque, Cordóba, Spain. Begun 786 Fig. 5.1, 5.23, 5.24. Byzantine. ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS (architects). Hagia Sophia (Holy Wisdom), Istanbul (Constantinople), Turkey, 532-537 and Fig. 5b, 6.27 to 6.31, 6.35. French Gothic. Cathedral of Notre Dame, Chartres, France. 1194-1220 Fig. 5.36, 5.37. Buddhist, Horyu-ji complex, Nara, Japan, 7th c. CE (Asuka period) and Fig. 5.47. Carolingian. St. Gall monastery plan. c. 819 Fig. 6.10 to 6.12, 6.14. Romanesque. Sainte Foy, Conques, France and Last Judgment tympanum. c. 1050-1120 and Fig. 5.25, 5.26. Byzantine. Interior and mosaics, San Vitale, Ravenna, Italy. 526 – 547 6. Representations of Deities, Religious Figures, Religious Scenes Fig. 5.3, 9d. Hindu. Descent of the Ganges, Mahamallapuram, India. c. 625-74 and Fig. 6.13. Romanesque. Pentecost, the Peoples of the Earth, and St. John the Baptist. Abbey Church of La Madeleine, Vézelay, France. 1120-32 Fig. 5a, 5.8, 5.9. Early Jewish. Synagogue with Moses Giving Water to the Tribes, Dura Europos. Erected 244/245 and Fig. 6a, 6.44 to 6.46. Italian 14th-century. GIOTTO. Frescoes, Arena Chapel The Lamentation, The Last Judgment. c. 1303-05 Fig. 5.2. Byzantine. Madonna and Child Enthroned with Saints Theodore and George and Angels. 6th century and Fig. 6.43. Italian 13th-century. CIMABUE. Madonna Enthroned with Angels and Prophets. c. 1285 Fig. 5.22. Byzantine. The Transfiguration of Christ.. Apse mosaic. Monastery of St. Catherine, Mt. Sinai. c. 560 and Fig. 6.19. Cambodian. Angkor Wat. The Churning of the Sea of Milk, sculptural relief, Angkor Wat. First half of the 12th century Fig. 5.22. Byzantine. The Transfiguration of Christ.. Apse mosaic. Monastery of St. Catherine, Mt. Sinai. c. 560 and Fig. 6a, 6.44 to 6.46. Italian 14th-century. GIOTTO. Frescoes, Arena Chapel The Lamentation, The Last Judgment. c. 1303-05

48

Fig. 5.38. Japanese Buddhist. TORI BUSSHI (Master Craftworker Tori). Shaka Triad.

632 (Asuka Period) and Fig. 6.33. French Gothic. Beau Dieu.. Stone. Trumeau figure, central portal of the west facade, Cathedral of Notre Dame, Amiens, France. c. 1225-35 Fig. 6.14 Romanesque. Last Judgment. Tympanum and lintel, west portal, Abbey Church of Ste.-Foy, Conques (France). c. 1120 and Fig. 6.19. Cambodian. Angkor Wat. The Churning of the Sea of Milk. Angkor Wat. First half of the 12th century Fig. 5.25, 5.26. Byzantine. Interior and mosaics, San Vitale, Ravenna, Italy. 526 – 547 and Fig. 6a, 6.44 to 6.46. Italian 14th-century. GIOTTO. The Lamentation, The Last Judgment. c. 1303-05. Frescoes. Arena Chapel, Padua, Italy 9. Humanity’s Relationship to Nature: Landscape, Seascape, and Still Life Fig. 5.3, 9d. Hindu. Descent of the Ganges, Mahamallapuram, India. c. 625-74 and Fig. 5.51, 5.52. Chinese. LI CHENG (attributed). Buddhist Temple in the Hills After Rain. c. 950 10. Genre Fig. 6b, 6.20, 6.21. Japanese. TAKAYOSHI (attributed). Illustrations to The Tale of Genji. 12th Century and Fig. 10d, 5. 33. Chinese. Copy after ZHANG XUAN. Court Ladies Preparing Newly Woven Silk (detail). 8th century 11. The Role of the Patron Fig. 5.25, 5.26. Byzantine. Mosaics of San Vitale, Ravenna, Italy. 526-50 (Patron is the Byzantine Emperor Justinian) and Fig. 6.22, 6.23. French Gothic. St. Denis, near Paris. Built under the direction of the Abbot Suger. 1140-1144

15TH AND 16TH CENTURIES 1. Political Art and Architecture Fig. 7.37. Italian Renaissance. DONATELLO. David. 1440s? and Fig. 8b, 8.15. Italian Renaissance. MICHELANGELO BUONARROTI. David.

1501-04 5. Religious Architecture and its Decoration Fig. 6.51. African Tribal. Royal Ancestral Shrine, Benin, Nigeria and Fig. 8.26, 8.27. Italian Renaissance. DONATO BRAMANTE. New St. Peter’s.

1506 Fig. 7.29, 7.30. Italian Renaissance. FILIPPO BRUNELLESCHI. Church of Santo Spirito, Florence. Begun 1436 and Fig. 8.26, 8.27. Italian Renaissance. DONATO BRAMANTE. New St. Peter’s.

1506 Fig. 8.26, 8.27. Italian Renaissance. DONATO BRAMANTE. New St. Peter’s. 1506 and Fig. 8.65. Zen Buddhist, Teahouse, Japan. c. 1573-1615

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6. Representations of Deities, Religious Figures, Religious Scenes Fig. 6.49. African Tribal. Head of Queen Olokun. Ife. 11th-15th centuries and Fig. 7.12. Italian Renaissance. DONATELLO. St. Mark. c. 1411-17 Fig. 7.2. Italian Renaissance. PIERO DELLA FRANCESCA. Resurrection. c. 1460 and Fig. 7.3. Flemish Painting. ROGIER VAN DER WEYDEN. Deposition. c. 143538 Fig. 7.18. Italian Renaissance. MASACCIO. The Trinity with the Virgin Mary, John, and Two Donors. c. 1425-28 and Fig. 8.42. German 16th-century. MATTHIAS GRÜNEWALD. Crucifixion from the Isenheim Altarpiece. c. 1512-15 Fig. 7.23, 7.24. Flemish Painting. HUBERT AND JAN VAN EYCK. The Altarpiece of the Lamb, completed 1432 and Fig. 7.21, 7.22. Italian Renaissance. LORENZO GHIBERTI. The East Doors of the Baptistery in Florence (also known as the “Gates of Paradise”). 1425-1452 Fig. 7.23, 7.24. Flemish Painting. HUBERT AND JAN VAN EYCK. The Altarpiece of the Lamb, completed 1432 and Fig. 8.40, 8.41. Northern. HIERONYMUS BOSCH. The “Garden of Earthly Delights” Triptych. c. 1510-15 Fig. 7.37. Italian Renaissance. DONATELLO. David. 1440s? and Fig. 8b, 8.15. Italian Renaissance. MICHELANGELO BUONARROTI. David.

1501-04 Fig. 7.43. Flemish Painting. HANS MEMLING. Madonna and Child; Martin van Nieuwenhove. 1487 and Fig. 8.44, 8.45, 8.47. Italian Renaissance. TITIAN. Madonna of the Pesaro Family.

1519-20.

Fig. 7.43. Flemish Painting. HANS MEMLING. Madonna and Child; Martin van Nieuwenhove. 1487 and Fig. 8.8. Italian Baroque. LUDOVICO CARRACCI. Madonna and Child with Sts. Jerome and Francis. c. 1590 Fig. 7.49. Italian Renaissance. LEONARDO DA VINCI. Madonna of the Rocks. 1483-85 and Fig. 8.7. Italian Renaissance/Mannerism. PARMIGIANINO. Madonna and Child with Angels. 1534-40 Fig. 7.52. Italian Renaissance. LEONARDO DA VINCI. The Last Supper. c. 1495-98 and Fig. 8. 63. Italian Renaissance. VERONESE. Last Supper/Feast in the House of Levi. 1573 Fig. 7.52. Italian Renaissance. LEONARDO DA VINCI. The Last Supper. c. 1495-98 and Fig. 8.64. Italian Renaissance/Mannerism. TINTORETTO. Last Supper. 1592-84 Fig. 7.54. Italian Renaissance. MICHELANGELO BUONARROTI. Pietà. 1498-99 and Fig. 7.55. GERMAN ARTIST (Gothic). Pietà. Early 14th century Fig. 7.54. Italian Renaissance. MICHELANGELO BUONARROTI. Pietà. 1498-99 and Fig. 8.2. Italian Renaissance. MICHELANGELO BUONARROTI. Pietà. c.

1547-55

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Fig. 8.6. Italian Renaissance. RAPHAEL. Madonna and Child with St. John the Baptist.

1508 and Fig. 8.7. Italian Renaissance/Mannerism. PARMIGIANINO. Madonna and Child with Angels. 1534-40 Fig. 8.7. Italian Renaissance/Mannerism. PARMIGIANINO. Madonna and Child with Angels. 1534-40 and Fig. 8.44, 8.45, 8.47. Italian Renaissance. TITIAN. Madonna of the Pesaro Family.

1519-20 8. The Portrait and Self-Portrait Fig. 7.8. Italian Renaissance. PIERO DELLA FRANCESCA. Battista Sforza; Federigo da Montefeltro. 1465 and Fig. 7b, 7.25 to 7.27. Flemish Painting. JAN VAN EYCK. Portrait of Giovanni Arnolfini and Giovanna Cenami (?). 1434 Fig. 7.9. Flemish Painting. JAN VAN EYCK. Self-Portrait. 1433 and Fig. 7.10. Italian Renaissance. LORENZO GHIBERTI. Self-Portrait, from the East Doors of the Florentine Baptistery (see Fig. 7.22). 1425-72 Fig. 7.9. Flemish Painting. JAN VAN EYCK. Self-Portrait. 1433 and Fig. 8.11. Italian Renaissance. LAVINIA FONTANA. Self-Portrait. c. 1577 Fig. 7.9. Flemish Painting. JAN VAN EYCK. Self-Portrait. 1433 and Fig. 8.33. Italian Renaissance. MICHELANGELO BUONAROTTI. Sonnet with a caricature of the artist standing, painting a figure on the ceiling over his head. c. 1510 Fig. 7.9. Flemish Painting. JAN VAN EYCK. Self-Portrait. 1433 and Fig. 8.40, 8.41. Northern. HIERONYMUS BOSCH. The “Garden of Earthly Delights” Triptych. c. 1510-15 Fig. 7.16, 7.17, 12d. Flemish Painting. ROBERT CAMPIN. The Annunciation with Donors, St. Joseph in his Workshop, c. 1425 – 1430 and Fig. 8.44, 8.45, 8.47. Italian Renaissance. TITIAN. Madonna of the Pesaro Family.

1519-20 Fig. 7.16, 7.17, 12d. Flemish Painting. ROBERT CAMPIN. The Annunciation with Donors, St. Joseph in his Workshop, c. 1425 – 1430 and Fig. 7.18. Italian Renaissance. MASACCIO. The Trinity with the Virgin Mary, John, and Two Donors. c. 1425-28 Fig. 7b, 7.25 to 7.27. Flemish Painting. JAN VAN EYCK. Portrait of Giovanni Arnolfini and Giovanna Cenami (?). 1434 and Fig. 8.18, 8.19 Italian Renaissance. LEONARDO DA VINCI. Portrait of a Woman (known as the “Mona Lisa”). c. 1503-5 Fig. 8.18, 8.19. Italian Renaissance. LEONARDO DA VINCI. Portrait of a Woman (known as the “Mona Lisa”). c. 1503-5 and Fig. 8.10. Italian Renaissance/Mannerism. PARMIGIANINO. Self-Portrait in a Convex Mirror. 1524

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Fig. 8.2. Italian Renaissance. MICHELANGELO BUONARROTI. Pietà. c. 1547-55 and Fig. 1.18, 7.20, 8.35. Italian Renaissance. RAPHAEL. Philosophy (The School of Athens). 1509-21 9. Humanity’s Relationship to Nature: Landscape, Seascape, and Still Life Fig. 8.39. Italian Renaissance. GIORGIONE. Tempestuous Landscape with a Gypsy and a Soldier (The Tempest). c. 1505-10 and Fig. 8.67. Zen Buddhist. SESSHU. Winter Landscape c. 1500 (Ashikaga period) Fig. 8.40, 8.41. Northern. HIERONYMUS BOSCH. The “Garden of Earthly Delights” Triptych. c. 1510-15 and Fig. 8.1. Zen Buddhist. Attributed to SOAMI. Dry garden of the Daisen-in of Daitoku-ji, Kyoto, Japan. Early 16th century (Ashikaga period) Fig. 8.54. Flemish Baroque. PIETER BRUEGEL THE ELDER. December Landscape (The Hunters in the Snow). 1565 and Fig. 8.67. Zen Buddhist. SESSHU. Winter Landscape c. 1500 (Ashikaga period) Fig. 8.55. Spanish 16th-century. EL GRECO. Toledo. c. 1600-1610 and Fig. 8.67. Zen Buddhist. SESSHU. Winter Landscape c. 1500 (Ashikaga period) 10. Genre Fig. 7.14. Flemish Painting. THE LIMBOURG BROTHERS. February, calendar page from the Très Riches Heures du Duc de Berry. Before 1416 and Fig. 8.56. Flemish Baroque. PIETER BRUEGEL THE ELDER. Peasant Wedding Feast. c. 1566 Fig. 7.14. Flemish Painting. THE LIMBOURG BROTHERS. February, calendar page from the Très Riches Heures du Duc de Berry. Before 1416 and Fig. 8.54. Flemish Baroque. PIETER BRUEGEL THE ELDER. December Landscape (The Hunters in the Snow). 1565 11. The Role of the Patron Fig. 7.16, 7.17, 12d. Flemish Painting. ROBERT CAMPIN. The Annunciation with Donors, St. Joseph in his Workshop, c. 1425 – 1430 and Fig. 7.18. Italian Renaissance. MASACCIO. The Trinity with the Virgin Mary, John, and Two Donors. c. 1425-28 12. Representations of the Nude Human Body, Male and Female Fig. 7.2. Italian Renaissance. PIERO DELLA FRANCESCA. Resurrection. c. 1460 and Fig. 7.3. Flemish Painting. ROGIER VAN DER WEYDEN. Deposition. c. 143538 Fig. 7.19. Italian Renaissance. MASACCIO. Expulsion of Adam and Eve in the Brancacci Chapel c. 1425 – 28 and Fig. 7.48. Italian Renaissance. SANDRO BOTTICELLI. The Birth of Venus. c.

1484-86 Fig. 7.37. Italian Renaissance. DONATELLO. David. 1440s? and Fig. 8b, 8.15. Italian Renaissance. MICHELANGELO BUONARROTI. David.

1501-04 Fig. 7.48. Italian Renaissance. SANDRO BOTTICELLI. The Birth of Venus. c. 1484-86 and Fig. 8a, 8.38. Italian Renaissance. TITIAN. Venus of Urbino. 1538

52

Fig. 7.50. Italian Renaissance. LEONARDO DA VINCI. Vitruvian Man. c. 1485-90 and Fig. 8b, 8.15. Italian Renaissance. MICHELANGELO BUONARROTI. David.

1501-04 13. Gender Issues Fig. 7.19. Italian Renaissance. MASACCIO. Expulsion of Adam and Eve in the Brancacci Chapel, c. 1425 – 28 and Fig. 7.23, 7.24. Flemish Painting. HUBERT AND JAN VAN EYCK. Adam and Eve from The Altarpiece of the Lamb, completed 1432 Fig. 7.48. Italian Renaissance. SANDRO BOTTICELLI. The Birth of Venus. c. 1484-86 and Fig. 7b, 7.25 to 7.27. Flemish Painting. JAN VAN EYCK. Portrait of Giovanni Arnolfini and Giovanna Cenami (?). 1434 Fig. 8.10. Italian Renaissance/Mannerism. PARMIGIANINO. Self-Portrait in a Convex Mirror. 1524 and Fig. 8.11. Italian Renaissance. LAVINIA FONTANA. Self-Portrait. c. 1577 14. The Artist’s Changing Relationship to Society, including Self-Portraiture Fig. 7.9. Flemish Painting. JAN VAN EYCK. Self-Portrait. 1433 and Fig. 7.10. Italian Renaissance. LORENZO GHIBERTI. Self-Portrait, from the East Doors of the Florentine Baptistery. 1425-72 Fig. 7.9. Flemish Painting. JAN VAN EYCK. Self-Portrait. 1433 and Fig. 8.11. Italian Renaissance. LAVINIA FONTANA. Self-Portrait. c. 1577 Fig. 7.9. Flemish Painting. JAN VAN EYCK. Self-Portrait. 1433 and Fig. 8.33. Italian Renaissance. MICHELANGELO BUONAROTTI. Sonnet with a caricature of the artist standing, painting a figure on the ceiling over his head. c. 1510 Fig. 7.9. Flemish Painting. JAN VAN EYCK. Self-Portrait. 1433 and Fig. 8.40, 8.41. Northern. HIERONYMUS BOSCH. The “Garden of Earthly Delights” Triptych. c. 1510-15 Fig. 8.2. Italian Renaissance. MICHELANGELO BUONARROTI. Pietà. c. 1547-55 and Fig. 1.18, 7.20, 8.35. Italian Renaissance. RAPHAEL. Philosophy (The School of Athens). 1509-21

17TH AND 18TH CENTURIES 1. Political Art and Architecture Fig. 10.23. German Rococo. JOHANN BALTHASAR NEUMANN. Kaisersaal (Imperial Hall), Episcopal Palace, Würzburg, Germany. 1735-44 and Fig. 10.29. Neo-Classicism. THOMAS JEFFERSON. State Capitol, Richmond, Virginia. 1785-89 2. Domestic Architecture: Home and Palace Fig. 9b, 9.47. French Classicizing Baroque. LE VAU AND HARDOUIN-MANSART. Garden façade, Palace of Versailles, France. 1669-85 and Fig. 10.31. Neo-Classicism. THOMAS JEFFERSON. Monticello, Charlottesville, Virginia. 1768-82; remodeled, 1796-1809

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Fig. 9.1. French Classicizing Baroque. JULES HARDOUIN-MANSART, CHARLES LEBRUN, AND ANTOINE COYSEVOX. Salon de la Guerre (“Room of War”), Palace of Versailles. Begun 1678 and Fig. 10.23. German Rococo. JOHANN BALTHASAR NEUMANN. Kaisersaal (Imperial Hall), Episcopal Palace, Würzburg, Germany. 1735-44 Fig. 9.1. French Classicizing Baroque. JULES HARDOUIN-MANSART, CHARLES LEBRUN, AND ANTOINE COYSEVOX. Salon de la Guerre (“Room of War”), Palace of Versailles. Begun 1678 and Fig. 10.2. French Rococo. GERMAIN BOFFRAND. Salon de la Princesse, Hôtel de Soubise, Paris. 1736-34 Fig. 10.2. French Rococo. GERMAIN BOFFRAND. Salon de la Princesse, Hôtel de Soubise, Paris. 1736-34 and Fig. 10.4. Neo-Classicism. ROBERT ADAM. Fireplace Niche, Entrance Hall, Osterley Park House, Middlesex, England. Begun 1761 Fig. 10.2. French Rococo. GERMAIN BOFFRAND. Salon de la Princesse, Hôtel de Soubise, Paris. 1736-34 and Fig. 10.31. Neo-Classicism. THOMAS JEFFERSON. Monticello, Charlottesville, Virginia. 1768-82; remodeled, 1796-1809 5. Religious Architecture and its Decoration Fig. 9.6. Italian Baroque. GAULLI (assisted by GIANLORENZO BERNINI). The Triumph of the Name of Jesus. 1672-85 and Fig. 9.36. Dutch. REMBRANDT VAN RIJN. Christ Preaching. c. 1652 Fig. 9.14. Italian Baroque. CARAVAGGIO. Christ with the Doubting Thomas. c. 1602-03 and Fig. 9.39. Dutch. REMBRANDT VAN RIJN. The Three Crosses. 1653 Fig. 9.16, 10c. Italian Baroque. ARTEMISIA GENTILESCHI. Judith and her Maidservant with the Head of Holofernes. c. 1625 and 9.44. Dutch. REMBRANDT VAN RIJN. Return of the Prodigal Son. c. 1662-68 Fig. 9.32. Italian Baroque. GIANLORENZO BERNINI AND WORKSHOP. The Ecstasy of St. Teresa. 1645-72 and Fig. 10.24. German Rococo. EGID QUIRIN ASAM. Assumption of the Virgin.

1721- 23 6. Representations of Deities, Religious Figures, Religious Scenes Fig. 9.6. Italian Baroque. GAULLI (assisted by GIANLORENZO BERNINI). The Triumph of the Name of Jesus. 1672-85 and Fig. 9.36. Dutch. REMBRANDT VAN RIJN. Christ Preaching. c. 1652 7. History Fig. 10.32. Neo-Classicism. JACQUES-LOUIS DAVID. Death of Socrates. 1787 and Fig. 10.36. 18th-century. BENJAMIN WEST. The Death of General Wolfe. 1770 8. The Portrait and Self-Portrait Fig. 9.9. Dutch. JUDITH LEYSTER. Self-Portrait at the Easel. c. 1635 and Fig. 3d, 9.8. Italian Baroque. ARTEMISIA GENTILESCHI. Self-Portrait as the Allegory of Painting. 1630

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Fig. 3d, 9.8. Italian Baroque. ARTEMISIA GENTILESCHI. Self-Portrait as the Allegory of Painting. 1630 and Fig. 10.12, 10a. Neo-Classicism. ANGELICA KAUFFMANN. Self-Portrait Hesitating Between the Arts of Music and Painting. 1794 Fig. 9.24 Dutch. FRANS HALS. Banquet of the Officers of the Civic Guard of St. George.

1627 and Fig. 9.40. Spanish Baroque. DIEGO VELÁZQUEZ. Las Meninas (The Maids of Honor). 1656 Fig. 9.25. Dutch. REMBRANDT VAN RIJN. The Militia Company of Captain Frans Banning Cocq. 1642 and Fig. 9.40. Spanish Baroque. DIEGO VELÁZQUEZ. Las Meninas (The Maids of Honor). 1656 Fig. 9.35. Dutch. REMBRANDT VAN RIJN. Two Women Teaching a Child to Walk. c.

1637 and Fig. 10.8. French Rococo. ELIZABETH VIGÉE-LEBRUN. Portrait of Marie Gabrielle de Gramont, Duchesse de Caderousse. 1784 Fig. 9.41. Spanish Baroque. DIEGO VELÁZQUEZ. Portrait of Juan de Pareja. 1650 and Fig. 10.25. American Colonial. JOHN SINGLETON COPLEY. Portrait of Paul Revere. c. 1768-70 Fig. 9.41. Spanish Baroque. DIEGO VELÁZQUEZ. Portrait of Juan de Pareja. 1650 and Fig. 10.6. French Rococo. HYACINTHE RIGAUD. Portrait of Louis XIV. 1701 9. Humanity’s Relationship to Nature: Landscape, Seascape, and Still Life Fig. 9.42. French Classicizing Baroque. NICOLAS POUSSIN. The Arcadian Shepherds. c. 1660 and Fig. 10.15. French Rococo. ANTOINE WATTEAU. A Pilgrimage to the Island of Cythera. 1717 Fig. 9.43. French Classicizing Baroque. NICOLAS POUSSIN. Landscape with the Body of Phocion Carried Out of Athens. 1648 and Fig. 9.53. Flemish Baroque. PETER PAUL RUBENS. Landscape with Het Steen. c. 1636 Fig. 9.52. Dutch. JACOB VAN RUISDAEL. The Dutch Landscape from the Dunes at Overveen. c. 1670 and Fig. 9.53. Flemish Baroque. PETER PAUL RUBENS. Landscape with Het Steen. c. 1636 10. Genre Fig. 9.3. Dutch. FRANS HALS. The Merry Drinker. 1628-30 and Fig. 9.17. Spanish Baroque. DIEGO VELÁZQUEZ. The Water Carrier. c. 1619 Fig. 9.17. Spanish Baroque. DIEGO VELÁZQUEZ. The Water Carrier. c. 1619 and Fig. 9.18. Dutch. JAN VERMEER. A Maidservant Pouring Milk. c. 1660

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11. The Role of the Patron Fig. 9.40. Spanish Baroque. DIEGO VELÁZQUEZ. Las Meninas (The Maids of Honor).

1656 (Patron is King Philip of Spain) and Fig. 10.6. French Rococo. HYACINTHE RIGAUD. Portrait of Louis XIV. 1701 (Patron is Louis XIV) Fig. 10.23. German Rococo. JOHANN BALTHASAR NEUMANN. Kaisersaal (Imperial Hall), Episcopal Palace, Würzburg, Germany. 1735-44 (Patron is the local Prince-Bishop) and Fig. 10.29. Neo-Classicism. THOMAS JEFFERSON. State Capitol, Richmond, Virginia. 1785-89 (Patron is the State of Virginia) 13. Gender Issues Fig. 9.9. Dutch. JUDITH LEYSTER. Self-Portrait at the Easel. c. 1635 and Fig. 10.13. British 18th-century. JOHANN ZOFFANY. The Life Drawing Class at the Royal Academy. 1772 Fig. 9.9. Dutch. JUDITH LEYSTER. Self-Portrait at the Easel. c. 1635 and Fig. 10.16. French Rococo. JEAN-HONORÉ FRAGONARD. Happy Accidents of the Swing. 1767 Fig. 9.7. Flemish Baroque. PETER PAUL RUBENS. Self-Portrait with Isabella Brandt.

1609-15 and Fig. 3d, 9.8. Italian Baroque. ARTEMISIA GENTILESCHI. Self-Portrait as the Allegory of Painting. 1630 14. The Artist’s Changing Relationship to Society, including Self-Portraiture Fig. 9.9. Dutch. JUDITH LEYSTER. Self-Portrait at the Easel. c. 1635 and Fig. 3d, 9.8. Italian Baroque. ARTEMISIA GENTILESCHI. Self-Portrait as the Allegory of Painting. 1630 Fig. 3d, 9.8. Italian Baroque. ARTEMISIA GENTILESCHI. Self-Portrait as the Allegory of Painting. 1630 and Fig. 10.12, 10a. Neo-Classicism. ANGELICA KAUFFMANN. Self-Portrait Hesitating Between the Arts of Music and Painting. 1794

19TH CENTURY 1. Political Art and Architecture Fig. 11.2. French Romanticism. EUGÈNE DELACROIX. Liberty Leading the People.

1830 and Fig. 11.3. Impressionism. CLAUDE MONET. Rue Saint-Denis Festivities on June 30, 1878. 1878 Fig. 11.13. American 19th-century. EDMONIA LEWIS. Forever Free. 1867 and Fig. 11.15. Neo-Classicism. ANTONIO CANOVA. Napoleon as Mars the Peacekeeper. 1806 Fig. 11.13. American 19th-century. EDMONIA LEWIS. Forever Free. 1867 and Fig. 11.24. British 19th-century. JOSEPH M. W. TURNER. The Slave Ship. 1840

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Fig. 11.15. Neo-Classicism. ANTONIO CANOVA. Napoleon as Mars the Peacekeeper.

1806 and Fig. 11.17. Neo-Classicism. HORATIO GREENOUGH. George Washington.

1832-41 Fig. 11.18. Spanish 19th-century. FRANCISCO GOYA. The Execution of Madrileños on the Third of May, 1808. 1814-15 and Fig. 11.28. French 19th-century. HONORÉ DAUMIER. Rue Transnonain, April 15, 1834. 1834 Fig. 11.31. Gothic Revival, SIR CHARLES BARRY AND AUGUSTUS W. N. PUGIN. Houses of Parliament, London. Begun 1836; opened in 1852; completed 1870 and Fig. 11.43. Romanesque Revival, HENRY HOBSON RICHARDSON. Allegheny County Courthouse and Jail, Pittsburgh. 1884-88 2. Domestic Architecture: Home and Palace Fig. 11.32. Neo-Classicism. UNKNOWN ARCHITECT. Gaineswood, Demopolis, Alabama. 1842 and Fig. 11.33. Gothic Revival, ALEXANDER JACKSON DAVIS. William Rotch House. New Bedford, Massachusetts. 1845 3. The Urban Environment: The City Fig. 11.43. Romanesque Revival, HENRY HOBSON RICHARDSON. Allegheny County Courthouse and Jail, Pittsburgh. 1884-88 and Fig. 11.74. American 19th-century. LOUIS SULLIVAN. Wainwright Building, St. Louis. 1890-91 6. Representations of Deities, Religious Figures, Religious Scenes Fig. 11.34. American Romantic Landscape Painting. THOMAS COLE. Schroon Mountain, Adirondacks. 1838 and Fig. 11.68. Post-Impressionism. PAUL GAUGUIN. The Vision after the Sermon.

1888 7. History Fig. 1.13. American 19th-century. DANIEL CHESTER FRENCH. Minuteman. 18731475 and Fig. 11.13. American 19th-century. EDMONIA LEWIS. Forever Free. 1867 Fig. 11.2. Romanticism. EUGÈNE DELACROIX. Liberty Leading the People. 1830 and Fig. 11.18. Spanish 19th-century. FRANCISCO GOYA. The Execution of Madrileños on the Third of May, 1808. 1814-15 Fig. 11.6. French 19th-century. FRÉDÉRIC AUGUSTE BARTHOLDI. Liberty Enlightening the World (The Statue of Liberty). 1870-1886 and Fig. 11.64. French 19th-century. AUGUSTE RODIN. The Burghers of Calais.

1884-86 Fig. 11.6. French 19th-century. FRÉDÉRIC AUGUSTE BARTHOLDI. Liberty Enlightening the World (The Statue of Liberty). 1870-1886 and Fig. 11.13. American 19th-century. EDMONIA LEWIS. Forever Free. 1867

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8. The Portrait and Self-Portrait Fig. 11.11. Spanish 19th-century. FRANCISCO GOYA. Self-Portrait Being Attended by Dr. Arrieta. 1820 and Fig. 11.12. Post-Impressionism. VINCENT VAN GOGH. Self-Portrait with Bandaged Ear and Pipe. 1889 Fig. 11.17. Neo-Classicism. HORATIO GREENOUGH. George Washington. 1832-41 and Fig. 11b, 11.53. French 19th-century. EDGAR DEGAS. Little Dancer, Aged 14. c. 1879 - 1881 Fig. 11.17. Neo-Classicism. HORATIO GREENOUGH. George Washington. 1832-41 and Fig. 7d, 11.50. British 19th-century. JULIA MARGARET CAMERON. Alfred Lord Tennyson. 1865 9. Humanity’s Relationship to Nature: Landscape, Seascape, and Still Life Fig. 11.10. French 19th-century. HENRI ROUSSEAU. The Sleeping Gypsy. 1897 and Fig. 11.60. Impressionism. BERTHE MORISOT. Marine (The Harbor at Lorient).

1869 Fig. 11.23. German Romanticism. CASPAR DAVID FRIEDRICH. Abbey in an Oak Forest. 1809-15 and Fig. 11.34. American Romantic Landscape Painting. THOMAS COLE. Schroon Mountain, Adirondacks. 1838 Fig. 11.34. American Romantic Landscape Painting. THOMAS COLE. Schroon Mountain, Adirondacks. 1838 and Fig. 11d, 11.73. Post-Impressionism. PAUL CÉZANNE. Mont Ste.-Victoire.

1904-06 Fig. 11.54. Impressionism. CLAUDE MONET. Impression-Sunrise. 1872 and 9-71. Post-Impressionism. VINCENT VAN GOGH. Starry Night, June 1889 Fig. 11.54. Impressionism. CLAUDE MONET. Impression-Sunrise. 1872 and Fig. 11.66. American Realism. WINSLOW HOMER. The Fog Warning. 1885 10. Genre Fig. 11.4. Japanese. KUNISADA. A Woman Frightened by Thunder. 1849-53 and 9-58. French 19th-century. EDGAR DEGAS. The Rehearsal. 1873-74 Fig. 11.5. French 19th-century. ÉDOUARD MANET. A Bar at the Folies-Bergères. 188182 and Fig. 11.63. American 19th-century. HENRY O. TANNER. The Banjo Lesson. c.

1893 Fig. 11.10. French 19th-century. HENRI ROUSSEAU. The Sleeping Gypsy. 1897 and Fig. 11.69. Post-Impressionism. GEORGES SEURAT. A Sunday Afternoon on the Island of La Grande Jatte. 1884-86 Fig. 11.35. American Romanticism. GEORGE CALEB BINGHAM. Fur Traders Descending the Missouri. 1845 and Fig. 11.36. Realism. GUSTAVE COURBET. A Burial at Ornans. 1849-50 Fig. 11.36. Realism. GUSTAVE COURBET. A Burial at Ornans. 1849-50 and Fig. 11.70. Post-Impressionism. VINCENT VAN GOGH. The Night Café.

September, 1888

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Fig. 11.45. French 19th-century. ÉDOUARD MANET. Le Déjeuner sur l’herbe (The Picnic). 1863 and Fig. 11.57, 11.58. Impressionism. AUGUSTE RENOIR. A Luncheon at Bougival (The Luncheon of the Boating Party). 1881 Fig. 11.57, 11.58. Impressionism. AUGUSTE RENOIR. A Luncheon at Bougival (The Luncheon of the Boating Party). 1881 and Fig. 11.70. Post-Impressionism. VINCENT VAN GOGH. The Night Café.

September, 1888 11. The Role of the Patron Fig. 11.15. Neo-Classicism. ANTONIO CANOVA. Napoleon as Mars the Peacekeeper.

1806 (Patron is Napoleon) and Fig. 11.17. Neo-Classicism. HORATIO GREENOUGH. George Washington.

1832-41 (Patron is the US Congress) 12. Representations of the Nude Human Body, Male and Female Fig. 11.15. Neo-Classicism. ANTONIO CANOVA. Napoleon as Mars the Peacekeeper.

1806 and Fig. 11.46. French 19th-century. ÉDOUARD MANET. Olympia. 1863 Fig. 11.15. Neo-Classicism. ANTONIO CANOVA. Napoleon as Mars the Peacekeeper.

1806 and Fig. 11.52. French 19th-century. MARCELLO (ADÉLE D’AFFRY). Pythia.

1870 Fig. 11.15. Neo-Classicism. ANTONIO CANOVA. Napoleon as Mars the Peacekeeper.

1806 and Fig. 11.21. Romanticism. FRANÇOIS RUDE. The Departure of the Volunteers of 1792 (popularly known as “La Marseillaise”). 1833-36 Fig. 11.15. Neo-Classicism. ANTONIO CANOVA. Napoleon as Mars the Peacekeeper.

1806 and Fig. 11.51. French 19th-century. JEAN-BAPTISTE CARPEAUX. The Dance.

1867-68 Fig. 11.20. Romanticism. THÉODORE GÉRICAULT. The Raft of the Medusa. 1818-19 and Fig. 11.45. French 19th-century. ÉDOUARD MANET. Le Déjeuner sur l’herbe (The Picnic). 1863

20TH CENTURY 1. Political Art and Architecture Fig. 13.44. Japanese 20th-century. YUKINORI YANAGI. Hinomaru Illumination (Amaterasu and Haniwa). 1993 and Fig. 12.1, 12.68, 12.69. Spanish 20th-century. PABLO PICASSO. Guernica. May 1-June 4, 1937

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Fig. 12.1, 12.68, 12.69. Spanish 20th-century. PABLO PICASSO. Guernica. May 1-June 4, 1937 and Fig. 13.38. American 20th-century. JENNY HOLZER. Selections from Truisms, Inflammatory Essays, The Living Series, The Survival Series, Under a Rock, Laments, and New Writing. Installation at the Solomon R. Guggenheim Museum, New York. 1989-90 2. Domestic Architecture: Home and Palace Fig. 1.10, 1.11, 4e. American 20th-century. FRANK LLOYD WRIGHT. Fallingwater, Bear Run, Pennsylvania. 1936 and Fig. 12a, 12.75. International Style. PHILIP JOHNSON. Glass House, New Canaan, Connecticut. 1949 Fig. 12c, 12.29. Hopi Culture. First Mesa, Walpi Village in the foreground, Hopi Reservation, Arizona. 20th century and Fig. 12.30 to 12.32. American 20th-century. FRANK LLOYD WRIGHT. Robie House, Chicago. 1909 Fig. 12.47 to 12.49. De Stijl. GERRIT RIETVELD. Schröder House, Utrecht, The Netherlands. 1923-24 and Fig. 12a, 12.75. International Style. PHILIP JOHNSON. Glass House, New Canaan, Connecticut. 1949 3. The Urban Environment: The City Fig. 12.39. German Expressionism. ERNST LUDWIG KIRCHNER. Street, Berlin. 1913 and Fig.12.4. Fantasy. GIORGIO DE CHIRICO. The Melancholy and Mystery of a Street. 1914 Fig. 12.76. International Style. MIES VAN DER ROHE. Seagram Building, New York.

1956-8 and Fig. 13.28. Post-Modernism. PETER EISENMAN. Wexner Center for the Visual Arts, Columbus, Ohio. 1983 – 88 7. History Fig. 12.4. Russian 20th-century. VLADIMIR TATLIN. Monument to the Third International Communist Conference. 1919-15 and Fig. 13.29. American 20th-century. MAYA LIN. Vietnam Veterans Memorial.

1982 Fig. 13.29. American 20th-century. MAYA LIN. Vietnam Veterans Memorial. 1982 and Fig. 13.1. American 20th-century. The Names Project, San Francisco. AIDS Memorial Quilt Fig. 12.9. Russian. SERGEY EISENSTEIN. Film Still from Potemkin 1925 and Fig. 12.1, 12.68, 12.69. Spanish 20th-century. PABLO PICASSO. Guernica. May 1-June 4, 1937 8. The Portrait and Self-Portrait Fig. 7e, 13.22. American 20th-century. JACOB LAWRENCE. Self-Portrait. 1977 and Fig. 12.10. German Expressionism. KÄTHE KOLLWITZ. Self-Portrait. 1934

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Fig. 12.11. Mexican 20th-century. FRIDA KAHLO. The Two Fridas. 1939 and Fig. 8e, Fig. 13.34. American 20th-century. ALICE NEEL. Nude Self-Portrait.

1980 Fig. 12.11. Mexican 20th-century. FRIDA KAHLO. The Two Fridas. 1939 and Fig. 12.64. American 20th-century. GRANT WOOD. American Gothic. 1930 Fig. 12.22. Analytical Cubism. PABLO PICASSO. Ma Jolie (Woman with Guitar). 191112 and Fig. 12.62. American 20th-century. CHARLES DEMUTH. I Saw the Figure 5 in Gold. 1928 Fig. 13.17. Pop Art. ANDY WARHOL. Marilyn Diptych. 1962 and Fig. 13.20. American 20th-century. DUANE HANSON. Tourists. 1970 9. Humanity’s Relationship to Nature: Landscape, Seascape, and Still Life Fig. 12.72. American 20th-century. ALEXANDER CALDER. Lobster Trap and Fish Tail.

1939 and Fig. 13.43. American 20th-century. LOUISE BOURGEOIS. Maman. 1999 Fig. 12.12. Fauvism. HENRI MATISSE. The Joy of Life. 1905-08 and 12.65. American 20th-century. GEORGIA O’KEEFFE. The Lawrence Tree. 1929 Fig. 12.30 to 12.32. American 20th-century. FRANK LLOYD WRIGHT. Robie House, Chicago. 1909 and Fig. 13.10 to 13.12. Swiss 20th-century. Le Corbusier. Nôtre-Dame-du-Haut, Ronchamp, France. 1950-54 10. Genre Fig. 12.6. American 20th-century. EDWARD HOPPER. Nighthawks. 1942 and Fig. 13.35. American 20th-century. FAITH RINGGOLD. Tar Beach. 1988 Fig. 13.13. Japanese Cinema. YASUJIRO OZU (Director). Tokyo Story. 1953 and Fig. 12b, 13.9. Pop Art. RICHARD HAMILTON. Just What Is It That Makes Today’s Homes So Different, So Appealing? 1956 12. Representations of the Nude Human Body, Male and Female Fig. 8e, Fig. 13.34. American 20th-century. ALICE NEEL. Nude Self-Portrait. 1980 and Fig. 12.12. Fauvism. HENRI MATISSE. The Joy of Life. 1905-08 Fig. 12.12. Fauvism. HENRI MATISSE. The Joy of Life. 1905-08 and Fig. 12.1, 12.68, 12.69. PABLO PICASSO. Guernica. May 1-June 4, 1937 Fig. 12.20. Spanish 20th-century. PABLO PICASSO. Les Demoiselles d’Avignon. 1907 and Fig. 12.1, 12.68, 12.69. PABLO PICASSO. Guernica. May 1-June 4, 1937 Fig. 12.70. British 20th-century. HENRY MOORE. Recumbent Figure. 1938 and Fig. 12.73. Japanese/American 20th-century. ISAMU NOGUCHI. Kouros.

1944-45 13. Gender Issues Fig. 8e, Fig. 13.34. American 20th-century. ALICE NEEL. Nude Self-Portrait. 1980 and Fig. 12.11. Mexican 20th-century. FRIDA KAHLO. The Two Fridas. 1939 Fig. 8e, Fig. 13.34. American 20th-century. ALICE NEEL. Nude Self-Portrait. 1980 and Fig. 13.39 Japanese 20th-century. YASUMASA MORIMURA. Portrait (Futago). 1988

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Fig. 13.32. Pattern and Decoration. MIRIAM SCHAPIRO. Wonderland. 1983. and Fig. 13.35. American 20th-century. FAITH RINGGOLD. Tar Beach. 1988 15. Abstraction Fig. 1.10, 1.11, 4e. American 20th-century. FRANK LLOYD WRIGHT. Fallingwater, Bear Run, Pennsylvania. 1936 and Fig. 12a, 12.75. International Style. PHILIP JOHNSON. Glass House, New Canaan, Connecticut. 1949 Fig. 12.47 to 12.49. De Stijl. GERRIT RIETVELD. Schröder House, Utrecht, The Netherlands. 1923-24 and Fig. 12a, 12.75. International Style. PHILIP JOHNSON. Glass House, New Canaan, Connecticut. 1949 Fig. 12.47 to 12.49. De Stijl. GERRIT RIETVELD. Schröder House, Utrecht, The Netherlands. 1923-24 and Fig. 12.50 to 12.52. Bauhaus. WALTER GROPIUS. Workshop Wing, Bauhaus, Dessau, East Germany. 1925-26 Fig. 12.70. British 20th-century. HENRY MOORE. Recumbent Figure. 1938 and Fig. 12.73. Japanese/American 20th-century. ISAMU NOGUCHI. Kouros.

1944-45

COMPREHENSIVE FINAL EXAMINATION 1. Political Art and Architecture 1A. POLITICAL ART Fig. 9.21. Flemish Baroque. PETER PAUL RUBENS AND WORKSHOP. Allegory of the Outbreak of War. 1638 and Fig. 11.18. Spanish 19th-century. FRANCISCO GOYA. The Execution of Madrileños on the Third of May, 1808. 1814-15 Fig. 9.21. Flemish Baroque. PETER PAUL RUBENS AND WORKSHOP. Allegory of the Outbreak of War. 1638 and Fig. 12.1, 12.68, 12.69. Spanish 20th-century. PABLO PICASSO. Guernica. May 1-June 4, 1937 Fig. 10.6. French Rococo. HYACINTHE RIGAUD. Portrait of Louis XIV. 1701 and Fig. 11.15. Neo-Classicism. ANTONIO CANOVA. Napoleon as Mars the Peacekeeper. 1806 Fig. 11.18. Spanish 19th-century. FRANCISCO GOYA. The Execution of Madrileños on the Third of May, 1808. 1814-15 and Fig. 12.1, 12.68, 12.69. Spanish 20th-century. PABLO PICASSO. Guernica. May 1-June 4, 1937 Fig. 11.36. Realism. GUSTAVE COURBET. A Burial at Ornans. 1849–50 and Fig. 12.53, 12.54. Mexican 20th-century. DIEGO RIVERA. Night of the Rich and Night of the Poor. 1923-24

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1B. Political Architecture Fig. 3.13. Ancient Egyptian New Kingdom. Rock Temple of Ramses II at Abu Simbel. c. 1257 BCE and Fig. 5.25, 5.26. Byzantine. Mosaics of San Vitale, Ravenna, Italy. 526-50 Fig. 3.37. Mycenaean. Lion Gate, Mycenae (Greece). c. 1250 BCE and Fig. 4.38. Ancient Roman. Arch of Titus in Rome. c. CE 81 Fig. 3.33 to 3.36. Minoan. Palace at Knossos, Crete. Partially reconstructed. c. 16001400 BCE and Fig. 9b, 9.47. French Classicizing Baroque. LE VAU AND HARDOUINMANSART. Garden façade, Palace of Versailles, France. 1669-85 Fig. 3.71 to 3.76. Ancient Greek. KALLIKRATES and IKTINOS (architects), PHIDIAS and workshop (sculpture). Parthenon at Athens, 447-438 BCE and Fig. 10.23. German Rococo. JOHANN BALTHASAR NEUMANN. Kaisersaal (Imperial Hall), Episcopal Palace, Würzburg, Germany. 1735-44 Fig. 7.35, 7.36. Italian Renaissance. MICHELOZZO. Courtyard and Exterior, Medici Palace, Florence. 1444-59 and Fig. 11.31. Gothic Revival, SIR CHARLES BARRY AND AUGUSTUS W. N. PUGIN. Houses of Parliament, London. Begun 1836; opened in 1852; completed 1870 Fig. 7.35, 7.36. Italian Renaissance. MICHELOZZO. Courtyard and Exterior, Medici Palace, Florence. 1444-59 and Fig. 9b, 9.47. French Classicizing Baroque. LE VAU AND HARDOUINMANSART. Garden façade, Palace of Versailles, France. 1669-85 Fig. 10.29. Neo-Classicism. THOMAS JEFFERSON. State Capitol, Richmond, Virginia. 1785-89 and Fig. 11.43. Romanesque Revival, HENRY HOBSON RICHARDSON. Allegheny County Courthouse and Jail, Pittsburgh. 1884-88 2. Domestic Architecture: Home and Palace Fig. 1.8, 1.9. Italian Renaissance. ANDREA PALLADIO. Villa Rotonda. Vicenza, Italy. c. 1567-70 and Fig. 1.10, 1.11, 4e. American 20th-century. FRANK LLOYD WRIGHT. Fallingwater, Bear Run, Pennsylvania. 1936 Fig. 1.8, 1.9. Italian Renaissance. ANDREA PALLADIO. Villa Rotonda. Vicenza, Italy. c. 1567-70 and Fig. 12.47 to 12.49. De Stijl. GERRIT RIETVELD. Schröder House, Utrecht, The Netherlands. 1923-24 Fig. 1.8, 1.9. Italian Renaissance. ANDREA PALLADIO. Villa Rotonda. Vicenza, Italy. c. 1567-70 and Fig. 12a, 12.75. International Style. PHILIP JOHNSON. Glass House, New Canaan, Connecticut. 1949

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Fig. 1.10, 1.11, 4e. American 20th-century. FRANK LLOYD WRIGHT. Fallingwater, Bear Run, Pennsylvania. 1936 and Fig. 12a, 12.75. International Style. PHILIP JOHNSON. Glass House, New Canaan, Connecticut. 1949 Fig. 3.57. Hellenistic/Ancient Roman. The Unswept Floor, Roman copy by HERACLEITUS of a Hellenistic mosaic by SOSOS, CE 2nd century and Fig. 7.44. Italian Renaissance. ANDREA MANTEGNA. Camera Picta, Ducal Palace in Mantua. 1465-7 Fig. 4.31. Ancient Roman. Frescoed room from the House of the Vettii, Pompeii. CE 63-79 and Fig. 7.44. Italian Renaissance. ANDREA MANTEGNA. Camera Picta, Ducal Palace in Mantua. 1465-74 Fig. 4.31. Ancient Roman. Frescoed room from the House of the Vettii, Pompeii. CE 63-79 and Fig. 10.2. French Rococo. GERMAIN BOFFRAND. Salon de la Princesse, Hôtel de Soubise, Paris. 1736-34 Fig. 7.44. Italian Renaissance. ANDREA MANTEGNA. Camera Picta, Ducal Palace in Mantua. 1465-74 and Fig. 9.1. French Classicizing Baroque. HARDOUIN-MANSART, LEBRUN, AND COYSEVOX. Salon de la Guerre (“Room of War”), Palace of Versailles.

Begun 1678 Fig. 10.31. Neo-Classicism. THOMAS JEFFERSON. Monticello, Charlottesville, Virginia. 1768-82; remodeled, 1796-1809 and Fig. 12a, 12.75. International Style. PHILIP JOHNSON. Glass House, New Canaan, Connecticut. 1949 3. The Urban Environment: The City Fig. 3.56. Ancient Greek. Acropolis, Athens. Reconstructed model and Fig. 5.32. Chinese. Plan of Chang’an in the 7th-8th centuries (Tang dynasty) Fig. 4.48. Ancient Roman. Basilica Ulpia, Rome. c. CE 98 - 117 and Fig. 11.43. Romanesque Revival, HENRY HOBSON RICHARDSON. Allegheny County Courthouse and Jail, Pittsburgh. 1884-88 Fig. 4.48. Ancient Roman. Basilica Ulpia, Rome. Reconstruction drawing. c. CE 98 117 and Fig. 13.27. Post-Modernism. MICHAEL GRAVES. Portland Public Service Building, Oregon. 1980-82 Fig. 4.36. Ancient Roman. Baths of Caracalla, Rome. 211-21 and Fig. 13.24. Postmodernism. RENZO PIANO AND RICHARD ROGERS. Centre National d’Art et de Culture Georges Pompidou, Paris, France (Pompidou Arts and Cultural Center). 1971-78 Fig. 11.43. Romanesque Revival, HENRY HOBSON RICHARDSON. Allegheny County Courthouse and Jail, Pittsburgh. 1884-88 and Fig. 13.27. Post-Modernism. MICHAEL GRAVES. Portland Public Service Building, Oregon. 1980-82

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Fig. 11.43. Romanesque Revival, HENRY HOBSON RICHARDSON. Allegheny County Courthouse and Jail, Pittsburgh. 1884-88 and Fig. 13.28. Post-Modernism. PETER EISENMAN. Wexner Center for the Visual Arts, Columbus, Ohio. 1983-88 Fig. 12.76. International Style. MIES VAN DER ROHE. Seagram Building, New York.

1956-8 and Fig. 11.74. American 19th-century. LOUIS SULLIVAN. Wainwright Building, St. Louis. 1890-91 4. The Techniques of Art, including Construction Techniques in Architecture (for this category, the obvious comparisons also include works that demonstrate distinctly different techniques: oil vs. fresco, etc.)

Fig. 2.5. Neolithic. Clay pot. c. 3100-2500 BCE and Fig. 3a, 3.58. Ancient Greek. EXEKIAS (painter and potter). Achilles and Ajax Playing Draughts. c. 530 BCE Fig. 2.5. Neolithic. Clay pot. c. 3100-2500 BCE and Fig. 8.14. Chinese, Ming Dynasty. Porcelain dish decorated with chrysanthemum patterns. Ming dynasty, Hung Wu period, 1369-1798 Fig. 4.52 to 4.54. Ancient Roman. Pantheon, Rome. CE 117-125 and Fig. 5b, 6.27 to 6.31, 6.35. French Gothic. Cathedral of Notre Dame, Chartres, France. 1194-1220 Fig. 4.52 to 4.54. Ancient Roman. Pantheon, Rome. CE 117-125 and Fig. 7.31. Italian Renaissance. FILIPPO BRUNELLESCHI. Dome, Cathedral, Florence. 1420-36 Fig. 7.28. Schematic diagram of a section of a Flemish fifteenth-century oil painting and Fig. 11.49. Diagram of a camera Fig. 7.35, 7.365-34, 35. Italian Renaissance. MICHELOZZO. Courtyard and Exterior, Medici Palace, Florence. 1444-59 and Fig. 12a, 12.75. International Style. PHILIP JOHNSON. Glass House, New Canaan, Connecticut. 1949 Fig. 11.74. American 19th-century. LOUIS SULLIVAN. Wainwright Building, St. Louis. 1890-91 and Fig. 12.76. International Style. MIES VAN DER ROHE. Seagram Building, New York. 1956-8 5. Religious Architecture and its Decoration Fig. 3.9. Sumerian. Ziggurat at Ur. c. 2100 BCE and Fig. 5d, 5.40, 5.41. Hindu. Kailasantha Temple, Ellora, India. c. 760-800, with later additions Fig. 2.8, 9c. Neolithic. Stonehenge. Salisbury Plain, Wiltshire, England. c. 2750-1300 BCE and Fig. 3.9. Sumerian. Ziggurat at Ur. c. 2100 BCE

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Fig. 2.8, 9c. Neolithic. Stonehenge. Salisbury Plain, Wiltshire, England. c. 2750-1300 BCE and Fig. 3.71 to 3.76. Ancient Greek KALLIKRATES and IKTINOS (architects), PHIDIAS and workshop (sculpture). Parthenon at Athens. 447-438 BCE Fig. 2.8, 9c. Neolithic. Stonehenge. Salisbury Plain, Wiltshire, England. c. 2750-1300 BCE and Fig. 5b, 6.27 to 6.31, 6.35. French Gothic. Cathedral of Notre Dame, Chartres, France. 1194-1220 Fig. 3.71 to 3.76. Ancient Greek. KALLIKRATES and IKTINOS (architects), PHIDIAS and workshop (sculpture). Parthenon at Athens. 447-438 BCE and Fig. 13.10 to 13.12. Swiss 20th-century. LE CORBUSIER. Notre-Dame-duHaut, Ronchamp, France. 1950-54 Fig. 4.52 to 4.54. Ancient Roman. Pantheon, Rome. CE 117-125 and Fig. 13.10 to 13.12. Swiss 20th-century. LE CORBUSIER. Notre-Dame-duHaut, Ronchamp, France. 1950-54 Fig. 4.52 to 4.54. Ancient Roman. Pantheon, Rome. CE 117-125 and Fig. 5.1, 5.23, 5.24. Byzantine. ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS (architects). Hagia Sophia (Holy Wisdom), Istanbul (Constantinople), Turkey, 532-537 Fig. 5.12, 5.13. Early Christian. Old St. Peter’s Basilica, Rome. c. 333-c. 390 and Fig. 8.26, 8.27. Italian Renaissance. DONATO BRAMANTE. New St. Peter’s.

1506 Fig. 5.20, 5.21. Shinto Shrine complex, Ise, Japan. Late 5th - early 6th centuries and Fig. 5.36, 5.37. Buddhist, Horyu-ji complex, Nara, Japan, 7th c. CE (Asuka period) Fig. 5d, 5.40, 5.41. Hindu. Kailasantha Temple, Ellora, India. c. 760-800, with later additions and Fig. 6.17, 6.18. Cambodian. Temple complex, Angkor Wat, Kampuchea, Cambodia. 12th century Fig. 5.42 to 5.44. Islamic. Mosque, Cordóba, Spain. Begun 786 and Fig. 7.29, 7.30. Italian Renaissance. FILIPPO BRUNELLESCHI. Church of Santo Spirito, Florence. Begun 1436 Fig. 5.42 to 5.44. Islamic. Mosque, Cordóba, Spain. Begun 786 and Fig. 13.10 to 13.12. Swiss 20th-century. LE CORBUSIER. Notre-Dame-duHaut, Ronchamp, France. 1950-54 Fig. 5b, 6.27 to 6.31, 6.35. French Gothic. Cathedral of Notre Dame, Chartres, France.

1194-1220 and Fig. 13.10 to 13.12. Swiss 20th-century. LE CORBUSIER. Notre-Dame-duHaut, Ronchamp, France. 1950-54 Fig. 5b, 6.27 to 6.31, 6.35. French Gothic. Cathedral of Notre Dame, Chartres, France.

1194-1220 and Fig. 5e, 13.50. Japanese 20th-century. TADEO ANDO. Water Temple, Island of Awaji, Japan. 1992

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Fig. 7.29, 7.30. Italian Renaissance. FILIPPO BRUNELLESCHI. Church of Santo Spirito, Florence. Begun 1436 and Fig. 13.10 to 13.12. Swiss 20th-century. LE CORBUSIER. Notre-Dame-duHaut, Ronchamp, France. 1950-54 Fig. 5e, 13.50. Japanese 20th-century. TADEO ANDO. Water Temple, Island of Awaji, Japan. 1992 and Fig. 13.10 to 13.12. Swiss 20th-century. LE CORBUSIER. Notre-Dame-duHaut, Ronchamp, France. 1950-54 6. Representations of Deities, Religious Figures, Religious Scenes Fig. 3.32. Prehistoric Indian. Seal with Ithyphallic Figure, found at Mohenjo-daro, Indus Valley (modern Pakistan). c. 2100–1750 BCE and Fig. 3.39. Mycenaean. Funerary mask found at Mycenae. c. 1500 BCE Fig. 3.17. Ancient Egyptian Old Kingdom. Votive Palette of King Narmer. c. 3168 BCE and Fig. 9.6. Italian Baroque. GAULLI (assisted by GIANLORENZO BERNINI).

The Triumph of the Name of Jesus. 1672-85 Fig. 3.29. Ancient Egyptian Old Kingdom. Ti Watching a Hippopotamus Hunt. Tomb of Ti at Saqqara. c. 2400 BCE and Fig. 9.6. Italian Baroque. GAULLI (assisted by GIANLORENZO BERNINI).

The Triumph of the Name of Jesus. 1672-85 Fig. 3.34. Minoan. Snake Goddess or Priestess. c. 1600 BCE and Fig. 7.23, 7.24. Flemish Painting. HUBERT AND JAN VAN EYCK. The Altarpiece of the Lamb, completed 1432 Fig. 3.52. Etruscan. Sarcophagus with Reclining Couple. c. 525-700 BCE and Fig. 7.54. Italian Renaissance. MICHELANGELO BUONARROTI. Pietà. 149899 Fig. 5.3, 9d. Hindu. Descent of the Ganges, Mahamallapuram, India. c. 625-74 and Fig. 6.13. Romanesque. Pentecost, the Peoples of the Earth, and St. John the Baptist. Abbey Church of La Madeleine, Vézelay, France. 1120-32 Fig. 7.23, 7.24. Flemish Painting. HUBERT AND JAN VAN EYCK. The Altarpiece of the Lamb, completed 1432 and Fig. 1.16, 2b, 12.14, 12.15. Bwa masked dancers at purification rites, Upper Volta. 20th century Fig. 7.23, 7.24. Flemish Painting. HUBERT AND JAN VAN EYCK. The Altarpiece of the Lamb, completed 1432 and Fig. 12.28. Hopi culture. Hemis (JEMEZ) Kachina.. Costume of feathers, yarn, buckskin, and grass. 20th century Fig. 5a, 5.8, 5.9. Early Jewish. Synagogue with Moses Giving Water to the Tribes and Elijah Revives the Widow’s Child, Dura Europos. Erected 244/245 and Fig. 9.14. Italian Baroque. CARAVAGGIO. Christ with the Doubting Thomas. c.

1602-03 Fig. 5.31. Hiberno-Saxon. Incarnation page, from the Book of Kells. c. 800 and Fig. 8.58. ISLAMIC ART OF THE OTTOMANS. Illuminated title page of a Koran for Suleyman I. 1546-50

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Fig. 5.38. Japanese Buddhist. TORI BUSSHI (Master Craftworker Tori). Shaka Triad.

632 (Asuka Period) and Fig. 9.32. Italian Baroque. GIANLORENZO BERNINI AND WORKSHOP. The Ecstasy of St. Teresa. 1645-72 Fig. 5.51, 5.52. Chinese. LI CHENG (attributed). Buddhist Temple in the Hills After Rain. c. 950 and Fig. 11.34. American Romantic Landscape Painting. THOMAS COLE. Schroon Mountain, Adirondacks. 1838 Fig. 6.7. Romanesque. Christ in Majesty with Angels, Symbols of the Evangelists, and Saints, from San Clemente, Tahull, Spain. c. 1123 and Fig. 9.14. Italian Baroque. CARAVAGGIO. Christ with the Doubting Thomas. c.

1602-03 Fig. 6.7. Romanesque. Christ in Majesty with Angels, Symbols of the Evangelists, and Saints, from San Clemente, Tahull, Spain. c. 1123 and Fig. 11.68. Post-Impressionism. PAUL GAUGUIN. The Vision after the Sermon.

1888 Fig. 6.13. Romanesque. Pentecost, the Peoples of the Earth, and St. John the Baptist.

Abbey Church of La Madeleine, Vézelay, France. 1120-32 and Fig. 6.19. Cambodian. Angkor Wat. The Churning of the Sea of Milk, Angkor Wat. 12th century Fig. 5.2. Byzantine. Madonna and Child Enthroned with Saints Theodore and George and Angels. 6th century and Fig. 6.43. Italian 13th-century. CIMABUE. Madonna Enthroned with Angels and Prophets. c. 1285 Fig. 6.19. Cambodian. Angkor Wat. The Churning of the Sea of Milk, sculptural relief, Angkor Wat. First half of the 12th century and Fig. 7.21. Italian Renaissance. LORENZO GHIBERTI. The Story of Jacob and Esau, from the East Doors of the Baptistery. c. 1429-32 Fig. 6.51. African Tribal. Royal Ancestral Shrine, Benin, Nigeria. and Fig. 9.32. Italian Baroque. GIANLORENZO BERNINI AND WORKSHOP. The Ecstasy of St. Teresa. 1645-72 Fig. 6.51. African Tribal. Royal Ancestral Shrine, Benin, Nigeria. and Fig. 7.18. Italian Renaissance. MASACCIO. The Trinity with the Virgin Mary, John, and Two Donors. c. 1425-28 Fig. 7.15. Flemish Painting. THE LIMBOURG BROTHERS. Crucifixion in the Darkness of the Eclipse, from the Très Riches Heures. Before 1416 and Fig. 9.39. Dutch. REMBRANDT VAN RIJN. The Three Crosses. 1653 Fig. 7.18. Italian Renaissance. MASACCIO. The Trinity with the Virgin Mary, John, and Two Donors. c. 1425-28 and Fig. 10.24. German Rococo. EGID QUIRIN ASAM. Assumption of the Virgin.

1721-23

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7. History Fig. 1.13. American 19th-century. DANIEL CHESTER FRENCH. Minuteman. 1873-75 and Fig. 4.16. Hellenistic/Roman. Dying Trumpeter, Roman copy after a bronze original of c. 230-220 BCE Fig. 1.13. American 19th-century. DANIEL CHESTER FRENCH. Minuteman. 1873-75 and Fig. 13.1. The Names Project, San Francisco. AIDS Memorial Quilt Fig. 1.13. American 19th-century. DANIEL CHESTER FRENCH. Minuteman. 1873-75 and Fig. 13.29. American 20th-century. MAYA LIN. Vietnam Veterans Memorial.

1982 Fig. 3.60. Ancient Greek. EUPHRONIOS (painter) and EUXITHEOS (potter). Death of Sarpedon during the Trojan War. Kylix-krator. c. 515 BCE and Fig. 12.1, 12.68, 12.69. Spanish 20th-century. PABLO PICASSO. Guernica. May 1-June 4, 1937 Fig. 3.60. Ancient Greek. EUPHRONIOS (painter) and EUXITHEOS (potter). Death of Sarpedon during the Trojan War. Kylix-krator. c. 515 BCE and Fig. 11.18. Spanish 19th-century. FRANCISCO GOYA. The Execution of Madrileños on the Third of May, 1808. 1814-15 Fig. 4.15. Hellenistic/Roman. Battle of Alexander the Great and King Darius of Persia.

Roman copy of Hellenistic painting of c. 300 BCE and Fig. 12.1, 12.68, 12.69. Spanish 20th-century. PABLO PICASSO. Guernica. May 1-June 4, 1937 8. The Portrait and Self-Portrait Fig. 3.12. Ancient Egyptian New Kingdom. Akhenaten with Nefertiti and Their Children. c. 1348–36/5 BCE and Fig. 4.27. Ancient Roman. Husband and Wife. Grave relief, Rome. 1st century BCE Fig. 3.12. Ancient Egyptian New Kingdom. Akhenaten with Nefertiti and Their Children. c. 1348–36/5 BCE and Fig. 7b, 7.25 to 7.27. Flemish Painting. JAN VAN EYCK. Portrait of Giovanni Arnolfini and Giovanna Cenami (?). 1434 Fig. 6.5. Chinese. Portrait of Ni Zan. c. 1340 (Yuan dynasty) and Fig. 10.25. American Colonial. JOHN SINGLETON COPLEY. Portrait of Paul Revere. c. 1768-70 Fig. 6.5. Chinese. Portrait of Ni Zan. c. 1340 (Yuan dynasty) and Fig. 4.32. Ancient Roman. The Emperor Augustus. c. CE 15 Fig. 3.52. Etruscan. Sarcophagus with Reclining Couple. c. 525-700 BCE and Fig. 7.8. Italian Renaissance. PIERO DELLA FRANCESCA. Battista Sforza; Federigo da Montefeltro. 1465 Fig. 4.27. Ancient Roman. Husband and Wife. Grave relief, Rome. 1st century BCE and Fig. 7b, 7.25 to 7.27. Flemish Painting. JAN VAN EYCK. Portrait of Giovanni Arnolfini and Giovanna Cenami (?). 1434

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Fig. 8.18, 8.19. Italian Renaissance. LEONARDO DA VINCI. Portrait of a Woman (known as the “Mona Lisa”). c. 1503-5 and Fig. 12.22. Analytical Cubism. PABLO PICASSO. Ma Jolie (Woman with Guitar). 1911-12 Fig. 8a, 8.38. Italian Renaissance. TITIAN. Venus of Urbino. 1538 and Fig. 12.22. Analytical Cubism. PABLO PICASSO. Ma Jolie (Woman with Guitar). 1911-12 Fig. 3d, 9.8. Italian Baroque. ARTEMISIA GENTILESCHI. Self-Portrait as the Allegory of Painting. 1630 and Fig. 12.22. Analytical Cubism. PABLO PICASSO. Ma Jolie (Woman with Guitar). 1911-12 Fig. 10.8. French Rococo. ELIZABETH VIGÉE-LEBRUN. Portrait of Marie Gabrielle de Gramont, Duchesse de Caderousse. 1784 and Fig. 12.22. Analytical Cubism. PABLO PICASSO. Ma Jolie (Woman with Guitar). 1911-12 Fig. 11.47. French 19th-century. NADAR (GASPARD FÉLIX TOURNACHON).

George Sand. 1864 and Fig. 12.22. Analytical Cubism. PABLO PICASSO. Ma Jolie (Woman with Guitar). 1911-12 Fig. 11.47. French 19th-century. NADAR (GASPARD FÉLIX TOURNACHON).

George Sand. 1864 and Fig. 12.62. American 20th-century. CHARLES DEMUTH. I Saw the Figure 5 in Gold. 1928 8A. The Self-Portrait Fig. 12.10. German Expressionism. KÄTHE KOLLWITZ. Self-Portrait. 1934 and Fig. 8.40, 8.41. Northern. HIERONYMUS BOSCH. The “Garden of Earthly Delights” Triptych. c. 1510-15. Oil on wood Fig. 8.10. Italian Renaissance/Mannerism. PARMIGIANINO. Self-Portrait in a Convex Mirror. 1524 and Fig. 11.12. Post-Impressionism. VINCENT VAN GOGH. Self-Portrait with Bandaged Ear and Pipe. 1889 Fig. 9.9. Dutch. JUDITH LEYSTER. Self-Portrait at the Easel. c. 1635 and Fig. 8e, 13.34. American 20th-century. ALICE NEEL. Nude Self-Portrait. 1980 Fig. 10.11. French Rococo. ADÉLAIDE LABILLE-GUIARD. Self-Portrait with Two Pupils. 1785 and Fig. 8e, 13.34. American 20th-century. ALICE NEEL. Nude Self-Portrait. 1980 Fig. 10.11. French Rococo. ADÉLAIDE LABILLE-GUIARD. Self-Portrait with Two Pupils. 1785 and Fig. 11.11. Spanish 19th-century. FRANCISCO GOYA. Self-Portrait Being Attended by Dr. Arrieta. 1820 Fig. 10.12, 10a. Neo-Classicism. ANGELICA KAUFFMANN. Self-Portrait Hesitating Between the Arts of Music and Painting. 1794 and Fig. 12.11. Mexican 20th-century. FRIDA KAHLO. The Two Fridas. 1939

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9. Humanity’s Relationship to Nature: Landscape, Seascape, and Still Life Fig. 3.53. Etruscan. Tomb of Hunting and Fishing, Tarquinia, Italy. c. 510-500 BCE and Fig. 8.54. Flemish Baroque. PIETER BRUEGEL THE ELDER. December Landscape (The Hunters in the Snow). 1565 Fig. 3.53. Etruscan. Tomb of Hunting and Fishing, Tarquinia, Italy. c. 510-500 BCE and Fig. 11.67. American Realism. WINSLOW HOMER. The Blue Boat. 1892 Fig. 4.45. Ancient Roman. Still Life with Eggs and Thrushes, from the House (or Villa) of Julia Felix at Pompeii. Before CE 79 and Fig. 9.46. Dutch. RACHEL RUYSCH. Flower Still-Life. After 1700 Fig. 4.45. Ancient Roman. Still Life with Eggs and Thrushes, from the House (or Villa) of Julia Felix at Pompeii. Before CE 79 and Fig. 11.72. Post-Impressionism. PAUL CÉZANNE. Still Life with Basket of Apples. 1890-94 Fig. 5.51, 5.52. Chinese. LI CHENG (attributed). Buddhist Temple in the Hills After Rain. c. 950 and Fig. 9.52. Dutch. JACOB VAN RUISDAEL. The Dutch Landscape from the Dunes at Overveen. c. 1670 Fig. 5.51, 5.52. Chinese. LI CHENG (attributed). Buddhist Temple in the Hills After Rain. c. 950 and Fig. 11.35. American Romanticism. GEORGE CALEB BINGHAM. Fur Traders Descending the Missouri. 1845 Fig. 5.51, 5.52. Chinese. LI CHENG (attributed). Buddhist Temple in the Hills After Rain. c. 950 and Fig. 11.54. Impressionism. CLAUDE MONET. Impression-Sunrise. 1872 Fig. 8.1. Zen Buddhist. Attributed to SOAMI. Dry garden of the Daisen-in of Daitoku-ji, Kyoto, Japan. Early 16th century and Fig. 9.48. French Baroque. ANDRE LE NOTRE. Plan of the gardens and park, Versailles. Designed 1661-68; executed 1662-80 Fig. 9.42. French Classicizing Baroque. NICOLAS POUSSIN. The Arcadian Shepherds. c. 1660 and Fig. 12.12. Fauvism. HENRI MATISSE. The Joy of Life. 1905-08 Fig. 9.45. Dutch. MARIA VAN OOSTERWYCK. Still-Life with a Vanitàs Theme. 1668 and Fig. 13.21. Photo-Realism. AUDREY FLACK. World War II (Vanitas). 1976-77 Fig. 9.52. Dutch. JACOB VAN RUISDAEL. The Dutch Landscape from the Dunes at Overveen. c. 1670 and Fig. 11.71. Post-Impressionism. VINCENT VAN GOGH. The Starry Night.

June, 1889 Fig. 11.34. American Romantic Landscape Painting. THOMAS COLE. Schroon Mountain, Adirondacks. 1838 and Fig. 13.26. Earth Art. CHRISTO AND JEANNE-CLAUDE. Running Fence.

1976

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10. Genre Fig. 3.29. Ancient Egyptian Old Kingdom. Ti Watching a Hippopotamus Hunt. Tomb of Ti at Saqqara. c. 2400 BCE and Fig. 8.54. Flemish Baroque. PIETER BRUEGEL THE ELDER. December Landscape (The Hunters in the Snow). 1565 Fig. 7.16, 7.17, 12d. Flemish Painting. ROBERT CAMPIN. St. Joseph in his Workshop, c.

1425 – 1430 and Fig. 11.36. Realism. GUSTAVE COURBET. A Burial at Ornans. 1849 – 50 Fig. 8.56. Flemish Baroque. PIETER BRUEGEL THE ELDER. Peasant Wedding Feast. c.

1566 and Fig. 11.69. Post-Impressionism. GEORGES SEURAT. A Sunday Afternoon on the Island of La Grande Jatte. 1884-86 Fig. 8.56. Flemish Baroque. PIETER BRUEGEL THE ELDER. Peasant Wedding Feast. c.

1566 Fig. 9.17. Spanish Baroque. DIEGO VELÁZQUEZ. The Water Carrier. c. 1619 and Fig. 12.39. German Expressionism. ERNST LUDWIG KIRCHNER. Street, Berlin. 1913 Fig. 9.17. Spanish Baroque. DIEGO VELÁZQUEZ. The Water Carrier. c. 1619 and Fig. 11.70. Post-Impressionism. VINCENT VAN GOGH. The Night Café.

September 1888 Fig. 9.17. Spanish Baroque. DIEGO VELÁZQUEZ. The Water Carrier. c. 1619 and 10-18. French 20th-century. HENRI CARTIER-BRESSON. Sunday on the Banks of the Marne. 1938 Fig. 11.45. French 19th-century. ÉDOUARD MANET. Le Déjeuner sur l’herbe (The Picnic). 1863 and 11-36. American 20th-century. FAITH RINGGOLD. Tar Beach. 1988 Fig. 11.45. French 19th-century. ÉDOUARD MANET. Le Déjeuner sur l’herbe (The Picnic). 1863 and Fig. 12.19. French 20th-century. HENRI CARTIER-BRESSON. Sunday on the Banks of the Marne. l938 Fig. 11.57, 11.58. Impressionism. AUGUSTE RENOIR. A Luncheon at Bougival (The Luncheon of the Boating Party). 1881 and Fig. 12.19. French 20th-century. HENRI CARTIER-BRESSON. Sunday on the Banks of the Marne. 1938 Fig. 11.57, 11.58. Impressionism. AUGUSTE RENOIR. A Luncheon at Bougival (The Luncheon of the Boating Party). 1881 and 10-6. American 20th-century. EDWARD HOPPER. Nighthawks. 1942 Fig. 11.69. Post-Impressionism. GEORGES SEURAT. A Sunday Afternoon on the Island of La Grande Jatte. 1884-86 and Fig. 12.19. French 20th-century. CARTIER-BRESSON. Sunday on the Banks of the Marne. 1938

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11. The Role of the Patron Fig. 6.22, 6.23. French Gothic. St. Denis, near Paris. Built under the direction of the Abbot Suger. 1140-1144 and Fig. 8.26, 8.27. Italian Renaissance. DONATO BRAMANTE. New St. Peter’s.

1506 (Patron is Pope Julius II) Fig. 7.35, 7.36. Italian Renaissance. MICHELOZZO. Courtyard and Exterior, Medici Palace, Florence. 1444-59 and Fig. 9b, 9.47. French Classicizing Baroque. LE VAU AND HARDOUINMANSART. Garden façade, Palace of Versailles, France. 1669-85 (Patron is King Louis XIV) Fig. 8b, 8.15. Italian Renaissance. MICHELANGELO BUONARROTI. David. 1501-04 (Patron is the city of Florence) and Fig. 11.15. Neo-Classicism. ANTONIO CANOVA. Napoleon as Mars the Peacekeeper. 1806 (Patron is Napoleon) Fig. 11.15. Neo-Classicism. ANTONIO CANOVA. Napoleon as Mars the Peacekeeper.

1806 (Patron is Napoleon) and Fig. 11.17. Neo-Classicism. HORATIO GREENOUGH. George Washington.

1832-41 (Patron is the US Congress) 12. Representations of the Nude Human Body, Male and Female Fig. 3.61. Ancient Greek Archaic style. Kouros, from the Tomb of Kroisos, Anavysos, Greece. c. 520 BCE and Fig. 12.73. Japanese/American 20th-century. ISAMU NOGUCHI. Kouros.

1944-45 Fig. 8a, 8.38. Italian Renaissance. TITIAN. Venus of Urbino. 1538 and Fig. 11.46. French 19th-century. ÉDOUARD MANET. Olympia. 1863 Fig. 11.21. Romanticism. FRANÇOIS RUDE. The Departure of the Volunteers of 1792 (“La Marseillaise”). 1833-36 and Fig. 12.1, 12.68, 12.69. Spanish 20th-century. PABLO PICASSO. Guernica. May 1-June 4, 1937 Fig. 11.45. French 19th-century. ÉDOUARD MANET. Le Déjeuner sur l’herbe (The Picnic). 1863 and Fig. 12.12. Fauvism. HENRI MATISSE. The Joy of Life. 1905-08 13. Gender Issues Fig. 1.22. Ancient Greek. “Leningrad Painter” Greek Potters at Work, Greek vase. c.

450 BCE and Fig. 8e, Fig. 13.34. American 20th-century. ALICE NEEL. Nude Self-Portrait.

1980 Fig. 2.4. Paleolithic. Statuette of a Woman, found at Willendorf, Austria. c. 25,000 20,000 BCE and Fig. 3.67. Ancient Greek 4th century. Copy after PRAXITELES. Aphrodite of Knidos, Roman copy after 4th-century BCE original

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Fig. 3.52. Etruscan. Sarcophagus with Reclining Couple. c. 525-700 BCE and Fig. 7b, 7.25 to 7.27. Flemish Painting. JAN VAN EYCK. Portrait of Giovanni Arnolfini and Giovanna Cenami (?). 1434. Oil on wood Fig. 7.48. Italian Renaissance. SANDRO BOTTICELLI. The Birth of Venus. c. 1484-86 and Fig. 8b, 8.15. Italian Renaissance. MICHELANGELO BUONARROTI. David.

1501-04 Fig. 8a, 8.38. Italian Renaissance. TITIAN. Venus of Urbino. 1538 and Fig. 8e, Fig. 13.34. American 20th-century. ALICE NEEL. Nude Self-Portrait.

1980 Fig. 8a, 8.38. Italian Renaissance. TITIAN. Venus of Urbino. 1538 and Fig. 10.12, 10a. Neo-Classicism. ANGELICA KAUFFMANN. Self-Portrait Hesitating Between the Arts of Music and Painting. 1794 Fig. 10.12, 10a. Neo-Classicism. ANGELICA KAUFFMANN. Self-Portrait Hesitating Between the Arts of Music and Painting. 1794 and Fig. 10.16. French Rococo. JEAN-HONORÉ FRAGONARD. Happy Accidents of the Swing. 1767 Fig. 8.20, 8.22. German Printmaking. ALBRECHT DÜRER. Adam and Eve. 1504 and Fig. 11.5. French 19th-century. ÉDOUARD MANET. A Bar at the FoliesBergères. 1881-82 Fig. 11.46. French 19th-century. ÉDOUARD MANET. Olympia. 1863 and Fig. 8e, Fig. 13.34. American 20th-century. ALICE NEEL. Nude Self-Portrait.

1980 Fig. 8e, Fig. 13.34. American 20th-century. ALICE NEEL. Nude Self-Portrait. 1980 and Fig. 13.39 Japanese 20th-century. YASUMASA MORIMURA. Portrait (Futago). 1988 14. The Artist’s Changing Relationship to Society, including Self-Portraiture (see list in self-portraiture, above) 15. Abstraction Fig. 1.10, 1.11, 4e. American 20th-century. FRANK LLOYD WRIGHT. Fallingwater, Bear Run, Pennsylvania. 1936 and Fig. 12a, 12.75. International Style. PHILIP JOHNSON. Glass House, New Canaan, Connecticut. 1949 Fig. 12.47 to 12.49. De Stijl. GERRIT RIETVELD. Schröder House, Utrecht, The Netherlands. 1923-24 and Fig. 12a, 12.75. International Style. PHILIP JOHNSON. Glass House, New Canaan, Connecticut. 1949 Fig. 12.47 to 12.49. De Stijl. GERRIT RIETVELD. Schröder House, Utrecht, The Netherlands. 1923-24 and Fig. 12.50 to 12.52. Bauhaus. WALTER GROPIUS. Workshop Wing, Bauhaus, Dessau, East Germany. 1925-26 Fig. 12.70. British 20th-century. HENRY MOORE. Recumbent Figure. 1938 and Fig. 12.73. Japanese/American 20th-century. ISAMU NOGUCHI. Kouros.

1944-45

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SAMPLE MULTIPLE CHOICE QUESTIONS Chapter 1: EXPERIENCING ART 1. A major part of the task for art history is to: a. emphasize our memorization of facts and dates b. increase our understanding between works of art and ourselves c. help us to understand a work of art divorced from its historical environment d. train us to be art critics 2. A historic style describes how the visual appearance of a work of art is tied to the period: a. in relationship to its iconography b. in relationship to the individual artist’s creativity c. that preceded the period when the art was created d. during which the work was created 3. Iconography refers to the study of subject matter in the: a. use of formal analysis b. work of art c. life of the artist d. examination of architectural ground plans 4. Part of the traditional definition of painting is that it is: a. planar b. three-dimensional c. to be seen in the round d. one-dimensional 5. A basic component in analyzing painting is the use of: a. rectangles b. composition c. fresco d. naturalism 6. Which one of the following is a medium? a. form b. picture plane c. flatness d. oil 7. David Smith’s Cubi XIX: a. is representational b. primarily has a horizontal axis c. is in the round d. uses illusionary space

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8. The Minuteman by Daniel Chester French is: a. in bronze b. in granite c. primarily abstract d. to be viewed only from the front side 9. Both the Villa Rotunda and Fallingwater were: a. designed as country homes b. designed to demonstrate a knowledge of classical antiquity c. related to their site in a similar manner d. symmetrical in exterior design 10. Which one of the following is not used in the Villa Rotunda? a. post-and-lintel b. arch c. cantilever d. central domed-mass 11. The transformation of the traditional classification of the visual arts as mechanical arts occurred during which of the following historical periods? a. the Middle Ages b. the Renaissance c. the sixteenth century d. the nineteenth century 12. In production of ritual African objects, the artist is believed to: a. be an empty vessel who must be trained b. be endowed with special creative abilities c. have spiritual but not creative capacities d. have creative but not spiritual capacities

Chapter 2: PREHISTORIC ART 1. In the cave paintings at Lascaux, the animals are: a. depicted quite abstractly b. naturalistic in style c. crudely drawn d. in scenes with hunters 2. The Lascaux paintings of animals clearly show: a. foreshortening b. crude and unnaturalistic use of colors c. awareness of animal forms in nature d. emphatic exaggeration of feet and eyes 3. The prehistoric cave paintings discovered near Altimira in 1879: a. were quickly determined to be authentic b. depicted figures of hunters c. included depictions of fish and birds d. depicted bison

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4. Which of the following was significant in the history of the Paleolithic era? a. use of refined stone tools b. retreat of the glaciers c. isolation of nomadic groups from each other d. widespread differences in art expression 5. Human imagination in painting or sculpting cave art was stimulated by: a. executing on the dirt floor copies of cave art work b. capitalizing on natural protrusions in the cave c. developing forms from uncontrolled scribbling d. ritualistically making and destroying abstract forms 6. The purpose of the “Great Serpent Mound” in Ohio is: a. burial of the dead b. a site for shamanistic dances c. still unknown d. burial of sacred ritual objects 7. Çatal Hüyük (6700-5700 BCE) was distinctive for: a. its layout of streets in grid fashion b. being identical to other Neolithic settlements c. its houses being constructed apart from each other d. being an important trade center 8. A painting of a red bull on the walls for a shrine at Çatal Hüyük: a. was executed directly without the usual priming coat b. was completed over a layer of plaster c. shows skillful naturalism d. directly copied Paleolithic cave paintings of the same subject 9. Which one of the following cannot be deduced from an examination of Neolithic pottery? The role of: a. function b. decoration c. stability of living environment d. individual artists’ signatures 10. The origins of pottery vessels in the Mesolithic/Neolithic eras show that: a. patterns may have been derived from weaving patterns b. designs may have been adapted from skeletal remnants c. open pit firing was preferred over kiln firing d. hand molding was more productive than use of the potter’s wheel 11. Animal images in cave painting overwhelmingly suggest that they may have served: a. as a practical demonstration to novice hunters b. as an introduction to a secret society c. a ritualistic purpose d. only to beautify cave walls and ceilings

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12. Stonehenge exemplifies a: a. Dolmen b. Funerary precinct c. Cromlech d. Neolithic mound 13. Neolithic Megaliths suggest that rituals of worship were primarily related to the: a. spring equinox b. fall equinox c. summer solstice d. four seasons 14. The most striking works of Paleolithic art are images of: a. animals b. humans c. landscapes d. still lifes 15. The African terracotta heads from the Nok culture: a. are sophisticated miniatures that represent specific individuals b. may have been made by women c. have a clear function for ancestor worship d. have painted details, such as hair and mustaches 16. Compared to the animals of Paleolithic Art, those of the Neolithic Period are: a. simplified and immobile b. just as lively c. a different species d. non-existent

Chapter 3: ANCIENT ART 1. The taotie was: a. thought to be the symbol of many Chinese societies b. the particular emblem of the Shang c. a special type of ancient Chinese vessel d. an ancient bronze Chinese vessel for food and drink 2. The Pharaoh Khafre Ancient Egyptian sculpture is: a. solid and rigid in appearance b. the first place the ka inhabits c. naturalistic in treatment of the body d. intended to personify Khafre’s frail humanity 3. The Ancient Egyptian pyramids of Menkure, Khafre, and Khufu are: a. almost identical in construction to mastabas b. riddled with underground chambers c. part of a necropolis d. intended to keep the pharaohs’ kas earthbound

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4. The Ancient Egyptian temples at Karnak and Luxora were: a. intentionally designed to be modest in size and scale b. asymmetric c. entered through the hypostyle hall d. axial in orientation 5. Ancient Egyptian painting and painted reliefs were: a. meant to be enjoyed by the ka b. to give pleasure to the pharaohs in their palaces c. intended to be naturalistic d. executed in abstract iconography through a series of symbols 6. The Anavysos Kouros: a. utilized contrapposto b. exhibits softness c. has a natural relaxed stance d. is tense and prepared to take action 7. The Greek Parthenon at Athens is: a. Ionic architecture b. Corinthian architecture c. Doric architecture d. Tuscan architecture 8. In comparing the fifth-century BCE Greek sculptor Polykleitos’s Doryphoros with the fourth-century BCE Greek sculptor Praxiteles’s Aphrodite of Knidos: a. the Aphrodite muscles are clearly marked b. the Doryphoros figure follows a shallow s-curve c. the Aphrodite muscles are softer d. the stance of the Doryphoros is more relaxed 9. In the afterlife, much of Ancient Egyptian funerary art was meant to serve the: a. Sphinx b. scribe c. ka of the deceased d. pharaoh 10. The religious center of a Sumerian city-state was the: a. pyramid b. Acropolis c. tholos d. ziggurat 11. The Minoan structure of complex design that gave rise to the Greek legend of the labyrinth of the Minotaur is the: a. Palace at Knossos b. Treasury of Arteus c. Temple of Aphaia d. Citadel of Sargon II

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12. The work of art from the beginning of Ancient Egyptian dynastic history that sets the formal conventions of Ancient Egyptian figurative art is the: a. Mastaba of Zoser b. Great Sphinx c. Palette of Narmer d. Statue of the Pharaoh Khafre 13. The Ancient Egyptian ruler who unsettled many of his country’s social, religious, and artistic practices, was: a. Akhenaten b. Tutankhamen c. Khafre d. Zoser 14. The Lion Gate is an impressive remain from which civilization? a. Minoan b. Mycenaean c. Archaic Greek d. Ancient Egyptian 15. The pre-Roman people whose culture possessed a lively, individual art style, and who passed on significant contributions to the Romans, were the: a. Archaic Greeks b. Assyrians c. Etruscans d. Minoans 16. The Parthenon is a monument from: a. Archaic Greece b. Classical Greece c. the Hellenistic world d. Rome 17. The nucleus of a Greek or Roman temple, where the cult image of the deity was placed, is termed the: a. peristyle b. stylobate c. cella or naos d. architrave 18. The new articulation of the body that appeared in Greek Art c. 480 BCE that demonstrates the naturalistic weight distribution for a body at rest is termed: a. amphora b. composition c. free-standing d. contrapposto

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19. Sculpture that is tied to the background, from which it only partially emerges, is termed: a. free-standing sculpture b. relief sculpture c. cast bronze sculpture d. woodcut

Chapter 4: LATER ANCIENT ART, 400 BCE TO 200 CE 1. The Great Stupa at Sanchi: a. was a mound form invented to honor Confucius b. was a Buddhist temple that was entered c. includes carved jataka tales depicting the lives of Buddhist holy men d. has representations of yakshas and yakshis as guardian figures 2. In Roman republican art the Arch of Titus in Rome was: a. a commemorative monument b. the first use of the Roman tunnel vault c. designed with both fluted and plain shafts d. primarily an adaptation of Greek style and ideas 3. The Flavian amphitheater (Colosseum) at Rome: a. derives its beauty from the exclusive use of Doric pilasters b. is circular in ground floor plan c. has a unified exterior design based on groin vaults d. has annular tunnel vaults 4. The Pantheon in Rome has: a. a Doric vault and an axial basilica b. a Corinthian portico and a domed rotunda c. a series of hidden cross-groin vaults d. concentrated the weight of the dome on the rim of the rotunda 5. The baths in Roman public architecture: a. basically served a religious purpose b. were initially for women only c. were planned on a circular axis d. were vast complexes for bathing and recreation 6. The unique Roman temple that was dedicated to “all the gods” and combined a cylindrical domed cella with a standard temple porch is the: a. Parthenon b. Sanctuary of Fortuna Primigenia c. Temple of Sibyl d. Pantheon

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7. The original patron of the Great Stupa was: a. the Chinese military b. Ashoka c. Kanishka d. an Indian prince 8. The religion of the Great Stupa was: a. Hindu b. Shinto c. Confucian d. Buddhist 9. The figures in the Terracotta Army of the First Emperor of Qin in China are: a. both male and female b. stylized representations of soldier figures c. detailed, naturalistic renderings d. much smaller than life-size 10. Our knowledge of Hellenistic painting: a. comes largely from Roman copies in fresco or mosaic b. is the result of close study of the paintings themselves c. is very limited d. comes from personal records kept by Alexander the Great 11. Both Hellenistic painting and sculpture show a strong interest in: a. religious subject matter b. dramatic naturalism c. subdued emotion d. symbolism 12. The fresco secco wall paintings in the houses at Pompeii served to: a. convey the political beliefs of the inhabitants b. document the family through portraiture c. transform spaces into elegant rooms for living and entertaining d. help regulate the temperature indoors 13. The first and longest-ruling Roman emperor, who wrote that he “found Rome a city of brick and left it a city of marble,” was: a. Aeneas b. Julius Caesar c. Achilles d. Augustus 14. Roman fresco paintings that attempt to momentarily trick the viewer into believing that a painted scene is real are examples of: a. illusionism b. realism c. naturalism d. imperialism

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15. An important trade route between China and ancient Rome was known as the: a. Spice Route b. Seres Road c. Silk Road d. Scythian Route 16. The painted, T-shaped banner found in a tomb at Mawangdui, China, from the Han Dynasty, was used in a: a. funeral procession and burial b. wedding ceremony c. coming-of-age ritual d. coronation ceremony

Chapter 5: ART FROM 200 TO 1000 1. In the Synagogue in ancient Dura Europos: a. there were only abstract designs b. the artwork is quite original and creative c. figurative decoration is quite evident d. Passover Haggadahs are duplicated on the walls 2. In Old St. Peter’s Basilica: a. the entrance was through the atrium and the narthex b. the entrance was on the long side, as in the Roman basilica c. the narthex was on the east d. the interior had a nave but no side aisles 3. Hagia Sophia at Constantinople: a. demonstrates how light and space can create a spiritual effect b. uses exclusively the basilican plan c. uses the central plan d. utilizes a round base that merges into the dome 4. In the Byzantine mosaic Theodora and Attendants, the figures: a. are quite naturalistic b. are placed against the illusion of real space c. are in profile view d. are frontal in placement 5. The Anglo-Saxon Sutton Hoo Purse cover: a. is decorated with plant forms b. is unique in using the interlace motif c. is strongly two-dimensional in effect d. belonged to the high priest at a ship-burial 6. In the Japanese Horyuji temple complex at Nara, the kondo was: a. the entrance gate b. an adaptation of the ancient Stupa at Sanchi c. primarily an assembly hall d. a shrine for cult statues

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7. The Islamic Mosque at Córdoba has: a. a central altar in honor of Allah b. regularly scheduled liturgical services c. one courtyard tower called a muezzin d. no realistic art 8. In later Byzantine art, the Madonna and Child compositions were: a. created to meet special needs of the pilgrims b. the result of encouragement to invent new traditions c. quite stylized and removed from reality d. created to depict the physical nature of the subjects 9. In Byzantine art, the church that uniquely combined a basilica plan with an enormous dome was: a. S. Apollinare in Classe b. Hagia Sophia c. San Vitale d. St. Mark’s 10. The Roman Emperor who recognized Christianity and moved the capital to Byzantium was: a. Augustus b. Trajan c. Constantine d. Marcus Aurelius 11. The Byzantine church in Ravenna that contains a unified mosaic program, including mosaics of Justinian and Theodora, is: a. St. Mark’s b. San Vitale c. St. Basel’s d. Sta. Costanza 12. The time from 726 to 843 in the Byzantine Civilization, during which the use of images in worship was questioned, is called the: a. Iconoclastic Controversy b. Middle Kingdom c. Second Golden Age d. Classical Revival 13. Spherical triangles that provide a transition from a square base to a dome are called: a. arches b. voussoirs c. drums d. pendentives

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14. Wall mosaics were an important medium to the: a. Greeks b. Romans c. Early Christians d. Sumerians 15. In Islam, the tower from which the faithful are called to prayer by the cry of the muezzin is the: a. campanile b. crossing tower c. westwork d. minaret 16. The ruler who revived the imperial ambitions of Charlemagne in 962 was: a. Gero b. Charles the Bald c. Otto I d. Bernwald 17. Early Medieval manuscripts were usually produced in: a. guild halls b. refectories c. monasteries d. publishing houses 18. The Medieval architectural style that revived Roman architectural concepts on a major scale is termed: a. Romanesque b. Carolingian c. Ottonian d. Gothic 19. Manuscript miniatures are sometimes referred to as: a. illuminations b. encaustic paintings c. scriptoria d. tempura paintings 20. Ottonian Art was centered in: a. Germany b. France c. England d. Italy 21. A mandorla is a: a. tale of Buddha’s life b. burial mound c. body halo d. Buddhist attendant

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22. The mihrab is a: a. Muslim temple b. Holy war c. niche in a mosque d. Muslim priest 23. The Mosque at Córdoba is a: a. Muslim temple b. pilgrimage site c. commemorative monument d. burial ground 24. Horyuji is a: a. shrine b. temple c. monastery d. palace 25. Ellora represents what religion? a. Hinduism b. Buddhism c. Christianity d. Islam

Chapter 6: ART FROM 1000 TO 1400 1. In the Romanesque monastic church of Ste. Foy at Conques: a. the ambulatory solves an important architectural problem b. the vault is replaced by the wooden truss roof c. the dome is larger than at Hagia Sophia d. the transverse arches were discarded 2. Abbot Suger in his Church at St. Denis: a. believed in the use of light to create a spiritual effect b. reinforced current theological concepts c. wanted to separate the church from the monarchy d. invented the ambulatory 3. The Gothic Cathedral at Chartres: a. was commissioned by the Duke of Chartres b. was a monumental union of dome and basilica c. is characterized by simple decorative elements d. had a high, narrow nave 4. The Gothic cathedral is the result of the union of what three distinct constructional elements? a. round arch, cross vault, and buttresses b. pointed arch, ribbed cross vault, and flying buttresses c. skeleton, stained glass, and nave d. tower, nave, and cross truss

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5. Early Gothic portal sculpture at Amiens Cathedral was characterized by: a. elongated and columnar figures b. sculpture in the round c. naturalism d. awareness of underlying anatomical structure 6. Giotto’s Madonna showed the development of: a. the idea of the painting as a window b. fresco technique c. emphasizing the physical, not the psychological d. massive, weighty space 7. The Bayeux Tapestry, probably created by a group of women artists, depicts: a. Charlemagne being crowned in Rome in 800 b. Abbot Suger at St. Denis c. The Adoration of the Magi d. William the Conqueror’s invasion of England 8. The patron of the Bayeux Tapestry was probably: a. Charlemagne b. Abbot Suger c. The Duke of Bayeux d. William the Conqueror 9. In a Romanesque portal, the semi-circular area over the door, which usually contained relief sculpture, is termed the: a. lintel b. trumeau c. tympanum d. jamb 10. The usual medium for late Medieval painting on wood was: a. fresco b. oil c. encaustic d. tempera 11. The artist who revolutionized Italian painting in the opening years of the fourteenth century was: a. Leonardo b. Duccio c. Giotto d. Cimabue 12. Ribbed groined vaults, pointed arches, stained glass windows, and flying buttresses are all characteristic of what kind of a building? a. Islamic mosque b. Carolingian church c. Romanesque church d. Gothic church

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13. Romanesque churches usually favored: a. pointed arches b. ribbed vaults c. barrel vaults d. wooden coffered ceilings 14. One manifestation of the religious enthusiasm that characterized the Romanesque Period was, from 1095 CE on, the: a. Norman Conquests b. crusades c. expansion of trade routes d. revival of commerce 15. The Mission of the Apostles tympanum of Ste. Madeleine, Vézelay, exemplifies which style? a. Carolingian b. Celtic-Germanic c. Gothic d. Romanesque 16. The monumental entrance structure to a church, the origins of which are rooted in the Carolingian Period, is called a(n): a. narthex b. atrium c. westwork d. ambulatory 17. Angkor-Wat is a(n): a. Indian pilgrimage site b. Muslim monument c. Rock-cut Temple d. Cambodian Hindu center 18. The monumental stone figures on Easter Island that probably served as memorials to dead leaders are known as: a. moai b. momento mori c. tufa d. ancestor figures 19. The narrative Tale of Genji uses the format of the horizontal scroll, known in Japanese as: a. manga b. emakimono c. fusuma d. anime

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20. The term that refers to the patch of a fresco painting that has been completed in a single day is: a. buon fresco b. fresco secco c. arriccio d. giornata

Chapter 7: FIFTEENTH-CENTURY ART 1. Both the Piero Resurrection and the Rogier Deposition show: a. an interest in ancient classical motifs b. Christ like a Greek god c. naturalism d. triangular composition 2. The term Renaissance: a. emerged during the Late Medieval period b. implies a rebirth of classical values and a new worth of the individual in art c. implied copying from medieval works d. is Italian in origin 3. Humanism: a. was developed in Flanders b. set itself apart from Christianity c. was originally applied to monarchs d. was concerned with the dignity of the individual 4. Humanism: a. was developed in Flanders b. set itself apart from Christianity c. was originally applied to monarchs d. helps explain the development of the portrait in Renaissance Italy 5. The fifteenth-century artist: a. was viewed as a humble craftsperson b. was accorded dignity c. sought solace in anonymity d. always worked alone 6. Scientific perspective was: a. a discovery gleaned from classical antiquity b. a refinement of the aesthetic concerns of the Middle Ages c. a technique for psychological realism d. the rendering of figures and objects in illusory space 7. Jan van Eyck’s Arnolfini Portrait is a good example of the new technique of: a. oil painting on canvas b. oil painting on wood c. fresco d. tempera

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8. The new oil painting technique was developed by: a. adding a fine layer of white plaster b. adding oil as a final layer over the tempera c. inclusion of a new material d. a new method of using traditional materials 9. Foreshortening represents a figure or object as if seen in: a. sharp recession b. contrapposto c. flattened illusory space d. dramatic light/dark patterns 10. In fifteenth-century Italy: a. illusionism in painting was avoided b. the most popular subjects were mythological scenes from antiquity c. portraiture was well established by the end of the century d. portraiture was never popular in sculpture 11. Leonardo da Vinci developed a form of composition that: a. emphasized two-dimensional illusionary space b. created visual unity c. separates the macrocosmic from the microcosmic d. avoided references to three-dimensional realism 12. Leonardo da Vinci’s Last Supper is unusual because: a. Judas is on “our” side of the table b. Judas is seated with the other apostles c. Judas holds moneybags d. Judas is seated next to Christ 13. Botticelli’s mythological subjects: a. were in mainly small-scale paintings b. utilized Medieval lore and symbolism c. concentrated on themes of battle and war d. exemplify Renaissance attitudes 14. Leonardo da Vinci’s use of pyramidal composition did not: a. offer visual unity and stability b. have one special meaning c. relate to geometry d. relate the human figure to the universe 15. The figures in da Vinci’s Last Supper: a. express emotional and psychological realism b. do not reveal their thoughts c. reveal the apostles’ peace of mind d. respond to the agitation of the Christ figure

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16. The pietà concept: a. is based on a passage in the Bible b. first appeared in Italy c. means both pity and piety d. can be traced to the traditions of classical antiquity 17. Michelangelo’s Florentine Pietà: a. used natural figural proportions b. had a stable composition c. conveyed a tragic, pessimistic mood d. reflected the current optimism in society 18. Which of the following paintings displays a wealth of “disguised symbolism”? a. The Battle of Issus by Altdorfer b. The Creation of Adam by Michelangelo c. The Annunciation Triptych by Robert Campin d. Mrs. Siddons by Gainsborough 19. The architect who developed scientific perspective was: a. Alberti b. Bramante c. Michelozzo d. Brunelleschi 20. The Italian artist who did the most to re-establish classical attitudes toward the human body in early fifteenth-century Florence was: a. Nanni di Banco b. Ghiberti c. Pollaiuolo d. Donatello 21. The early fifteenth-century Florentine painter who joined the influence of Giotto with the renewed interest in naturalism and perspective was: a. Ghiberti b. Donatello c. Botticelli d. Masaccio 22. The Italian artist whose work bears the influence of Renaissance Neo-Platonism is: a. Piero della Francesca b. Mino da Fiesole c. Perugino d. Botticelli

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Chapter 8: SIXTEENTH-CENTURY ART 1. The sixteenth century was characterized as a time when: a. there was tranquility and stability b. the papacy declined in power c. artists were not known as individuals d. society was convulsed by shifting alliances 2. The Reformation in Northern Europe: a. weakened papal authority b. was not bound to political realities c. was ignored by German princes d. was a defeat for Charles V’s rule 3. The Counter-Reformation edicts recommended that art: a. be primarily intellectual, not emotional b. avoid theological themes c. use clear compositions d. avoid themes that were didactic 4. High Renaissance art: a. spread from Rome to Florence b. avoided complex philosophical and allegorical subjects c. was committed to naturalism and fine detail d. was distinguished by an idealizing, classicizing approach 5. The High Renaissance style: a. avoided naturalism b. utilized the idealized composition c. returned to the techniques of tempera painting d. preferred asymmetric compositions 6. Mannerism: a. consciously disjoints the illusion of space b. moved toward the High Renaissance’s classical values c. sought to create natural and simple construction d. appealed to the peasants’ aesthetic values 7. Sixteenth-century artists: a. never signed their works b. were quite modest in self-appraisal of their art c. began to open their ranks to women d. viewed with disdain the establishment of an art academy 8. The Mona Lisa: a. still exhibits the brilliant colors it demonstrated when it was first painted b. was a vehicle for the expression of personality c. was a Mannerist painting d. was primarily a testament to religious spirituality

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9. Woodcuts: a. have ink pressed into incised lines (grooves) b. are incised with a burin c. are a relief process d. had to be printed on dry paper 10. The boldest aspect of Bramante’s proposed conception for the new St. Peter’s basilica was its: a. colossal scale b. six equal arms c. basilican plan d. use of two bell towers 11. The iconography in Michelangelo’s Sistine Chapel ceiling was developed: a. solely by Michelangelo b. in consultation with others c. from concepts in his Pietàs d. primarily on New Testament figures 12. Bosch’s Garden of Earthly Delights triptych: a. completely avoided traditional religious subject matter b. expressed humanity’s determined perversity c. condoned rampant promiscuity d. used only naturalistic objects and figures 13. Venetian paintings: a. utilized the Renaissance fresco technique b. emphasized clearly defined edges for forms c. avoided large, painterly brush strokes d. used impasto to define form 14. The architect who began the rebuilding of St. Peter’s in Rome was: a. Bernini b. Bramante c. Michelangelo d. Borromini 15. The original plan for the new St. Peter’s was a: a. cruciform basilica b. central plan (based on the circle and square) c. basilica plan with a dome d. strictly axial plan 16. The Northern Renaissance artist who refined and popularized the media of woodcut and engraving was: a. Matthias Grünewald b. Martin Schongauer c. Albrecht Dürer d. Lucas Cranach the Elder

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17. A medium of printmaking in which V-shaped grooves are cut into a metal plate is termed: a. woodcut b. engraving c. etching d. lithograph 18. The painting which is viewed as the perfect embodiment of the classical spirit of the Italian High Renaissance is the: a. School of Athens by Raphael b. Mona Lisa by Leonardo c. Sistine Chapel ceiling by Michelangelo d. Tempest by Giorgione 19. The artist who dominated Venetian painting in the first half of the sixteenth century and who brought a new and full maturity to techniques of oil painting was: a. Mantegna b. Bellini c. Giorgione d. Titian 20. The artist who was seen by his contemporaries as possessing terribilitá, a sublime creative talent, was: a. Titian b. Raphael c. Michelangelo d. Leonardo 21. The Northern painter who explored landscape and peasant life with an acutely observing eye was: a. Aertsen b. Vermeer c. Bosch d. Bruegel 22. The Dry Garden of the Daisenin of Daitokuji represents what religion? a. Hinduism b. Islam c. Buddhism d. Shinto

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Chapter 9: SEVENTEENTH-CENTURY ART 1. In their representation of vivacious movement, both Bernini’s David and Hals’s Merry Drinker: a. were self-portraits b. were characteristic of most seventeenth-century art c. avoided naturalism and illusionism d. revealed that they were products of a Protestant nation 2. The Baroque style: a. was the most typical style of seventeenth-century Italy b. had symmetrical composition c. avoided dramatic effects d. was not well suited to autocratic Counter-Reformation rulers 3. Baroque Classicism: a. ignored the accomplishments of High Renaissance artists b. was revealed in the work of Annibale Carracci and Nicolas Poussin c. was best exemplified in still-life painting d. drew its subjects from current seventeenth-century society 4. Seventeenth-century art in the Netherlands: a. was limited to sculpture b. was characterized by large-scale paintings c. emphasized mythology and religion d. was characterized by realism and naturalism 5. Sixteenth-century Counter-Reformation art: a. was primarily Protestant in sympathies b. encompassed many Baroque religious images c. emphasized landscape and genre subject matter d. was produced primarily for placement in the home 6. In the Netherlands: a. religion encouraged the production of religious subjects b. there was a resurgence of interest in architecture c. sculpture emerged as the dominant art form d. there was an overwhelming interest in naturalism 7. The Northern Italian artist whose dramatic naturalism contributed to the origin of the Baroque style in Rome c. 1600 was: a. Honthorst b. Annibale Carracci c. Caravaggio d. Gaulli 8. Caravaggio’s art: a. accentuated the patrician origins of subjects b. called on viewer participation c. avoided shocking, physical emphasis d. was praised for its use of idealistic theories of art

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9. Genre painting: a. had its greatest popularity in Italy b. glorified the mythological classical past c. found homey domesticity distasteful d. often found the sacred in everyday scenes 10. Rubens: a. avoided universal meaning in his art b. was critical of the use of fantasy in art c. blended symbolism and allegory d. concentrated on genre subject matter 11. The Dutch Baroque group portrait: a. was influenced little by democratic traditions b. was intended to emphasize the trappings of the aristocracy c. initially had to treat all subjects equally d. was intended to embody religious ideals 12. The Dutch artist whose paintings and prints were characterized by innovation and introspection was: a. Rembrandt b. Hals c. Ruisdael d. Terbrugghen 13. The nickname “Night Watch” given to Rembrandt’s Militia Company of Captain Frans Banning Cocq: a. accurately describes the setting of the painting b. describes the darkening of the painting’s pigments over time c. inaccurately suggests that the scene takes place after dark d. describes the somber mood of the painting 14. Drypoint: a. enables the production of several dozen prints b. is an intaglio technique c. is a development of the woodcut technique d. emphasizes precision and detail 15. The greatest and most influential of the French Baroque classicists was: a. Poussin b. Mansart c. Vermeer d. Velázquez 16. Poussin’s The Arcadian Shepherds is: a. characteristically agitated and convoluted b. philosophical even about death c. a recreation of a genre subject d. a symbolic metaphor about war’s consequences

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17. Seventeenth-century Dutch landscape painting: a. was inspired by ancient Greek and Roman painting b. was related to Dutch nationalism c. was devised for rural and pastoral people d. reflected nostalgia for Poussin’s pastoral settings

Chapter 10: EIGHTEENTH-CENTURY ART 1. Boffrand’s design for the Princess’s Salon: a. is an example of Neoclassicism b. is completely unlike the Baroque style c. is based on models from classical antiquity d. utilizes free-form undulating curves 2. Adam’s fireplace niche in the Osterley House: a. is more Rococo than Neoclassic b. has a Neoclassic style fireplace in a Rococo setting c. has ornamentation based on antique prototypes d. is based on asymmetry 3. The eighteenth century: a. was a century of political calm and tranquility b. saw a regression in scientific development c. witnessed the decline of art academies d. was a century of artistic contrasts 4. Rococo and Neoclassicism: a. shared the same ideals but used different styles b. were antithetical to each other c. both stress clarity and articulation d. both use disciplined and controlled designs 5. The British Royal Academy: a. stressed learning the grand style of art b. championed the Rococo style c. cut all ties to Renaissance traditions d. eschewed imitating nature 6. In the late eighteenth century, the British Royal Academy: a. was viewed as an unrestricted environment b. became quite conservative and dogmatic c. became more and more liberating d. viewed “history painting” as less than noble 7. To truly understand “the grand style”: a. aspiring artists felt compelled to see Italy’s antiquities b. the study of “history painting” was required c. artists were to emulate nature and her forms d. artists had to specialize in portraiture

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8. Watteau in Pilgrimage to the Island of Cythera: a. stresses the permanent nature of love b. has heroically scaled couples c. combines reality and fantasy d. utilizes bold colors and brushstrokes 9. Fragonard in Happy Accident on the Swing: a. masterfully strives to avoid flowing idyllic movement b. stresses the remoteness of love from everyday reality c. is characteristically free of symbol or puns d. illustrates the frivolity of Rococo painting themes 10. Hogarth’s series of paintings Marriage à la Mode: a. is frivolous in its social criticism b. is a satirical view of contemporary life c. affirms nouveau riche values d. is intended to conceal the difficulties of marriages 11. The Rococo style in architecture: a. offers new lightness of color and movement b. has a heavy robust scale of ornament c. is in consonance with Baroque forms and colors d. is understated and characterized by restraint 12. Copley’s Portrait of Paul Revere: a. is quite complex and ambiguous in composition b. suggests rather than depicts exact visual detail c. dignifies labor and the exacting craft traditions d. depicts him on his horse warning of the British attack 13. Rosalba Carriera’s painting of France’s young Louis XIV: a. shows the artist’s consummate oil painting techniques b. shows the artist’s mastery of pastels c. is an excellent example of Neoclassical portraiture d. utilizes oils in a pastel palette effect 14. Jefferson’s design for the Virginia State Capitol: a. was a virtuoso blend of the Rococo and Neoclassical styles b. blended Baroque undulations with Neoclassicism c. was influenced by the High Renaissance style d. embodied the ideals of a young nation 15. David’s Death of Socrates: a. offers a guide for moral behavior b. demonstrates a revolutionary use of soft atmospheric effects c. shows his startling independence from the French Academy d. distances itself from nationalistic chauvinism

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Chapter 11: NINETEENTH-CENTURY ART 1. Delacroix’s Liberty Leading the People is revolutionary because it: a. was in praise of King Charles X b. rejoiced over the failure of the “July Revolution” c. introduced sharp linearity d. initiated the use of loose brushstrokes 2. Romanticism can be characterized by: a. expression of spontaneous feeling b. support of the rational and lucid in subject matter c. unreserved support for the theories of rationalism d. strong reaction to any violent feelings 3. Academic art: a. implied the use of impressionist realism b. chose its themes from the everyday world c. was a term applied to conservative art d. avoided treatment of historical or moralistic themes 4. Realism in the nineteenth century: a. stressed the exalted mission of art b. totally supported the goals of French academies c. encompassed everyday subjects d. utilized modified heroic nationalistic themes 5. Impressionists set out to represent impressions that: a. were gathered over an extended period of time b. were momentary c. involved light, color, and texture d. were rendered in exact verisimilitude 6. The Arc de Triomphe for Napoleon: a. was intended primarily to honor the French Revolution b. was to commemorate Napoleon’s coronation c. was a grandiose version of ancient Roman arches d. was an example of Romantic Gothic revival architecture 7. Géricault’s Raft of the Medusa: a. was significant because it was a critical political statement b. was an allegorical reflection on the French Revolution c. reflected his studies of ancient Roman models d. was the reinterpretation of a Baroque theme 8. Romanticism: a. was dominated by a single, unified style b. stressed the subjective view of the artist c. subordinated expression of the artist’s feelings d. reacted against the unbridled spirit of human imagination

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9. Daumier’s political prints: a. demonstrated that his heroes came from the working classes b. spared radical artists from his attacks c. were indifferent to the cause of the freedom of the press d. were comments on political but not moral issues 10. Romantic Revival architecture: a. revived only the Greek and Gothic styles b. was based on a profound moral and cultural basis c. was determined solely on esoteric aesthetic grounds d. in public buildings was free of political connotations 11. Romantic landscape painting in America was not: a. nationalistic in spirit b. a viewing of American scenery as a God-given paradise c. an adaptation from Grecian models d. interconnected with deep emotion 12. New materials and engineering in architecture: a. led to an extension of the Romantic Revival style b. enhanced the speed and economy of the building process c. included the extensive use of the Roman arch d. were based on traditional building practices 13. Gauguin’s Vision after the Sermon: a. was composed using traditional perspective b. was naturalistic in painterly style c. demonstrated how to use color in a traditional manner d. used color to carry symbolic content 14. Monet’s Impression—Sunrise: a. showed a rendering of the landscape, not sensation b. demonstrated the effective use of the color black c. had a strong scientific basis d. depicted a naturalistic optical effect 15. The Post-Impressionism of Paul Cézanne was based on achieving: a. an equilibrium between three-dimensional objects on a two-dimensional surface b. photographically-accurate drawing c. the freezing of motion and of the artist’s moving viewpoint d. revival of Renaissance perspective 16. Louis Sullivan’s Wainwright building: a. exposes the load-bearing, steel-frame construction b. emphasizes vertical and horizontal articulation c. is based on a column design concept d. is the first skyscraper with no decoration

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17. A planographic printmaking process that is based on the principle that water and grease are incompatible is termed: a. etching b. silkscreen c. lithography d. engraving 18. The Post-Impressionist artist who traveled to the South Pacific to rediscover a world of feeling untouched by Western industrialization was: a. Seurat b. Van Gogh c. Cézanne d. Gauguin 19. The mid nineteenth-century French artist who countered Romantic and Academic art with an emphatic realism was: a. Delacroix b. Homer c. Courbet d. Eakins 20. The late nineteenth-century French sculptor who “broke the mold” of Romantic sculpture with a fresh naturalism and innovative ideas was: a. Canova b. Rude c. Carpeaux d. Rodin 21. The French artist who redefined the canvas as a planar surface made up of flat patches of color was: a. Courbet b. Manet c. Cézanne d. Monet 22. The style of painting concerned with the transient effects of light on objects was: a. Impressionism b. Realism c. Romanticism d. Expressionism

Chapter 12: ART FROM 1900 TO 1949 1. Balla’s Speeding Automobile—Study of Velocity: a. is the fixed moment in universal dynamism b. is an abstract representation c. relates the dynamism of modern art to the violence of war d. uses curved lines to communicate dynamic force

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2. The Die Brücke (the Bridge) movement within German Expressionism: a. moved art from African styles back to academicism b. distorted form and intensified color c. cast off antecedents from historic German art d. looked to classic myth for spiritual inspiration 3. Picasso in Les Demoiselles d’Avignon: a. incorporated African masks to add mysterious potency b. designed it to be totally flat and planar c. used African masks to reveal individual personality d. worked to achieve harmony and unity 4. In Native American art, the Kachina serve: a. as an event for friendly competition among groups b. religious purposes exclusively c. psychological functions for individuals d. in transmitting messages to and from spirits 5. Frank Lloyd Wright’s Robie house: a. stresses vertical design b. has the kitchen area as the central core c. uses the cantilever d. boxes off each room 6. Analytic Cubism: a. used multiple viewpoints b. analyzed objects from a single, fixed viewpoint c. was non-objective d. stressed the two-dimensional plane and avoided the three-dimensional 7. Synthetic Cubism: a. reinforced the illusion of deep space in the picture plane b. used assemblage to clarify the realities of art and life c. joined traditional art media with unconventional art materials d. was a search for use of natural shapes 8. Kandinsky’s art in Der Blaue Reiter: a. was a realization that recognizable objects are not needed b. was based on scientific studies of color c. became freed from the enslavement of emotion d. communicated emotional content with recognizable subject matter 9. One of the basic characteristics of Fauvism was to: a. render visible the invisible b. provide visual equivalents for emotional states c. free color from any representational meaning d. reinforce and confirm rationalist views

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10. Dada: a. emphasized the illogically senseless b. stressed the necessity for order and not for chance c. reinforced the aesthetic import of traditional art materials d. supported society’s traditional values by dramatic means 11. Basic Bauhaus attitudes: a. stressed the individual over the universal b. emphasized subjectivity over objectivity c. encouraged a unity of design d. believed that art must abandon the crafts approach 12. Dalí in Surrealism: a. stressed the clear rationality of preplanning b. relieved heavily on the conscious rather than the unconscious c. distorted naturalistic objects d. practiced automatism 13. Mies van der Rohe in his International Style Architecture: a. believed that “less is a bore” b. believed that “less is more” c. developed architecture as a highly personalized statement d. used forms drawn from other national traditions 14. The modern art movement that was joined to concepts borrowed from psychoanalysis was: a. Dada b. Fauvism c. Cubism d. Surrealism 15. The modern art movement that was distinguished by a new liberation of color, as viewed in the paintings of Matisse, was called: a. Expressionism b. Cubism c. Dada d. Fauvism 16. The Expressionist artist, working in Munich, who turned to a complete non-objective style of painting was: a. Rouault b. Kirchner c. Nolde d. Kandinsky 17. Which Picasso painting was a formative work for the origins of modern abstraction? a. Guernica b. Les Demoiselles d’Avignon c. Mother and Child d. Three Musicians

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18. The Russian avant-garde style of the early twentieth century that sought to express a “supreme” reality was called: a. Cubo-Futurism b. Futurism c. Suprematism d. Synthetic Cubism 19. The art movement that preached nonsense and anti-art in reaction to the carnage of World War I was called: a. Dada b. Cubism c. Surrealism d. Expressionism

Chapter 13: ART FROM 1950 TO 1999 1. Jacob Lawrence in his paintings: a. aimed to sensitize society’s social conscience b. utilized the depth of illusory space c. used flowing forms and lyrical pastel colors d. strove to avoid interjecting personal memories 2. Jackson Pollock in his Abstract Expressionist painting: a. insisted on the use of traditional art materials b. strove to evolve realistic symbolic imagery c. relied on the Surrealist concept of automatism d. conscientiously pre-planned each stage in a painting 3. Le Corbusier’s Nôtre-Dame-du-Haut at Ronchamp is: a. designed to be isolated from nature and site b. like sculpture in the round c. characteristic of the architect’s International Style period d. patterned on the cube 4. Which one of the following is not characteristic of Pop Art? a. popular b. sexy c. transient d. idealist 5. Conceptual art: a. shows a distrust of creativity in any form b. emphasizes the end product over the idea c. relies dramatically on chance and automatism d. values concept over execution of the work

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6. Goya’s The Third of May, 1808, and Picasso’s Guernica are alike in that they both: a. are Romantic works b. have Neo-Baroque compositions c. stress the reality of the pictorial surface d. are an invective against brutality 7. Action Painting was part of: a. Surrealism b. Dada c. Neo-Expressionism d. Abstract Expressionism 8. The work of __________ exemplifies Action Painting. a. Pollock b. Duchamp c. Dali d. Hopper 9. The art movement that was built on popular commercial imagery of the 1950s and 1960s is known as: a. Op Art b. Photorealism c. Neo-Expressionism d. Pop Art 10. Ozu is: a. the director of Tokyo Story b. a Japanese Tea master c. a Chinese nature philosophy d. a Japanese god of nature 11. At what school did Hard-Edge Abstraction painter Josef Albers teach? a. Die Brücke b. Der Blaue Reiter c. The Bauhaus d. The Royal Academy 12. Color Field Painting: a. applies bright color to landscapes b. is characterized by gestural expression c. has shapes that meet at clearly defined edges d. displays limited areas of color within nonobjective compositions 13. The term “Neo-Dada” is sometimes used to refer to the work of: a. Jasper Johns and Robert Rauschenberg b. Jackson Pollock and Mark Rothko c. Joseph Beuys and Joseph Kosuth d. Andy Warhol and Roy Lichtenstein

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14. The art movement of the 1960s that explores our perception of patterns and the way we perceive visual reality is: a. Pop Art b. Op Art c. Photorealism d. Conceptual Art 15. Duane Hanson’s lifelike figural sculptures are part of the movement known as: a. Photorealism b. Illusionism c. Hyper-Realism d. Neo-Realism 16. Which of the following is not characteristic of the art of Christo and Jeanne-Claude? a. it is temporary b. it underscores the significance of due process in an open society c. it interacts with nature d. it is permanent 17. The term that refers to developments in art that are characterized by a pluralistic approach to style, medium, and interpretation is: a. Modernism b. Pattern + Decoration c. Social Realism d. Postmodernism 18. One of the thrusts of late twentieth-century art, as exemplified by the work of Keith Haring, is to break down the boundaries between: a. high and low art b. realistic and abstract art c. traditional and digital art d. modern and postmodern art 19. The monumental sculptures of everyday objects by Claes Oldenburg and Coosje van Bruggen are a continuation of: a. Op Art b. Pop Art c. Conceptual Art d. Abstract Expressionism

Chapter 14: ART IN THE NEW MILLENNIUM 1. The end of the twentieth century may have marked the end of: a. realism in art b. optimism in art c. nationalism in art d. all “isms” in art

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2. One feature of contemporary architecture is: a. a unified style b. that it blends into its site c. the restoration of interesting older buildings to serve new purposes d. that it uses simple geometry 3. Richard Serra’s Torqued Ellipses: a. allow one fixed point of view b. create a continually varying experience for the viewer c. cannot be entered by visitors d. have an overwhelming sense of weight and density 4. The images in Kara Walker’s work: a. often conform to racial stereotypes b. defy racial stereotypes c. reflect her use of electronic media d. do not convey a sense of narrative 5. The monumental earthwork Roden Crater located in Arizona is in the process of being created by: a. Chuck Close b. Ann Hamilton c. James Turrell d. Richard Serra 6. Which of the following is not true of the work of Andy Goldsworthy? a. it stops cycles of decay by preserving natural objects b. it is ephemeral c. it encourages our understanding of possibilities in the natural world d. it is preserved only through film and photographs 7. The films of Matthew Barney offer multilayered metaphors that deal with: a. global warming b. terrorism c. biological functions centering on reproduction d. increasing economic globalization 8. Chuck Close began his career working in the style of: a. Op Art b. Pop Art c. Photorealism d. Postmodernism

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ANSWERS TO MULTIPLE CHOICE QUESTIONS Chapter 1 1. A major part of the task for art history is to: b. increase our understanding between works of art and ourselves 2. A historic style describes how the visual appearance of a work of art is tied to the period: d. during which the work was created 3. Iconography refers to the study of subject matter in the: b. work of art 4. Part of the traditional definition of painting is that it is: a. planar 5. A basic component in analyzing painting is the use of: b. composition 6. Which one of the following is a medium? d. oil 7. David Smith’s Cubi XIX: c. is in the round 8. The Minuteman by Daniel Chester French is: a. in bronze 9. Both the Villa Rotunda and Fallingwater were: a. designed as country homes 10. Which one of the following is not used in the Villa Rotunda? c. cantilever 11. The transformation of the traditional classification of the visual arts as mechanical arts occurred during which of the following historical periods? b. the Renaissance 12. In production of ritual African objects, the artist is believed to: b. be endowed with special creative abilities

Chapter 2 1. In the cave paintings at Lascaux, the animals are: b. naturalistic in style 2. The Lascaux paintings of animals clearly show: c. awareness of animal forms in nature 3. The prehistoric cave paintings discovered near Altimira in 1879: d. depicted bison 4. Which of the following was significant in the history of the Paleolithic era? a. use of refined stone tools 5. Human imagination in painting or sculpting cave art was stimulated by: b. capitalizing on natural protrusions in the cave 6. The purpose of the “Great Serpent Mound” in Ohio is: c. still unknown

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7. Çatal Hüyük (6700-5700 BCE) was distinctive for: d. being an important trade center 8. A painting of a red bull on the walls for a shrine at Çatal Hüyük: b. was completed over a layer of plaster 9. Which one of the following cannot be deduced from an examination of Neolithic pottery? The role of: d. individual artists’ signatures 10. The origins of pottery vessels in the Mesolithic/Neolithic eras show that: a. patterns may have been derived from weaving patterns 11. Animal images in cave painting overwhelmingly suggest that they may have served: c. a ritualistic purpose 12. Stonehenge exemplifies a: c. Cromlech 13. Neolithic Megaliths suggest that rituals of worship were primarily related to the: c. summer solstice 14. The most striking works of Paleolithic art are images of: a. animals 15. The African terracotta heads from the Nok culture: b. may have been made by women 16. Compared to the animals of Paleolithic Art, those of the Neolithic Period are: a. simplified and immobile

Chapter 3 1. The taotie was: b. the particular emblem of the Shang 2. The Pharaoh Khafre Ancient Egyptian sculpture is: a. solid and rigid in appearance 3. The Ancient Egyptian pyramids of Menkure, Khafre, and Khufu are: c. part of a necropolis 4. The Ancient Egyptian temples at Karnak and Luxora were: d. axial in orientation 5. Ancient Egyptian painting and painted reliefs were: a. meant to be enjoyed by the ka 6. The Anavysos Kouros: d. is tense and prepared to take action 7. The Greek Parthenon at Athens is: c. Doric architecture 8. In comparing the fifth-century BCE Greek sculptor Polykleitos’s Doryphoros with the fourth-century BCE Greek sculptor Praxiteles’s Aphrodite of Knidos: c. the Aphrodite muscles are softer 9. In the afterlife, much of Ancient Egyptian funerary art was meant to serve the: c. ka of the deceased

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10. The religious center of a Sumerian city-state was the: d. ziggurat 11. The Minoan structure of complex design that gave rise to the Greek legend of the labyrinth of the Minotaur is the: a. Palace at Knossos 12. The work of art from the beginning of Ancient Egyptian dynastic history that sets the formal conventions of Ancient Egyptian figurative art is the: c. Palette of Narmer 13. The Ancient Egyptian ruler who unsettled many of his country’s social, religious, and artistic practices, was: a. Akhenaten 14. The Lion Gate is an impressive remain from which civilization? b. Mycenaean 15. The pre-Roman people whose culture possessed a lively, individual art style, and who passed on significant contributions to the Romans, were the: c. Etruscans 16. The Parthenon is a monument from: b. Classical Greece 17. The nucleus of a Greek or Roman temple, where the cult image of the deity was placed, is termed the: c. cella or naos 18. The new articulation of the body that appeared in Greek Art c. 480 BCE that demonstrates the naturalistic weight distribution for a body at rest is termed: d. contrapposto 19. Sculpture that is tied to the background, from which it only partially emerges, is termed: b. relief sculpture

Chapter 4 1. The Great Stupa at Sanchi: d. has representations of yakshas and yakshis as guardian figures 2. In Roman republican art the Arch of Titus in Rome was: a. a commemorative monument 3. The Flavian amphitheater (Colosseum) at Rome: d. has annular tunnel vaults 4. The Pantheon in Rome has: b. a Corinthian portico and a domed rotunda 5. The baths in Roman public architecture: d. were vast complexes for bathing and recreation 6. The unique Roman temple that was dedicated to “all the gods” and combined a cylindrical domed cella with a standard temple porch is the: d. Pantheon

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7. The original patron of the Great Stupa was: b. Ashoka 8. The religion of the Great Stupa was: d. Buddhist 9. The figures in the Terracotta Army of the First Emperor of Qin in China are: c. detailed, naturalistic renderings 10. Our knowledge of Hellenistic painting: a. comes largely from Roman copies in fresco or mosaic 11. Both Hellenistic painting and sculpture show a strong interest in: b. dramatic naturalism 12. The fresco secco wall paintings in the houses at Pompeii served to: c. transform spaces into elegant rooms for living and entertaining 13. The first and longest-ruling Roman emperor, who wrote that he “found Rome a city of brick and left it a city of marble,” was: d. Augustus 14. Roman fresco paintings that attempt to momentarily trick the viewer into believing that a painted scene is real are examples of: a. illusionism 15. An important trade route between China and ancient Rome was known as the: c. Silk Road 16. The painted, T-shaped banner found in a tomb at Mawangdui, China, from the Han Dynasty, was used in a: a. funeral procession and burial

Chapter 5 1. In the Synagogue in ancient Dura Europos: c. figurative decoration is quite evident 2. In Old St. Peter’s Basilica: a. the entrance was through the atrium and the narthex 3. Hagia Sophia at Constantinople: a. demonstrates how light and space can create a spiritual effect 4. In the Byzantine mosaic Theodora and Attendants, the figures: d. are frontal in placement 5. The Anglo-Saxon Sutton Hoo Purse cover: c. is strongly two-dimensional in effect 6. In the Japanese Horyuji temple complex at Nara, the kondo was: d. a shrine for cult statues 7. The Islamic Mosque at Córdoba has: d. no realistic art 8. In later Byzantine art, the Madonna and Child compositions were: c. quite stylized and removed from reality

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9. In Byzantine art, the church that uniquely combined a basilica plan with an enormous dome was: b. Hagia Sophia 10. The Roman Emperor who recognized Christianity and moved the capital to Byzantium was: c. Constantine 11. The Byzantine church in Ravenna that contains a unified mosaic program, including mosaics of Justinian and Theodora, is: b. San Vitale 12. The time from 726 to 843 in the Byzantine Civilization, during which the use of images in worship was questioned, is called the: a. Iconoclastic Controversy 13. Spherical triangles that provide a transition from a square base to a dome are called: d. pendentives 14. Wall mosaics were an important medium to the: c. Early Christians 15. In Islam, the tower from which the faithful are called to prayer by the cry of the muezzin is the: d. minaret 16. The ruler who revived the imperial ambitions of Charlemagne in 962 was: c. Otto I 17. Early Medieval manuscripts were usually produced in: c. monasteries 18. The Medieval architectural style that revived Roman architectural concepts on a major scale is termed: a. Romanesque 19. Manuscript miniatures are sometimes referred to as: a. illuminations 20. Ottonian Art was centered in: a. Germany 21. A mandorla is a: c. body halo 22. The mihrab is a: c. niche in a mosque 23. The Mosque at Córdoba is a: a. Muslim temple 24. Horyuji is a: b. temple 25. Ellora represents what religion? a. Hinduism

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Chapter 6 1. In the Romanesque monastic church of Ste. Foy at Conques: a. the ambulatory solves an important architectural problem 2. Abbot Suger in his Church at St. Denis: a. believed in the use of light to create a spiritual effect 3. The Gothic Cathedral at Chartres: d. had a high narrow nave 4. The Gothic cathedral is the result of the union of what three distinct constructional elements? b. pointed arch, ribbed cross vault, and flying buttresses 5. Early Gothic portal sculpture at Amiens Cathedral was characterized by: a. elongated and columnar figures 6. Giotto’s Madonna showed the development of: a. the idea of the painting as a window 7. The Bayeux Tapestry, probably created by a group of women artists, depicts: d. William the Conqueror’s invasion of England 8. The patron of the Bayeux Tapestry was probably: c. The Duke of Bayeux 9. In a Romanesque portal, the semi-circular area over the door, which usually contained relief sculpture, is termed the: c. tympanum 10. The usual medium for late Medieval painting on wood was: d. tempera 11. The artist who revolutionized Italian painting in the opening years of the fourteenth century was: c. Giotto 12. Ribbed groined vaults, pointed arches, stained glass windows, and flying buttresses are all characteristic of what kind of a building? d. Gothic church 13. Romanesque churches usually favored: c. barrel vaults 14. One manifestation of the religious enthusiasm that characterized the Romanesque Period was, from 1095 CE on, the: b. crusades 15. The Mission of the Apostles tympanum of Ste. Madeleine, Vézelay, exemplifies which style? d. Romanesque 16. The monumental entrance structure to a church, the origins of which are rooted in the Carolingian Period, is called a(n): c. westwork 17. Angkor-Wat is a(n): d. Cambodian Hindu center

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18. The monumental stone figures on Easter Island that probably served as memorials to dead leaders are known as: a. moai 19. The narrative Tale of Genji uses the format of the horizontal scroll, known in Japanese as: b. emakimono 20. The term that refers to the patch of a fresco painting that has been completed in a single day is: d. giornata

Chapter 7 1. Both the Piero Resurrection and the Rogier Deposition show: c. naturalism 2. The term Renaissance: b. implies a rebirth of classical values and a new worth of the individual in art 3. Humanism: d. was concerned with the dignity of the individual 4. Humanism: d. helps explain the development of the portrait in Renaissance Italy 5. The fifteenth-century artist: b. was accorded dignity 6. Scientific perspective was: d. the rendering of figures and objects in illusory space 7. Jan van Eyck’s Arnolfini Portrait is a good example of the new technique of: b. oil painting on wood 8. The new oil painting technique was developed by: d. a new method of using traditional materials 9. Foreshortening represents a figure or object as if seen in: a. sharp recession 10. In fifteenth-century Italy: c. portraiture was well established by the end of the century 11. Leonardo da Vinci developed a form of composition that: b. created visual unity 12. Leonardo da Vinci’s Last Supper is unusual because: b. Judas is seated with the other apostles 13. Botticelli’s mythological subjects: d. exemplify Renaissance attitudes 14. Leonardo da Vinci’s use of pyramidal composition did not: b. have one special meaning 15. The figures in da Vinci’s Last Supper: a. express emotional and psychological realism 16. The pietà concept: c. means both pity and piety

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17. Michelangelo’s Florentine Pietà: c. conveyed a tragic, pessimistic mood 18. Which of the following paintings displays a wealth of “disguised symbolism”? c. The Annunciation Triptych by Robert Campin 19. The architect who developed scientific perspective was: d. Brunelleschi 20. The Italian artist who did the most to re-establish classical attitudes toward the human body in early fifteenth-century Florence was: d. Donatello 21. The early fifteenth-century Florentine painter who joined the influence of Giotto with the renewed interest in naturalism and perspective was: d. Masaccio 22. The Italian artist whose work bears the influence of Renaissance Neo-Platonism is: d. Botticelli

Chapter 8 1. The sixteenth century was characterized as a time when: d. society was convulsed by shifting alliances 2. The Reformation in Northern Europe: a. weakened papal authority 3. The Counter-Reformation edicts recommended that art: c. use clear compositions 4. High Renaissance art: d. was distinguished by an idealizing, classicizing approach 5. The High Renaissance style: b. utilized the idealized composition 6. Mannerism: a. consciously disjoints the illusion of space 7. Sixteenth-century artists: c. began to open their ranks to women 8. The Mona Lisa: b. was a vehicle for the expression of personality 9. Woodcuts: c. are a relief process 10. The boldest aspect of Bramante’s proposed conception for the new St. Peter’s basilica was its: a. colossal scale 11. The iconography in Michelangelo’s Sistine Chapel ceiling was developed: b. in consultation with others 12. Bosch’s Garden of Earthly Delights triptych: b. expressed humanity’s determined perversity 13. Venetian paintings: d. used impasto to define form

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14. The architect who began the rebuilding of St. Peter’s in Rome was: b. Bramante 15. The original plan for the new St. Peter’s was a: b. central plan (based on the circle and square) 16. The Northern Renaissance artist who refined and popularized the media of woodcut and engraving was: c. Albrecht Dürer 17. A medium of printmaking in which V-shaped grooves are cut into a metal plate is termed: b. engraving 18. The painting which is viewed as the perfect embodiment of the classical spirit of the Italian High Renaissance is the: a. School of Athens by Raphael 19. The artist who dominated Venetian painting in the first half of the sixteenth century and who brought a new and full maturity to techniques of oil painting was: d. Titian 20. The artist who was seen by his contemporaries as possessing terribilitá, a sublime creative talent, was: c. Michelangelo 21. The Northern painter who explored landscape and peasant life with an acutely observing eye was: d. Bruegel 22. The Dry Garden of the Daisenin of Daitokuji represents what religion? c. Buddhism

Chapter 9 1. In their representation of vivacious movement, both Bernini’s David and Hals’s Merry Drinker: b. were characteristic of most seventeenth-century art 2. The Baroque style: a. was the most typical style of seventeenth-century Italy 3. Baroque Classicism: b. was revealed in the work of Annibale Carracci and Nicolas Poussin 4. Seventeenth-century art in the Netherlands: d. was characterized by realism and naturalism 5. Sixteenth-century Counter-Reformation art: b. encompassed many Baroque religious images 6. In the Netherlands: d. there was an overwhelming interest in naturalism 7. The Northern Italian artist whose dramatic naturalism contributed to the origin of the Baroque style in Rome c. 1600 was: c. Caravaggio

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8. Caravaggio’s art: b. called on viewer participation 9. Genre painting: d. often found the sacred in everyday scenes 10. Rubens: c. blended symbolism and allegory 11. The Dutch Baroque group portrait: c. initially had to treat all subjects equally 12. The Dutch artist whose paintings and prints were characterized by innovation and introspection was: a. Rembrandt 13. The nickname “Night Watch” given to Rembrandt’s Militia Company of Captain Frans Banning Cocq: c. inaccurately suggests that the scene takes place after dark 14. Drypoint: b. is an intaglio technique 15. The greatest and most influential of the French Baroque classicists was: a. Poussin 16. Poussin’s The Arcadian Shepherds is: b. philosophical even about death 17. Seventeenth-century Dutch landscape painting: b. was related to Dutch nationalism

Chapter 10 1. Boffrand’s design for the Princess’s Salon: d. utilizes free-form undulating curves 2. Adam’s fireplace niche in the Osterley House: c. has ornamentation based on antique prototypes 3. The eighteenth century: d. was a century of artistic contrasts 4. Rococo and Neoclassicism: b. were antithetical to each other 5. The British Royal Academy: a. stressed learning the grand style of art 6. In the late eighteenth century, the British Royal Academy: b. became quite conservative and dogmatic 7. To truly understand “the grand style”: a. aspiring artists felt compelled to see Italy’s antiquities 8. Watteau in Pilgrimage to the Island of Cythera: c. combines reality and fantasy 9. Fragonard in Happy Accident on the Swing: d. illustrates the frivolity of Rococo painting themes

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10. Hogarth’s series of paintings Marriage à la Mode: b. is a satirical view of contemporary life 11. The Rococo style in architecture: a. offers new lightness of color and movement 12. Copley’s Portrait of Paul Revere: c. dignifies labor and the exacting craft traditions 13. Rosalba Carriera’s painting of France’s young Louis XIV: b. shows the artist’s mastery of pastels 14. Jefferson’s design for the Virginia State Capitol: d. embodied the ideals of a young nation 15. David’s Death of Socrates: a. offers a guide for moral behavior

Chapter 11 1. Delacroix’s Liberty Leading the People is revolutionary because it: d. initiated the use of loose brushstrokes 2. Romanticism can by characterized by: a. expression of spontaneous feeling 3. Academic art: c. was a term applied to conservative art 4. Realism in the nineteenth century: c. encompassed everyday subjects 5. Impressionists set out to represent impressions that: b. were momentary 6. The Arc de Triomphe for Napoleon: c. was a grandiose version of ancient Roman arches 7. Géricault’s Raft of the Medusa: a. was significant because it was a critical political statement 8. Romanticism: b. stressed the subjective view of the artist 9. Daumier’s political prints: a. demonstrated that his heroes came from the working classes 10. Romantic Revival architecture: b. was based on a profound moral and cultural basis 11. Romantic landscape painting in America was not: c. an adaptation from Grecian models 12. New materials and engineering in architecture: b. enhanced the speed and economy of the building process 13. Gauguin’s Vision after the Sermon: d. used color to carry symbolic content 14. Monet’s Impression—Sunrise: d. depicted a naturalistic optical effect

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15. The Post-Impressionism of Paul Cézanne was based on achieving: a. an equilibrium between three-dimensional objects on a two-dimensional surface 16. Louis Sullivan’s Wainwright building: c. is based on a column design concept 17. A planographic printmaking process that is based on the principle that water and grease are incompatible is termed: c. lithography 18. The Post-Impressionist artist who traveled to the South Pacific to rediscover a world of feeling untouched by Western industrialization was: d. Gauguin 19. The mid nineteenth-century French artist who countered Romantic and Academic art with an emphatic realism was: c. Courbet 20. The late nineteenth-century French sculptor who “broke the mold” of Romantic sculpture with a fresh naturalism and innovative ideas was: d. Rodin 21. The French artist who redefined the canvas as a planar surface made up of flat patches of color was: b. Manet 22. The style of painting concerned with the transient effects of light on objects was: a. Impressionism

Chapter 12 1. Balla’s Speeding Automobile—Study of Velocity: a. is the fixed moment in universal dynamism 2. The Die Brücke (the Bridge) movement within German Expressionism: b. distorted form and intensified color 3. Picasso in Les Demoiselles d’Avignon: a. incorporated African masks to add mysterious potency 4. In Native American art, the Kachina serve: d. in transmitting messages to and from spirits 5. Frank Lloyd Wright’s Robie house: c. uses the cantilever 6. Analytic Cubism: a. used multiple viewpoints 7. Synthetic Cubism: c. joined traditional art media with unconventional art materials 8. Kandinsky’s art in Der Blaue Reiter: a. was a realization that recognizable objects are not needed 9. One of the basic characteristics of Fauvism was to: c. free color from any representational meaning

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10. Dada: a. emphasized the illogically senseless 11. Basic Bauhaus attitudes: c. encouraged a unity of design 12. Dalí in Surrealism: c. distorted naturalistic objects 13. Mies van der Rohe in his International Style Architecture: b. believed that “less is more” 14. The modern art movement that was joined to concepts borrowed from psychoanalysis was: d. Surrealism 15. The modern art movement that was distinguished by a new liberation of color, as viewed in the paintings of Matisse, was called: d. Fauvism 16. The Expressionist artist, working in Munich, who turned to a complete non-objective style of painting was: d. Kandinsky 17. Which Picasso painting was a formative work for the origins of modern abstraction? b. Les Demoiselles d’Avignon 18. The Russian avant-garde style of the early twentieth century that sought to express a “supreme” reality was called: c. Suprematism 19. The art movement that preached nonsense and anti-art in reaction to the carnage of World War I was called: a. Dada

Chapter 13 1. Jacob Lawrence in his paintings: a. aimed to sensitize society’s social conscience 2. Jackson Pollock in his Abstract Expressionist painting: c. relied on the Surrealist concept of automatism 3. Le Corbusier’s Nôtre-Dame-du-Haut at Ronchamp is: b. like sculpture in the round 4. Which one of the following is not characteristic of Pop Art? d. idealist 5. Conceptual art: d. values concept over execution of the work 6. Goya’s The Third of May, 1808, and Picasso’s Guernica are alike in that they both: d. are an invective against brutality 7. Action Painting was part of: d. Abstract Expressionism 8. The work of __________ exemplifies Action Painting. a. Pollock

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9. The art movement that was built on popular commercial imagery of the 1950s and 1960s is known as: d. Pop Art 10. Ozu is: a. the director of Tokyo Story 11. At what school did Hard-Edge Abstraction painter Josef Albers teach? c. The Bauhaus 12. Color Field Painting: d. displays limited areas of color within nonobjective compositions 13. The term “Neo-Dada” is sometimes used to refer to the work of: a. Jasper Johns and Robert Rauschenberg 14. The art movement of the 1960s that explores our perception of patterns and the way we perceive visual reality is: b. Op Art 15. Duane Hanson’s lifelike figural sculptures are part of the movement known as: c. Hyper-Realism 16. Which of the following is not characteristic of the art of Christo and Jeanne-Claude? d. it is permanent 17. The term that refers to developments in art that are characterized by a pluralistic approach to style, medium, and interpretation is: d. Postmodernism 18. One of the thrusts of late twentieth-century art, as exemplified by the work of Keith Haring, is to break down the boundaries between: a. high and low art 19. The monumental sculptures of everyday objects by Claes Oldenburg and Coosje van Bruggen are a continuation of: b. Pop Art

Chapter 14 1. The end of the twentieth century may have marked the end of: d. all “isms” in art 2. One feature of contemporary architecture is: c. the restoration of interesting older buildings to serve new purposes 3. Richard Serra’s Torqued Ellipses: b. create a continually varying experience for the viewer 4. The images in Kara Walker’s work: a. often conform to racial stereotypes 5. The monumental earthwork Roden Crater located in Arizona is in the process of being created by: c. James Turrell 6. Which of the following is not true of the work of Andy Goldsworthy? a. it stops cycles of decay by preserving natural objects

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7. The films of Matthew Barney offer multilayered metaphors that deal with: c. biological functions centering on reproduction 8. Chuck Close began his career working in the style of: c. Photorealism

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