ABCDEFGHIJKLMNOPQRSTUVWXYZAAABACADAEAFAGAHAIAJAKALAMANAOAPAQARASATAUAVAWAXAYAZBABBBCBDBEBFBGBH
1
pidchronpost_datepost_titledatepost_contentagentasset_descriptionalt_textlocation_place_of_originlocation_currentrightsfeatured_imagefeatured_image_googleexternalurlgoogle_drive_hyperlinkframing_sentenceslocationcultural contextworktypepost_categorypost_tagfeatured_image_captioncourseAdditional Link 1 URLAdditional Link 1 TextAdditional Link 2 URLAdditional Link 2 TextAdditional Link 3 URLAdditional Link 3 TextAdditional Link 4 URLAdditional Link 4 TextAdditional Link 5 URLAdditional Link 5 TextAdditional Link 6 URLAdditional Link 6 Textlinks_for_uploadAsset Typeinscriptionmaterialmeasurementsstyle periodsubjecttechniquetextrefrelationstate editioncontributorsourceloc1_latloc1_lngloc2_latloc2_lnggoogle_streetleaflet_mapsame_locitem idembed code
2
000001-14002022-08-02 12:56:563 Terracotta female figuresBCE 1400-1300 c.<a href="https://drive.google.com/file/d/17Fgec5Fr37xc2roOwAwsts3zCJJ12y6o/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 1400-1300 c.<br/>Artist/Agent: Unknown<br/>Place of Origin: Greece<br/>Current Location: Metropolitan Museum of Art, New York<br/>Cultural Context: Ancient Greek, Mycenaean<br/>Worktype: Sculpture<br/><br/>These terracotta female figurines are examples of abstracted humans shaped to resemble the Greek letters of phi, tau, or psi. They are Mycenaean in origin.<br/><br/> <ul><li><a href="https://www.metmuseum.org/toah/hd/myce/hd_myce.htm" target="_blank">"Mycenaean Civilization" is a short essay on the MMA's Heilbrunn Timeline.</a></li></ul><br/><br/>[leaflet-map lat=43.7783659216859 lng=11.258945017604 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Florence, Italy [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1659016834226!6m8!1m7!1sCAoSLEFGMVFpcE5IM2dxXzMxRllBUF9PTFExZEZ4RGd4eEJiNWRTamMtN1dGWWVW!2m2!1d43.7783631!2d11.2596634!3f205.10306128799135!4f1.2414528665725868!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>UnknownThree abstractions of human figures sculpted in terracotta stand in a row. Each is balanced on a column that flares outward where it meets the ground. Two of the figures show bodies shaped like disks on top of their bases, with parallel wavy lines painted across them. Two figures have no arms, two bumps for breasts, and a rounded head with a painted mask. The third figure’s body is a sphere on top of the column base with a molded suggestion of crossed arms at the chest. The head is shaped like a candle’s base, with a face painted on narrow portion and decorative edge motif around the circular flat top.Three Terracotta female figuresGreeceMetropolitan Museum of Art, New YorkCC 1.0 Universal Public Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj1.jpghttps://drive.google.com/uc?export=download&id=17Fgec5Fr37xc2roOwAwsts3zCJJ12y6ohttps://drive.google.com/file/d/17Fgec5Fr37xc2roOwAwsts3zCJJ12y6o/view?usp=sharing<a href="https://drive.google.com/file/d/17Fgec5Fr37xc2roOwAwsts3zCJJ12y6o/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>These terracotta female figurines are examples of abstracted humans shaped to resemble the Greek letters of phi, tau, or psi. They are Mycenaean in origin.Europe, Southern Europe, GreeceAncient Greek, MycenaeanSculptureEurope, Southern Europe, Greece, Ancient Greek, Mycenaean, SculptureEurope, Southern Europe, Greece, Ancient Greek, Mycenaean, SculptureCC 1.0 Universal Public Domain<br/>Three abstractions of human figures sculpted in terracotta stand in a row. Each is balanced on a column that flares outward where it meets the ground. Two of the figures show bodies shaped like disks on top of their bases, with parallel wavy lines painted across them. Two figures have no arms, two bumps for breasts, and a rounded head with a painted mask. The third figure’s body is a sphere on top of the column base with a molded suggestion of crossed arms at the chest. The head is shaped like a candle’s base, with a face painted on narrow portion and decorative edge motif around the circular flat top.Antiquityhttps://www.metmuseum.org/toah/hd/myce/hd_myce.htm"Mycenaean Civilization" is a short essay on the MMA's Heilbrunn Timeline.<ul><li><a href="https://www.metmuseum.org/toah/hd/myce/hd_myce.htm" target="_blank">"Mycenaean Civilization" is a short essay on the MMA's Heilbrunn Timeline.</a></li></ul>ImageN/Aterracotta10.8cm; 10.8cm; 10.5cm2nd Millennium BCE, Antiquity, HelladicMyceneanN/AN/AN/AN/ARN/cphttps://www.metmuseum.org/toah/works-of-art/35.11.16-.18/43.7783659211.2589450243.7783659211.25894502<iframe src="https://www.google.com/maps/embed?pb=!4v1659016834226!6m8!1m7!1sCAoSLEFGMVFpcE5IM2dxXzMxRllBUF9PTFExZEZ4RGd4eEJiNWRTamMtN1dGWWVW!2m2!1d43.7783631!2d11.2596634!3f205.10306128799135!4f1.2414528665725868!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>[leaflet-map lat=43.7783659216859 lng=11.258945017604 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Florence, Italy [/leaflet-marker]Yes1<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000001%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
3
00000214502022-08-01 18:48:48A Hundred Birds Admiring the Peacock CE 1450-1550<a href="https://drive.google.com/file/d/1Mc8pjBSX8S_rhnWJbnjrb-bQug9T53RS/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1450-1550<br/>Artist/Agent: Yin, Hong 殷宏<br/>Place of Origin: China<br/>Current Location: The Cleveland Museum of Art, Cleveland, OH, USA<br/>Cultural Context: East Asian, Chinese, Ming Dynasty<br/>Worktype: Painting<br/><br/>Large-scale scroll paintings like this one decorated imperial and elite dwellings in northern China during the Ming dynasty. Studying it reveals a high degree of accuracy, as all the birds are identifiable, and the blossoms are all from late spring. Certain clues imply a cultivated garden, not a wilderness. In particular, notice the rock in the foreground that the flowering plants entwine; it is pitted and eroded by agitated waters which would not allow the tree and the plants to grow next to it, implying that it has been placed there by a garden designer. Many Ming dynasty paintings like this were both decorative and instructive, offering viewers a political allegory about the proper relationships between emperors, their wives, their concubines, and their subjects. <br/><br/> <ul><li><a href="http://www.clevelandart.org/art/1974.31" target="_blank">The webpage at this Cleveland Museum of Art offers more information on and multiple views of this painting.</a></li></ul><br/><br/><br/><br/>Yin, Hong 殷宏This painting is of many colorful birds flitting around two peacocks by the banks of a waterwayPainting of many colorful birds flitting around two peacocks by the banks of a waterwayChinaThe Cleveland Museum of Art, Cleveland, OH, USAArtstor, IFA/NYU https://globalimages.liberalstudies.hosting.nyu.edu/images/obj2.jpghttps://drive.google.com/uc?export=download&id=1Mc8pjBSX8S_rhnWJbnjrb-bQug9T53RShttps://drive.google.com/file/d/1Mc8pjBSX8S_rhnWJbnjrb-bQug9T53RS/view?usp=sharing<a href="https://drive.google.com/file/d/1Mc8pjBSX8S_rhnWJbnjrb-bQug9T53RS/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>Large-scale scroll paintings like this one decorated imperial and elite dwellings in northern China during the Ming dynasty. Studying it reveals a high degree of accuracy, as all the birds are identifiable, and the blossoms are all from late spring. Certain clues imply a cultivated garden, not a wilderness. In particular, notice the rock in the foreground that the flowering plants entwine; it is pitted and eroded by agitated waters which would not allow the tree and the plants to grow next to it, implying that it has been placed there by a garden designer. Many Ming dynasty paintings like this were both decorative and instructive, offering viewers a political allegory about the proper relationships between emperors, their wives, their concubines, and their subjects. Asia, East Asia, ChinaEast Asian, Chinese, Ming DynastyPaintingAsia, East Asia, China, East Asian, Chinese, Ming Dynasty, PaintingAsia, East Asia, China, East Asian, Chinese, Ming Dynasty, PaintingArtstor, IFA/NYU <br/>This painting is of many colorful birds flitting around two peacocks by the banks of a waterwayCrossroadshttp://www.clevelandart.org/art/1974.31The webpage at this Cleveland Museum of Art offers more information on and multiple views of this painting.<ul><li><a href="http://www.clevelandart.org/art/1974.31" target="_blank">The webpage at this Cleveland Museum of Art offers more information on and multiple views of this painting.</a></li></ul>ImageArtist's signature and seal: Yin Hong. [seal] Jin tai shi jia (殷宏. [印]金臺世家)hanging scroll, ink and color on silk240 x 195.5 cm15th-16th Century CE, Ming Dynastybirds, Ming Dynastysilk paintingN/AN/AN/AAM/cphttp://library.artstor.org/asset/AMICO_CL_1038026152<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000002%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
4
00000315532022-08-01 17:25:25A map of the world from the Nuzhat al-mushtaq fi ikhtiraq al-afaqCE 1553<a href="https://drive.google.com/file/d/1_Es6LiRDZtmaLZxqHodTTlkTA7wZuBSb/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1553<br/>Artist/Agent: Ali ibn Hasan al-Hufi al-Qasimi, copyist <br/>Place of Origin: Palermo, Sicily, Italy<br/>Current Location: Bodleian Library, Oxford, UK<br/>Cultural Context: European, Italian, Arabic, Muslim, Abbasid<br/>Worktype: Maps<br/><br/>A map of the world, rendered in the style of Islamic mapmaking, with South at the top. <br/><br/> <ul><li><a href="https://digital.bodleian.ox.ac.uk/inquire/p/cc2debab-70f5-4b82-9bab-7235fdb89e43" target="_blank">The Bodleian Library webpage for this item offers more information.</a></li></ul><br/><br/><br/><br/>Ali ibn Hasan al-Hufi al-Qasimi, copyist A map of the world as it appears in Islamic cartography, South at the top and North at the bottomA map of the world as it appears in Islamic cartography, with South at the top and North at the bottomPalermo, Sicily, ItalyBodleian Library, Oxford, UKPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj3.jpghttps://drive.google.com/uc?export=download&id=1_Es6LiRDZtmaLZxqHodTTlkTA7wZuBSbhttps://drive.google.com/file/d/1_Es6LiRDZtmaLZxqHodTTlkTA7wZuBSb/view?usp=sharing<a href="https://drive.google.com/file/d/1_Es6LiRDZtmaLZxqHodTTlkTA7wZuBSb/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>A map of the world, rendered in the style of Islamic mapmaking, with South at the top. Europe, Southern Europe, ItalyEuropean, Italian, Arabic, Muslim, AbbasidMapsEurope, Southern Europe, Italy, European, Italian, Arabic, Muslim, Abbasid, MapsEurope, Southern Europe, Italy, European, Italian, Arabic, Muslim, Abbasid, MapsPublic Domain<br/>A map of the world as it appears in Islamic cartography, South at the top and North at the bottomCrossroadshttps://digital.bodleian.ox.ac.uk/inquire/p/cc2debab-70f5-4b82-9bab-7235fdb89e43The Bodleian Library webpage for this item offers more information.<ul><li><a href="https://digital.bodleian.ox.ac.uk/inquire/p/cc2debab-70f5-4b82-9bab-7235fdb89e43" target="_blank">The Bodleian Library webpage for this item offers more information.</a></li></ul>ImageN/Apaper25 x 25 cm16th Century CE, AbbasidWorld MapN/AN/AN/AN/ADLhttps://commons.wikimedia.org/wiki/File:Al-Idrisi%27s_world_map.JPG3<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000003%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
5
00000415512022-08-01 17:27:27A Meat Stall with the Holy Family Giving AlmsCE 1551<a href="https://drive.google.com/file/d/1DcecJefFKd60pMzMQ8phydYFzENuRY6x/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1551<br/>Artist/Agent: Pieter Aertsen<br/>Place of Origin: Antwerp, Belgium<br/>Current Location: North Carolina Museum of Art, Raleigh, NC, USA<br/>Cultural Context: Northern and Western European, Netherlandish, Renaissance<br/>Worktype: Painting<br/><br/>This oil painting, with its realistic detail and veiled religious imagery, is a classic example of the Northern European tradition seen from the Renaissance through the Baroque period. The vivid and graphic depiction of meat contrasted with the faint religious scenes in the background may be a commentary on the conflicting values of the spiritual and physical realms.<br/><br/> <ul><li><a href="https://www.khanacademy.org/humanities/renaissance-reformation/northern/antwerp-bruges/a/pieter-aertsen-meat-stall" target="_blank">There are several allusions to Christianity, such as the fish that are laid out in the shape of a cross. For more information.</a></li></ul><br/><br/><br/><br/>Pieter AertsenBread, butter, milk, cheese, various meats, and other delicacies are laid out in a meat stall. Tiny figures appear in the background, appearing as an allegory for the Holy Family on their flight from Egypt on the left and a tavern scene on the right.A meat stall shows carcasses of cows, pigs, and chickens. In the background on the left are people in a forest and on the right a tavern scene.Antwerp, BelgiumNorth Carolina Museum of Art, Raleigh, NC, USAPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj4.jpghttps://drive.google.com/uc?export=download&id=1DcecJefFKd60pMzMQ8phydYFzENuRY6xhttps://drive.google.com/file/d/1DcecJefFKd60pMzMQ8phydYFzENuRY6x/view?usp=sharing<a href="https://drive.google.com/file/d/1DcecJefFKd60pMzMQ8phydYFzENuRY6x/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This oil painting, with its realistic detail and veiled religious imagery, is a classic example of the Northern European tradition seen from the Renaissance through the Baroque period. The vivid and graphic depiction of meat contrasted with the faint religious scenes in the background may be a commentary on the conflicting values of the spiritual and physical realms.Europe, Northern and Western Europe, NetherlandsNorthern and Western European, Netherlandish, RenaissancePaintingEurope, Northern and Western Europe, Netherlands, Northern and Western European, Netherlandish, Renaissance, PaintingEurope, Northern and Western Europe, Netherlands, Northern and Western European, Netherlandish, Renaissance, PaintingPublic Domain<br/>Bread, butter, milk, cheese, various meats, and other delicacies are laid out in a meat stall. Tiny figures appear in the background, appearing as an allegory for the Holy Family on their flight from Egypt on the left and a tavern scene on the right.Crossroadshttps://www.khanacademy.org/humanities/renaissance-reformation/northern/antwerp-bruges/a/pieter-aertsen-meat-stallThere are several allusions to Christianity, such as the fish that are laid out in the shape of a cross. For more information.<ul><li><a href="https://www.khanacademy.org/humanities/renaissance-reformation/northern/antwerp-bruges/a/pieter-aertsen-meat-stall" target="_blank">There are several allusions to Christianity, such as the fish that are laid out in the shape of a cross. For more information.</a></li></ul>ImageSign in Flemish: "behind here are 154 rods of land for sale immediately, either by the rod according to your convenience or all at once"oil on panel115.6 x 168.9 cm16th Century CE, Renaissance, Northern RenaissanceInverted Still Life, Flight into Egyptpanel paintingN/AN/AN/ABB/HMhttps://commons.wikimedia.org/wiki/File:A_Meat_Stall_with_the_Holy_Family_Giving_Alms_-_Pieter_Aertsen_-_Google_Cultural_Institute.jpg4<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000004%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
6
0000054002022-08-01 22:45:45Abbey of the Dormition (reconstruction)CE 400<a href="https://drive.google.com/file/d/1KPhf4Mc_g00J4h0kHv5VdfZVsWLogtOf/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 400<br/>Artist/Agent: Unknown<br/>Place of Origin: Jerusalem<br/>Current Location: Jerusalem<br/>Cultural Context: Middle Eastern, Israeli, Jerusalem, Christendom<br/>Worktype: Architecture<br/><br/>This Cathedral reconstruction was built in 1906 upon foundations of the Byzantine basilica Hagia Sion. It was destroyed by Sassanian king Khosrau II in 614. Believers claim the basilica’s location is where Jesus’ mother Mary died.<br/><br/> <ul><li><a href="https://drive.google.com/file/d/1EiARLYFMCFiCTEjqEl8Dtv7JVHoH9qhb/view?usp=sharing" target="_blank">Click here to see an image of mosaics inside the Hungarian Chapel of the Abbey of the Dormition. (CC BY-SA 4.0 International Ramirez HUN)</a></li></ul><br/><br/>[leaflet-map lat=31.7718311619102 lng=35.2290654552471 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Jerusalem [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1659380695531!6m8!1m7!1sCAoSLEFGMVFpcFBUOVcwdTJnek5vZVczMUFVOVVDc2NqN29kZzlCUWpPX3U5Q2c1!2m2!1d31.771667!2d35.229044!3f313.69607999999994!4f8.217635999999999!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>UnknownA circular building of stone with a cone-shaped roof and a cross on top is supported by exterior square-shaped columns, each with a coned top. A chapel with an apse is on the right.A circular building of stone with a cone-shaped roof and a cross on top.JerusalemJerusalemCC 4.0 BY-SA Attribution Godot13 https://globalimages.liberalstudies.hosting.nyu.edu/images/obj5.jpghttps://drive.google.com/uc?export=download&id=1KPhf4Mc_g00J4h0kHv5VdfZVsWLogtOfhttps://drive.google.com/file/d/1KPhf4Mc_g00J4h0kHv5VdfZVsWLogtOf/view?usp=sharing<a href="https://drive.google.com/file/d/1KPhf4Mc_g00J4h0kHv5VdfZVsWLogtOf/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This Cathedral reconstruction was built in 1906 upon foundations of the Byzantine basilica Hagia Sion. It was destroyed by Sassanian king Khosrau II in 614. Believers claim the basilica’s location is where Jesus’ mother Mary died.Middle East, IsraelMiddle Eastern, Israeli, Jerusalem, ChristendomArchitectureMiddle East, Israel, Middle Eastern, Israeli, Jerusalem, Christendom, ArchitectureMiddle East, Israel, Middle Eastern, Israeli, Jerusalem, Christendom, ArchitectureCC 4.0 BY-SA Attribution Godot13 <br/>A circular building of stone with a cone-shaped roof and a cross on top is supported by exterior square-shaped columns, each with a coned top. A chapel with an apse is on the right.Antiquityhttps://drive.google.com/file/d/1EiARLYFMCFiCTEjqEl8Dtv7JVHoH9qhb/view?usp=sharingClick here to see an image of mosaics inside the Hungarian Chapel of the Abbey of the Dormition. (CC BY-SA 4.0 International Ramirez HUN)<ul><li><a href="https://drive.google.com/file/d/1EiARLYFMCFiCTEjqEl8Dtv7JVHoH9qhb/view?usp=sharing" target="_blank">Click here to see an image of mosaics inside the Hungarian Chapel of the Abbey of the Dormition. (CC BY-SA 4.0 International Ramirez HUN)</a></li></ul>ImageN/AlimestoneN/AEarly 5th Century CEChristianityN/AN/AN/AN/Apl/cphttps://en.wikipedia.org/wiki/Abbey_of_the_Dormition#/media/File:ISR-2015-Jerusalem-Dormition_Abbey.jpg31.7718311635.2290654631.7718311635.22906546<iframe src="https://www.google.com/maps/embed?pb=!4v1659380695531!6m8!1m7!1sCAoSLEFGMVFpcFBUOVcwdTJnek5vZVczMUFVOVVDc2NqN29kZzlCUWpPX3U5Q2c1!2m2!1d31.771667!2d35.229044!3f313.69607999999994!4f8.217635999999999!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>[leaflet-map lat=31.7718311619102 lng=35.2290654552471 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Jerusalem [/leaflet-marker]Yes5<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000005%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
7
000006-2682022-08-02 10:47:47Adoration of Pillar of Ashoka -- SanchiBCE 268-232 <a href="https://drive.google.com/file/d/145NQV-RQ8Lofnf-6HU3VfXYpsaAQbSm8/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 268-232 <br/>Artist/Agent: Unknown<br/>Place of Origin: Sanchi, India<br/>Current Location: Sanchi, India<br/>Cultural Context: South Asian, Indian, Indian Buddhist<br/>Worktype: Sculpture<br/><br/>This is monumental scale relief carving on the Great Temple at Sanchi of the Adoration of an Ashoka pillar. It was under King Ashoka that the pillars were commissioned. Mauryan king Ashoka began as a brutal tyrant then repented his violence, converted to Buddhism and erected these pillars through South Asia. They are inscribed with Buddhist edicts. Here is a link to an Ashoka pillar at Sarnath and another at Sanchi. The Great Stupa at Sanchi represents one of the most imposing monuments of the Maurya Dynasty founded by Ashoka. Ashoka was the first to unite most of the Indian subcontinent in a single (if short-lived) state and to support the spread of Buddhism (though the Great Stupa at Sanchi did not achieve its full expression until around 60 BCE, almost two hundred years after Ashoka’s time). The Stupa is built over what was purported to be a portion of the physical body of the Buddha; worshippers did not enter the stupa, but walked around it in clockwise fashion, contemplating the images carved upon it. This image would reinforce the ideal of a perfect Buddhist King; the image of the pillar shows the Dharmachakra (Wheel of Dharma, the order of life, a substitute for the Buddha, who was not yet depicted directly) atop a lion throne. Lions represented the upholders of Dharma.<br/><br/> <ul><li><a href="https://www.metmuseum.org/toah/hd/maur/hd_maur.htm" target="_blank">The MMA has a good short article on Ashoka here, called "Mauryan Empire (ca. 323–185 B.C.)"</a></li></ul><br/><br/>[leaflet-map lat=23.4800427883301 lng=77.7399838045493 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Sanchi, India [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1659022979612!6m8!1m7!1sJE_iRIJnZQXijdksqw6WVA!2m2!1d23.47987454894121!2d77.7400215721882!3f17.212199461771032!4f6.3652839986906145!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>UnknownRelief of the adoration of the pillar of Ashoka on the Great Temple at Sanchi Stupa. South Gateway Right pillar top panel.Relief of the adoration of the pillar of Ashoka on the Great Temple at Sanchi Stupa.Sanchi, IndiaSanchi, IndiaCC BY-SA 3.0 Nandanupadhyayhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj6.jpghttps://drive.google.com/uc?export=download&id=145NQV-RQ8Lofnf-6HU3VfXYpsaAQbSm8https://drive.google.com/file/d/145NQV-RQ8Lofnf-6HU3VfXYpsaAQbSm8/view?usp=sharing<a href="https://drive.google.com/file/d/145NQV-RQ8Lofnf-6HU3VfXYpsaAQbSm8/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This is monumental scale relief carving on the Great Temple at Sanchi of the Adoration of an Ashoka pillar. It was under King Ashoka that the pillars were commissioned. Mauryan king Ashoka began as a brutal tyrant then repented his violence, converted to Buddhism and erected these pillars through South Asia. They are inscribed with Buddhist edicts. Here is a link to an Ashoka pillar at Sarnath and another at Sanchi. The Great Stupa at Sanchi represents one of the most imposing monuments of the Maurya Dynasty founded by Ashoka. Ashoka was the first to unite most of the Indian subcontinent in a single (if short-lived) state and to support the spread of Buddhism (though the Great Stupa at Sanchi did not achieve its full expression until around 60 BCE, almost two hundred years after Ashoka’s time). The Stupa is built over what was purported to be a portion of the physical body of the Buddha; worshippers did not enter the stupa, but walked around it in clockwise fashion, contemplating the images carved upon it. This image would reinforce the ideal of a perfect Buddhist King; the image of the pillar shows the Dharmachakra (Wheel of Dharma, the order of life, a substitute for the Buddha, who was not yet depicted directly) atop a lion throne. Lions represented the upholders of Dharma.Asia, South Asia, IndiaSouth Asian, Indian, Indian BuddhistSculptureAsia, South Asia, India, South Asian, Indian, Indian Buddhist, SculptureAsia, South Asia, India, South Asian, Indian, Indian Buddhist, SculptureCC BY-SA 3.0 Nandanupadhyay<br/>Relief of the adoration of the pillar of Ashoka on the Great Temple at Sanchi Stupa. South Gateway Right pillar top panel.Antiquityhttps://www.metmuseum.org/toah/hd/maur/hd_maur.htmThe MMA has a good short article on Ashoka here, called "Mauryan Empire (ca. 323–185 B.C.)"<ul><li><a href="https://www.metmuseum.org/toah/hd/maur/hd_maur.htm" target="_blank">The MMA has a good short article on Ashoka here, called "Mauryan Empire (ca. 323–185 B.C.)"</a></li></ul>ImageN/Apolished sandstoneN/A3rd Century BCEIndian Buddhism, AshokaN/AN/AFrom the Great Temple at Sanchi StupaN/AAM/rshttps://commons.wikimedia.org/wiki/File:Carving_of_Ashokan_pillar_at_Sanchi.jpg23.4800427977.739983823.4800427977.7399838<iframe src="https://www.google.com/maps/embed?pb=!4v1659022979612!6m8!1m7!1sJE_iRIJnZQXijdksqw6WVA!2m2!1d23.47987454894121!2d77.7400215721882!3f17.212199461771032!4f6.3652839986906145!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>[leaflet-map lat=23.4800427883301 lng=77.7399838045493 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Sanchi, India [/leaflet-marker]Yes6<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000006%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
8
0000076002022-08-01 22:17:17Adulis Archaeological SiteCE 600-700 <a href="https://drive.google.com/file/d/1bI_4JKrtHRJPjyOlEkKMGAj2gHEiScg8/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 600-700 <br/>Artist/Agent: Unknown<br/>Place of Origin: Aksum, Adulis, Ethiopia<br/>Current Location: Aksum, Adulis, Ethiopia<br/>Cultural Context: East African, Ethiopian, Christendom<br/>Worktype: Architecture<br/><br/>This stone foundation is an example of early Christian or Roman influence in what is now called Eritrea, on the western coast of the Red Sea. Studying this architectural ruin reveals it to be an oriented basilica with stepped podia. This design resembles those elsewhere in the Middle East (Syria, Palestine, Asia Minor) -- wherever Roman influence was felt in the region during its expansions in the fifth century CE. While this building was clearly built by and for the Aksum civilization that flourished here along the trade route between the Roman and Indian empires, artifacts that pre-date the Aksum epoch are sourced to a so-called Adulitarian culture that traded with both Egypt and Greece.<br/><br/> <ul><li><a href="https://www.metmuseum.org/toah/hd/acet/hd_acet.htm" target="_blank">"African Christianity in Ethiopia" essay, MET's Heilbrunn Timeline.</a></li><li><a href="https://www.persee.fr/doc/ethio_0066-2127_2011_num_26_1_1432" target="_blank">Archaeological essay.</a></li><li><a href="https://www.metmuseum.org/toah/hd/aksu_1/hd_aksu_1.htm" target="_blank">Essay on the Aksumite Civilization from MET's Heilbrunn Timeline.</a></li></ul><br/><br/>[leaflet-map lat=15.27164701 lng=39.68270373 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Aksum, Adulis, Eritrea [/leaflet-marker]<br/><br/>UnknownA large rectangular stone foundation with three tiers has been dug out of the ground. A trench surrounds the foundation. The center of the rectangle is full of dirt. A large rectangular stone foundation with three tiers has been dug out of the ground. A trench surrounds the foundation. The center of the rectangle is full of dirt.Aksum, Adulis, EthiopiaAksum, Adulis, EthiopiaCC BY 2.0 David Stanleyhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj7.jpghttps://drive.google.com/uc?export=download&id=1bI_4JKrtHRJPjyOlEkKMGAj2gHEiScg8https://drive.google.com/file/d/1bI_4JKrtHRJPjyOlEkKMGAj2gHEiScg8/view?usp=sharing<a href="https://drive.google.com/file/d/1bI_4JKrtHRJPjyOlEkKMGAj2gHEiScg8/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This stone foundation is an example of early Christian or Roman influence in what is now called Eritrea, on the western coast of the Red Sea. Studying this architectural ruin reveals it to be an oriented basilica with stepped podia. This design resembles those elsewhere in the Middle East (Syria, Palestine, Asia Minor) -- wherever Roman influence was felt in the region during its expansions in the fifth century CE. While this building was clearly built by and for the Aksum civilization that flourished here along the trade route between the Roman and Indian empires, artifacts that pre-date the Aksum epoch are sourced to a so-called Adulitarian culture that traded with both Egypt and Greece.Africa South of Sahara, Eastern Africa, EthiopiaEast African, Ethiopian, ChristendomArchitectureAfrica South of Sahara, Eastern Africa, Ethiopia, East African, Ethiopian, Christendom, ArchitectureAfrica South of Sahara, Eastern Africa, Ethiopia, East African, Ethiopian, Christendom, ArchitectureCC BY 2.0 David Stanley<br/>A large rectangular stone foundation with three tiers has been dug out of the ground. A trench surrounds the foundation. The center of the rectangle is full of dirt. Crossroadshttps://www.metmuseum.org/toah/hd/acet/hd_acet.htm"African Christianity in Ethiopia" essay, MET's Heilbrunn Timeline.https://www.persee.fr/doc/ethio_0066-2127_2011_num_26_1_1432Archaeological essay.https://www.metmuseum.org/toah/hd/aksu_1/hd_aksu_1.htmEssay on the Aksumite Civilization from MET's Heilbrunn Timeline.<ul><li><a href="https://www.metmuseum.org/toah/hd/acet/hd_acet.htm" target="_blank">"African Christianity in Ethiopia" essay, MET's Heilbrunn Timeline.</a></li><li><a href="https://www.persee.fr/doc/ethio_0066-2127_2011_num_26_1_1432" target="_blank">Archaeological essay.</a></li><li><a href="https://www.metmuseum.org/toah/hd/aksu_1/hd_aksu_1.htm" target="_blank">Essay on the Aksumite Civilization from MET's Heilbrunn Timeline.</a></li></ul>ImageN/AN/A26m long x 13m wide7th Century CEEthiopia, ChristianityN/AN/AN/AN/ARSamet/cphttps://en.wikipedia.org/wiki/Adulis#/media/File:Byzantine_Basilica_(8527948107).jpg15.2716470139.6827037315.2716470139.68270373[leaflet-map lat=15.27164701 lng=39.68270373 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Aksum, Adulis, Eritrea [/leaflet-marker]Yes7<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000007%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
9
000008-72002022-08-02 14:36:36Ain Ghazal StatuesBCE 7200-6500<a href="https://drive.google.com/file/d/1GtkZ08kWG79YF6H1NMrTY5usJrFo7mHB/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 7200-6500<br/>Artist/Agent: Unknown<br/>Place of Origin: Jordan<br/>Current Location: The Louvre, The Jordan Museum<br/>Cultural Context: Middle Eastern, Jordanian, Pre-historical<br/>Worktype: Sculpture<br/><br/>Figure made of plaster formed around reeds that have since decomposed, some of these statues are men, women, children, and some have two heads. They were discovered in 1983 and 1985. They were possibly meant to be buried immediately because they are so well-preserved.<br/><br/> <ul><li><a href="https://drive.google.com/file/d/1nNWkBQqTWcPNxvoW6pmaIRiifW78oB5C/view?usp=sharing" target="_blank">Alternative views and other examples</a></li><li><a href="https://drive.google.com/file/d/1IBx1papg0n8lV8wq_cxeK7rMnsuucvuO/view?usp=sharing" target="_blank">Alternative views and other examples</a></li></ul><br/><br/><br/><br/>UnknownA crude statue of a person. The figure is missing arms. Its legs are turned inward. The face is contoured to show nose, brows, and chin. A thin line in the plaster suggests a mouth, and eyes are drawn on with black pigment.A crude statue of a personJordanThe Louvre, The Jordan MuseumCC BY-SA 2.0 ALFGRNhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj8.jpghttps://drive.google.com/uc?export=download&id=1GtkZ08kWG79YF6H1NMrTY5usJrFo7mHBhttps://drive.google.com/file/d/1GtkZ08kWG79YF6H1NMrTY5usJrFo7mHB/view?usp=sharing<a href="https://drive.google.com/file/d/1GtkZ08kWG79YF6H1NMrTY5usJrFo7mHB/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>Figure made of plaster formed around reeds that have since decomposed, some of these statues are men, women, children, and some have two heads. They were discovered in 1983 and 1985. They were possibly meant to be buried immediately because they are so well-preserved.Middle East, Jordan Middle Eastern, Jordanian, Pre-historicalSculptureMiddle East, Jordan , Middle Eastern, Jordanian, Pre-historical, SculptureMiddle East, Jordan , Middle Eastern, Jordanian, Pre-historical, SculptureCC BY-SA 2.0 ALFGRN<br/>A crude statue of a person. The figure is missing arms. Its legs are turned inward. The face is contoured to show nose, brows, and chin. A thin line in the plaster suggests a mouth, and eyes are drawn on with black pigment.Antiquityhttps://drive.google.com/file/d/1nNWkBQqTWcPNxvoW6pmaIRiifW78oB5C/view?usp=sharingAlternative views and other exampleshttps://drive.google.com/file/d/1IBx1papg0n8lV8wq_cxeK7rMnsuucvuO/view?usp=sharingAlternative views and other examples<ul><li><a href="https://drive.google.com/file/d/1nNWkBQqTWcPNxvoW6pmaIRiifW78oB5C/view?usp=sharing" target="_blank">Alternative views and other examples</a></li><li><a href="https://drive.google.com/file/d/1IBx1papg0n8lV8wq_cxeK7rMnsuucvuO/view?usp=sharing" target="_blank">Alternative views and other examples</a></li></ul>ImageN/Aplaster and reedAbout 1m tall, 10cm thickNeolithicJordan, NeolithicN/AN/AN/AN/Awkhttps://en.wikipedia.org/wiki/%27Ain_Ghazal_Statues8<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000008%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
10
00000915862022-08-01 17:07:07Akbar Taming Mad Elephant HawaiCE 1586<a href="https://drive.google.com/file/d/1TxMk_Yz1-LTF2sewZWFGaqnjJIxsgyyg/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1586<br/>Artist/Agent: Basawan and Chetar<br/>Place of Origin: India<br/>Current Location: Victoria and Albert Museum, London, UK<br/>Cultural Context: South Asian, Indian, Muslim, Mughal<br/>Worktype: Painting<br/><br/>This watercolor illustration of charging elephants, sowing chaos and destruction as they go, comes from Akbarnama (Book of Akbar). Atop one of the elephants is a portrait of Akbar: barefoot, fearless, and whipping his mount forward in a race. Everywhere, the water shows agitation, and the range of reactions from the crowd -- total panic in the foreground, mild concern in the background -- implies a form of leadership with great energy and unpredictability. Much about Abū al-Fatḥ Jalāl al-Dīn Muḥammad Akbar's trajectory into leadership was non-traditional if not unlikely. The grandson of Genghis Khan inherited a troubled kingdom when he was 13 years old. He astonished loyalists and impressed rivals during his reign (1556-1605 CE) by fostering unity and loyalty among Muslims and non-Muslims alike throughout most of the Indian subcontinent, openness towards foreign cultures, and support of scholarship and arts productions.<br/><br/> <ul><li><a href="https://www.khanacademy.org/humanities/art-islam/islamic-art-late-period/a/illustration-from-the-akbarnama" target="_blank">A close analysis of this painting by Katrina Klaasmeyer is available at the Khan Academy websiste.</a></li><li><a href="http://collections.vam.ac.uk/item/O9408/akbar-painting-basawan/" target="_blank">The webpage for this object at the Victoria and Albert Museum.</a></li><li><a href="http://collections.vam.ac.uk/item/O9403/akbar-painting-basawan/" target="_blank">An additional webpage for this object at the Victoria and Albert Museum.</a></li><li><a href="https://drive.google.com/file/d/11oT3gLa8DspQCf0BzyCoYmJxfWTWHPeX/view?usp=sharing" target="_blank">Additional View. Right Side</a></li></ul><br/><br/><br/><br/>Basawan and ChetarOn the left panel, two elephants run across a river's bridge that is supported by boats, while people dive and swim nearby. A man is riding one of the elephants. On the right panel, a crowd of people watch the elephants and react with various expressions ranging from panic to mild concern.Painting of a king directing his subjects to tame an elephantIndiaVictoria and Albert Museum, London, UKPublic Domain
https://globalimages.liberalstudies.hosting.nyu.edu/images/obj9.jpghttps://drive.google.com/uc?export=download&id=1TxMk_Yz1-LTF2sewZWFGaqnjJIxsgyyghttps://drive.google.com/file/d/1TxMk_Yz1-LTF2sewZWFGaqnjJIxsgyyg/view?usp=sharing<a href="https://drive.google.com/file/d/1TxMk_Yz1-LTF2sewZWFGaqnjJIxsgyyg/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This watercolor illustration of charging elephants, sowing chaos and destruction as they go, comes from Akbarnama (Book of Akbar). Atop one of the elephants is a portrait of Akbar: barefoot, fearless, and whipping his mount forward in a race. Everywhere, the water shows agitation, and the range of reactions from the crowd -- total panic in the foreground, mild concern in the background -- implies a form of leadership with great energy and unpredictability. Much about Abū al-Fatḥ Jalāl al-Dīn Muḥammad Akbar's trajectory into leadership was non-traditional if not unlikely. The grandson of Genghis Khan inherited a troubled kingdom when he was 13 years old. He astonished loyalists and impressed rivals during his reign (1556-1605 CE) by fostering unity and loyalty among Muslims and non-Muslims alike throughout most of the Indian subcontinent, openness towards foreign cultures, and support of scholarship and arts productions.Asia, South Asia, India South Asian, Indian, Muslim, MughalPaintingAsia, South Asia, India , South Asian, Indian, Muslim, Mughal, PaintingAsia, South Asia, India , South Asian, Indian, Muslim, Mughal, PaintingPublic Domain
<br/>On the left panel, two elephants run across a river's bridge that is supported by boats, while people dive and swim nearby. A man is riding one of the elephants. On the right panel, a crowd of people watch the elephants and react with various expressions ranging from panic to mild concern.		Crossroadshttps://www.khanacademy.org/humanities/art-islam/islamic-art-late-period/a/illustration-from-the-akbarnamaA close analysis of this painting by Katrina Klaasmeyer is available at the Khan Academy websiste.http://collections.vam.ac.uk/item/O9408/akbar-painting-basawan/The webpage for this object at the Victoria and Albert Museum.http://collections.vam.ac.uk/item/O9403/akbar-painting-basawan/An additional webpage for this object at the Victoria and Albert Museum.https://drive.google.com/file/d/11oT3gLa8DspQCf0BzyCoYmJxfWTWHPeX/view?usp=sharingAdditional View. Right Side<ul><li><a href="https://www.khanacademy.org/humanities/art-islam/islamic-art-late-period/a/illustration-from-the-akbarnama" target="_blank">A close analysis of this painting by Katrina Klaasmeyer is available at the Khan Academy websiste.</a></li><li><a href="http://collections.vam.ac.uk/item/O9408/akbar-painting-basawan/" target="_blank">The webpage for this object at the Victoria and Albert Museum.</a></li><li><a href="http://collections.vam.ac.uk/item/O9403/akbar-painting-basawan/" target="_blank">An additional webpage for this object at the Victoria and Albert Museum.</a></li><li><a href="https://drive.google.com/file/d/11oT3gLa8DspQCf0BzyCoYmJxfWTWHPeX/view?usp=sharing" target="_blank">Additional View. Right Side</a></li></ul>ImageContemporary librarian's attributions in Persian, in red ink in the margin below the paintingopaque watercolor and gold on paper33 x 20 cm16th Century CE, MughalMughal manuscript, AkbarN/AN/Aillustration from The Akbarnama (Book of Akbar)N/AWK/cphttps://commons.wikimedia.org/wiki/File:Basawan._Akbar_Taming_Mad_Elephant_Hawai._Composition_by_Basawan,_coloring_by_Chitra._(right_part)_Akbarnama,_ca._1590,_Victoria_and_Albert_Museum,_London.._(2).jpg9<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000009%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
11
000010-13532022-08-02 12:50:50Akhenaten & Family Blessed by AtenBCE 1353-1336 <a href="https://drive.google.com/file/d/14miBbHZMgVM214zZfXJvMNQKZRYdYMDC/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 1353-1336 <br/>Artist/Agent: Unknown<br/>Place of Origin: Tel-el-Amarna, Egypt<br/>Current Location: Egyptian Museum, Berlin<br/>Cultural Context: Ancient Egyptian, New Kingdom<br/>Worktype: Sculpture<br/><br/>A stone surface carved in a relief sculpture of a domestic scene of Pharaoh Amenhotep IV, queen Nefertiti, and their daughters. Notice how the body forms show elongated arms and sagging rounded bellies. These are typical of Amarna markers of style and represent a radical change in the traditionally muscular, rigid, and idealized styles that had marked statues of royalty prior.<br/><br/> <br/><br/><br/><br/>UnknownA relief carved in a rectangle of stone shows two seated figures, facing each other, holding children. Above and between them is a sun showering down rays.A relief carved in a rectangle of stone shows two seated figures, facing each other, holding children. Tel-el-Amarna, EgyptEgyptian Museum, BerlinCC BY-NC-ND 3.0 Troels Myruphttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj10.jpghttps://drive.google.com/uc?export=download&id=14miBbHZMgVM214zZfXJvMNQKZRYdYMDChttps://drive.google.com/file/d/14miBbHZMgVM214zZfXJvMNQKZRYdYMDC/view?usp=sharing<a href="https://drive.google.com/file/d/14miBbHZMgVM214zZfXJvMNQKZRYdYMDC/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>A stone surface carved in a relief sculpture of a domestic scene of Pharaoh Amenhotep IV, queen Nefertiti, and their daughters. Notice how the body forms show elongated arms and sagging rounded bellies. These are typical of Amarna markers of style and represent a radical change in the traditionally muscular, rigid, and idealized styles that had marked statues of royalty prior.Africa North of Sahara, Nile River ValleyAncient Egyptian, New KingdomSculptureAfrica North of Sahara, Nile River Valley, Ancient Egyptian, New Kingdom, SculptureAfrica North of Sahara, Nile River Valley, Ancient Egyptian, New Kingdom, SculptureCC BY-NC-ND 3.0 Troels Myrup<br/>A relief carved in a rectangle of stone shows two seated figures, facing each other, holding children. Above and between them is a sun showering down rays.AntiquityImageN/Alimestone31 x 38.7 cm2nd Millennium BCE, New KingdomAkhenatenbas-relief carvingN/AN/AN/Amt/cphttps://www.ancient.eu/image/6946/10<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000010%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
12
000011-13492022-08-02 12:43:43Akhenaten as SphinxBCE 1349-1336<a href="https://drive.google.com/file/d/194VUe5I_kIL9DjIjXCefwgmKgCcz7m5G/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 1349-1336<br/>Artist/Agent: Unknown<br/>Place of Origin: Tel-el-Amarna, Egypt<br/>Current Location: Museum of Fine Arts, Boston, Egyptian New Kingdom Gallery (Gallery 210) <br/>Cultural Context: Ancient Egyptian, New Kingdom<br/>Worktype: Sculpture<br/><br/>The sphinx of Akhenaten in this stone relief carving has human arms and hands that gesture in respect with one hand, and make offerings in a dish to Aten, the god representing the sun, with the other. Most sphinxes from the Old Kingdom periods showed lion’s paws, but this New Kingdom Pharaoh of the 18th Dynasty radically reformed traditional Egyptian religion and its iconography during his 17-year reign (1319-36 BCE). Akhenaten had assumed the throne under the name Amenhotep IV, but changed it early in his reign to “Akhenaten,” thus identifying himself as the servant of the god of the sun disk, Aten. Further, Akhenaten ordered the replacement of the pantheon of Egyptian gods and goddesses with Aten as the sole god. Akhenaten also changed way pharaohs were represented. In this example, look at the thin elongated forearms, or on the face the long nose, hollow cheeks, or drooping chin — all of these styles are departures from the smoothly symmetrical idealizations of royalty made by previous artisans. <br/><br/> <ul><li><a href="https://www.mfa.org/collections/object/relief-of-akhenaten-as-a-sphinx-46197" target="_blank">Information from Boston Museum Website </a></li><li><a href="https://globalimages.liberalstudies.hosting.nyu.edu/sculpture/akhenaten-family-blessed-by-aten/" target="_blank">Useful comparison with Akhenaten & Family Blessed by Aten </a></li></ul><br/><br/><br/><br/>UnknownOn a flat rectangular stone surface is carved in relief a sun-shaped disk in the upper left, radiating lines downward. At the ends of the lines are hands, some holding ahks. Beneath the disk are candle-shaped offering stands. Facing the rays on the right is a crouching lion’s body with a human head and arms that are lifted in gestures of respect and offerings. Egyptian hieroglyphs, some encircled in cartouches, are above the lion’s body and on the left.Stone relief of Akhenaten as SphinxTel-el-Amarna, EgyptMuseum of Fine Arts, Boston, Egyptian New Kingdom Gallery (Gallery 210) ArtStor Museum of Fine Arts, Boston, Collectionhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj11.jpghttps://drive.google.com/uc?export=download&id=194VUe5I_kIL9DjIjXCefwgmKgCcz7m5Ghttps://drive.google.com/file/d/194VUe5I_kIL9DjIjXCefwgmKgCcz7m5G/view?usp=sharing<a href="https://drive.google.com/file/d/194VUe5I_kIL9DjIjXCefwgmKgCcz7m5G/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>The sphinx of Akhenaten in this stone relief carving has human arms and hands that gesture in respect with one hand, and make offerings in a dish to Aten, the god representing the sun, with the other. Most sphinxes from the Old Kingdom periods showed lion’s paws, but this New Kingdom Pharaoh of the 18th Dynasty radically reformed traditional Egyptian religion and its iconography during his 17-year reign (1319-36 BCE). Akhenaten had assumed the throne under the name Amenhotep IV, but changed it early in his reign to “Akhenaten,” thus identifying himself as the servant of the god of the sun disk, Aten. Further, Akhenaten ordered the replacement of the pantheon of Egyptian gods and goddesses with Aten as the sole god. Akhenaten also changed way pharaohs were represented. In this example, look at the thin elongated forearms, or on the face the long nose, hollow cheeks, or drooping chin — all of these styles are departures from the smoothly symmetrical idealizations of royalty made by previous artisans. Africa North of Sahara, Nile River ValleyAncient Egyptian, New KingdomSculptureAfrica North of Sahara, Nile River Valley, Ancient Egyptian, New Kingdom, SculptureAfrica North of Sahara, Nile River Valley, Ancient Egyptian, New Kingdom, SculptureArtStor Museum of Fine Arts, Boston, Collection<br/>On a flat rectangular stone surface is carved in relief a sun-shaped disk in the upper left, radiating lines downward. At the ends of the lines are hands, some holding ahks. Beneath the disk are candle-shaped offering stands. Facing the rays on the right is a crouching lion’s body with a human head and arms that are lifted in gestures of respect and offerings. Egyptian hieroglyphs, some encircled in cartouches, are above the lion’s body and on the left.Antiquityhttps://www.mfa.org/collections/object/relief-of-akhenaten-as-a-sphinx-46197Information from Boston Museum Website https://globalimages.liberalstudies.hosting.nyu.edu/sculpture/akhenaten-family-blessed-by-aten/Useful comparison with Akhenaten & Family Blessed by Aten <ul><li><a href="https://www.mfa.org/collections/object/relief-of-akhenaten-as-a-sphinx-46197" target="_blank">Information from Boston Museum Website </a></li><li><a href="https://globalimages.liberalstudies.hosting.nyu.edu/sculpture/akhenaten-family-blessed-by-aten/" target="_blank">Useful comparison with Akhenaten & Family Blessed by Aten </a></li></ul>ImageN/Alimestone51 x 105.5 x 5.2 cm 2nd Millennium BCE, New KingdomAkhenatenbas-relief carvingN/AN/AN/Amt/cphttps://library.artstor.org/#/asset/AMICO_BOSTON_10383957411<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000011%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
13
000012-22502022-08-02 13:51:51Akkadian Ruler HeadBCE 2250<a href="https://drive.google.com/file/d/1dKE6NqIqdZJy7AuD-reCA8h7aXE-mL9w/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 2250<br/>Artist/Agent: Unknown<br/>Place of Origin: Ancient Near East<br/>Current Location: Iraq Museum, Baghdad <br/>Cultural Context: Middle Eastern, Mesopotamian, Akkadian<br/>Worktype: Sculpture<br/><br/>This head of an Akkadian ruler is one of the great masterpieces of antiquity, showing not just the metallurgical skill of artists who cast this bronze sculpture in the third millennium BCE, but also the skills of portraiture in the way a leader’s power is portrayed in the shapes of the face. Some experts believe this bust to be Sargon of Akkad, the first ruler of the Semitic-speaking Akkadian Empire, or his grandson, Naram-Sin. The robust beard, the crown, the bold eyebrows, the stern expression — these all convey to viewers the power and importance of their leader. It’s likely this head was mounted on a life-sized body of either painted wood or bronze, and the eye sockets filled with shells resembling ever-watchful eyes, which are now lost or disintegrated.<br/><br/> <br/><br/><br/><br/>UnknownThe life-sized bronze head features a robust beard and strong facial features. The left eye socket is intact, but the right eye socket has been gouged out violently. A headpiece with textured triangular patterns crowns the head.life-sized bronze headAncient Near EastIraq Museum, Baghdad ArtStor © 2006, SCALA, Florence / ART RESOURCE, N.Y.https://globalimages.liberalstudies.hosting.nyu.edu/images/obj12.jpghttps://drive.google.com/uc?export=download&id=1dKE6NqIqdZJy7AuD-reCA8h7aXE-mL9whttps://drive.google.com/file/d/1dKE6NqIqdZJy7AuD-reCA8h7aXE-mL9w/view?usp=sharing<a href="https://drive.google.com/file/d/1dKE6NqIqdZJy7AuD-reCA8h7aXE-mL9w/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This head of an Akkadian ruler is one of the great masterpieces of antiquity, showing not just the metallurgical skill of artists who cast this bronze sculpture in the third millennium BCE, but also the skills of portraiture in the way a leader’s power is portrayed in the shapes of the face. Some experts believe this bust to be Sargon of Akkad, the first ruler of the Semitic-speaking Akkadian Empire, or his grandson, Naram-Sin. The robust beard, the crown, the bold eyebrows, the stern expression — these all convey to viewers the power and importance of their leader. It’s likely this head was mounted on a life-sized body of either painted wood or bronze, and the eye sockets filled with shells resembling ever-watchful eyes, which are now lost or disintegrated.Middle East, MesopotamiaMiddle Eastern, Mesopotamian, AkkadianSculptureMiddle East, Mesopotamia, Middle Eastern, Mesopotamian, Akkadian, SculptureMiddle East, Mesopotamia, Middle Eastern, Mesopotamian, Akkadian, SculptureArtStor © 2006, SCALA, Florence / ART RESOURCE, N.Y.<br/>The life-sized bronze head features a robust beard and strong facial features. The left eye socket is intact, but the right eye socket has been gouged out violently. A headpiece with textured triangular patterns crowns the head.AntiquityImageN/AbronzeH. 30.7 cm3rd Millennium BCE, AkkadianAkkad, Sargonlost-wax castingN/AN/AN/Acphttps://library.artstor.org/asset/SCALA_ARCHIVES_1031047529412<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000012%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
14
00001315002022-08-01 18:03:03Album of Calligraphies Including Poetry and Prophetic Traditions (Hadith)CE 1500<a href="https://drive.google.com/file/d/1fTgxnu_UDiRO-T0-9tJyeFU_a2JpqGx0/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1500<br/>Artist/Agent: Shaikh Hamdullah ibn Mustafa Dede<br/>Place of Origin: Istanbul, Turkey<br/>Current Location: The Metropolitan Museum of Art, New York, NY, USA<br/>Cultural Context: Middle Eastern, Turkish, Muslim<br/>Worktype: Manuscript
<br/><br/>The Ottoman-era calligrapher Shaykh Hamdullah penned the letters of this manuscript. Look on this page for the lines of small script (naskh), which are excerpted, and therefore emphasized, by larger scripts (thuluth or muhaqqaq). The marbleized paper is made by floating droplets of colored ink in a water bath, then running a comb through it to create a pattern. Sheets of paper soak up the pattern. Each page shows a different pattern. <br/><br/> <ul><li><a href="https://www.metmuseum.org/toah/hd/isbk/hd_isbk.htm" target="_blank">The Arts of the Book in the Islamic World, 1600–1800, Helbrunn Timeline essay.</a></li><li><a href="https://www.metmuseum.org/art/collection/search/453166" target="_blank">MMA website for this manuscript page.</a></li><li><a href="https://www.metmuseum.org/toah/works-of-art/1982.120.3/" target="_blank">Heilbrunn Timeline page for this manuscript.</a></li><li><a href="https://www.metmuseum.org/toah/hd/otto1/hd_otto1.htm
" target="_blank">The Art of the Ottomans before 1600, Heilbrunn Timeline essay.</a></li></ul><br/><br/><br/><br/>		Shaikh Hamdullah ibn Mustafa DedeTwo horizontal rectangles of paper are placed one above the other in this photograph. In the center of each is a rectangle showing Arabic script in black ink, in large and small formats. The paper surrounding the inner rectangles is marbled in muted pinks, blues, and greens. A manuscript with illustrations and Arabic calligraphyIstanbul, TurkeyThe Metropolitan Museum of Art, New York, NY, USACC 1.0 Univeral Public Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj13.jpghttps://drive.google.com/uc?export=download&id=1fTgxnu_UDiRO-T0-9tJyeFU_a2JpqGx0https://drive.google.com/file/d/1fTgxnu_UDiRO-T0-9tJyeFU_a2JpqGx0/view?usp=sharing



<a href="https://drive.google.com/file/d/1fTgxnu_UDiRO-T0-9tJyeFU_a2JpqGx0/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>The Ottoman-era calligrapher Shaykh Hamdullah penned the letters of this manuscript. Look on this page for the lines of small script (naskh), which are excerpted, and therefore emphasized, by larger scripts (thuluth or muhaqqaq). The marbleized paper is made by floating droplets of colored ink in a water bath, then running a comb through it to create a pattern. Sheets of paper soak up the pattern. Each page shows a different pattern. Middle East, TurkeyMiddle Eastern, Turkish, MuslimManuscript
Middle East, Turkey, Middle Eastern, Turkish, Muslim, Manuscript
Middle East, Turkey, Middle Eastern, Turkish, Muslim, Manuscript
CC 1.0 Univeral Public Domain<br/>Two horizontal rectangles of paper are placed one above the other in this photograph. In the center of each is a rectangle showing Arabic script in black ink, in large and small formats. The paper surrounding the inner rectangles is marbled in muted pinks, blues, and greens. Crossroadshttps://www.metmuseum.org/toah/hd/isbk/hd_isbk.htmThe Arts of the Book in the Islamic World, 1600–1800, Helbrunn Timeline essay.https://www.metmuseum.org/art/collection/search/453166MMA website for this manuscript page.https://www.metmuseum.org/toah/works-of-art/1982.120.3/Heilbrunn Timeline page for this manuscript.https://www.metmuseum.org/toah/hd/otto1/hd_otto1.htm
The Art of the Ottomans before 1600, Heilbrunn Timeline essay.<ul><li><a href="https://www.metmuseum.org/toah/hd/isbk/hd_isbk.htm" target="_blank">The Arts of the Book in the Islamic World, 1600–1800, Helbrunn Timeline essay.</a></li><li><a href="https://www.metmuseum.org/art/collection/search/453166" target="_blank">MMA website for this manuscript page.</a></li><li><a href="https://www.metmuseum.org/toah/works-of-art/1982.120.3/" target="_blank">Heilbrunn Timeline page for this manuscript.</a></li><li><a href="https://www.metmuseum.org/toah/hd/otto1/hd_otto1.htm
" target="_blank">The Art of the Ottomans before 1600, Heilbrunn Timeline essay.</a></li></ul>		ImageN/AMain support: ink, watercolor, and gold on paper
Margins: ink, watercolor, and gold on marbled paper
Binding: leather and gold		32.1 x 23.8 cm16th Century CEArabic calligraphyN/AN/AN/AN/ARSamet/cphttps://www.metmuseum.org/art/collection/search/45316613<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000013%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
15
00001414002022-08-01 19:19:19Alexander the Great or Hector of Troy (Nine Heroes Tapestries)CE 1400-1410<a href="https://drive.google.com/file/d/1RdWSj9GwXWHbr0FsxIceCZFGZlChjyMR/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1400-1410<br/>Artist/Agent: Unknown<br/>Place of Origin: Southern Netherlands<br/>Current Location: The Metropolitan Museum of Art, New York, NY, USA<br/>Cultural Context: Northern and Western European, Netherlandish, Christendom<br/>Worktype: Textile<br/><br/>One of the earliest surviving medieval tapestry sets, the Nine Heroes tapestries were inspired by a poem of the same title (sometimes translated as Nine Worthies or Nine Valiants) by Jacques de Longuyon. The Nine Heroes were composed of three pagan leaders, three Hebrew, and three Christian figures, the equal combination of the Classical, Hebrew Bible, and Christian traditions recalling Dante's Commedia. The depictions employ symbolic scale (the larger a figure, the more important) and a combination of perspectives (one can see the roof bosses where the arches join even though one is looking straight at the figures beneath them). Regardless of their historical origins, all figures are shown in the garb of the late 14th or early 15h century, when the tapestries were created.<br/><br/> <br/><br/><br/><br/>UnknownThis large tapestry depicts what could be either Hector or Alexander the Great holding a shield with the image of a lion and large sword; he sits in a vaulted niche on the lower register of the tapestry, surrounded on sides and top by seven smaller niches that show warriors and aristocratic women on a smaller scale than the main figure.Tapestry showing what could be either Hector or Alexander the Great holding a sword and a shield with the image of a lion.Southern NetherlandsThe Metropolitan Museum of Art, New York, NY, USACC 1.0 Universal Public Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj14.jpghttps://drive.google.com/uc?export=download&id=1RdWSj9GwXWHbr0FsxIceCZFGZlChjyMRhttps://drive.google.com/file/d/1RdWSj9GwXWHbr0FsxIceCZFGZlChjyMR/view?usp=sharing<a href="https://drive.google.com/file/d/1RdWSj9GwXWHbr0FsxIceCZFGZlChjyMR/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>One of the earliest surviving medieval tapestry sets, the Nine Heroes tapestries were inspired by a poem of the same title (sometimes translated as Nine Worthies or Nine Valiants) by Jacques de Longuyon. The Nine Heroes were composed of three pagan leaders, three Hebrew, and three Christian figures, the equal combination of the Classical, Hebrew Bible, and Christian traditions recalling Dante's Commedia. The depictions employ symbolic scale (the larger a figure, the more important) and a combination of perspectives (one can see the roof bosses where the arches join even though one is looking straight at the figures beneath them). Regardless of their historical origins, all figures are shown in the garb of the late 14th or early 15h century, when the tapestries were created.Europe, Northern and Western Europe, NetherlandsNorthern and Western European, Netherlandish, ChristendomTextileEurope, Northern and Western Europe, Netherlands, Northern and Western European, Netherlandish, Christendom, TextileEurope, Northern and Western Europe, Netherlands, Northern and Western European, Netherlandish, Christendom, TextileCC 1.0 Universal Public Domain<br/>This large tapestry depicts what could be either Hector or Alexander the Great holding a shield with the image of a lion and large sword; he sits in a vaulted niche on the lower register of the tapestry, surrounded on sides and top by seven smaller niches that show warriors and aristocratic women on a smaller scale than the main figure.CrossroadsImageN/Awool warp, wool wefts165 1/2 x 104 in. (420.4 x 264.2 cm)15th Century CE, GothicAlexander the Great, Hector of TroywovenN/AN/AN/Arshttps://www.metmuseum.org/art/collection/search/468232?searchField=All&amp;sortBy=relevance&amp;ft=Nine+Heroes&amp;offset=0&amp;rpp=20&amp;pos=414<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000014%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
16
00001512382022-08-01 20:09:09Alhambra PalaceCE 1238-1358<a href="https://drive.google.com/file/d/1PoHOabqFLvZRFxNY_nQK94CSrvFjvIbQ/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1238-1358<br/>Artist/Agent: Moorish Nasrid Dynasty<br/>Place of Origin: Granada, Andalucia, Spain <br/>Current Location: Granada, Andalucia, Spain<br/>Cultural Context: Northern and Western European, Spainish, Muslim, Nasrid Dynasty<br/>Worktype: Architecture<br/><br/>This palace and fortress of Moorish monarchs is located in the Spanish autonomous region of Andalucia, where Muslim rule last longer, 711-1492, than in other regions of Spain. The word Alhambra in Arabic means "Red Castle" as one its most notable features is its red brick facade. It is currently a UNESCO World Heritage Site.<br/><br/> <ul><li><a href="https://drive.google.com/file/d/1PwkTC6fIHtJJkQhbvHV-FShYE7UF9S05/view?usp=sharing" target="_blank">Dome showing muqarnas in the the Hall of the Abencerrajes. (Image Attribution Artstor Department of Art HIstory Digital Collection)</a></li><li><a href="https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/ap-art-islamic-world-medieval/a/the-alhambra" target="_blank">Khan Academy lesson on the Alhambra Palace.</a></li></ul><br/><br/>[leaflet-map lat=37.1763347559522 lng=-3.58823798214138 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Granada, Andalucia, Spain [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1646517771933!6m8!1m7!1shMaynQmwE7Y4CKmlls7hjw!2m2!1d37.17666937290458!2d-3.589524008287327!3f105.45357592121853!4f11.792892919760845!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy"></iframe>Moorish Nasrid DynastyA crenellated wall made of red brick spans the photograph, punctuated by four rectangular square-topped battlement towers. Beyond the wall are other buildings with arched, square, and round windows, and a tower. In the background are rocky peaks of a distant mountain range. Large building on a cliff with trees surrounding it. Mountain ranges are seen in the background.Granada, Andalucia, Spain Granada, Andalucia, SpainCC0 1.0 Universal Public Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj15.jpghttps://drive.google.com/uc?export=download&id=1rMQK0qLb9x7JPjl-GF_3QhnmQeJ_x2gThttps://drive.google.com/file/d/1PoHOabqFLvZRFxNY_nQK94CSrvFjvIbQ/view?usp=sharing<a href="https://drive.google.com/file/d/1PoHOabqFLvZRFxNY_nQK94CSrvFjvIbQ/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This palace and fortress of Moorish monarchs is located in the Spanish autonomous region of Andalucia, where Muslim rule last longer, 711-1492, than in other regions of Spain. The word Alhambra in Arabic means "Red Castle" as one its most notable features is its red brick facade. It is currently a UNESCO World Heritage Site.Europe, Northern and Western Europe, SpainNorthern and Western European, Spainish, Muslim, Nasrid DynastyArchitectureEurope, Northern and Western Europe, Spain, Northern and Western European, Spainish, Muslim, Nasrid Dynasty, ArchitectureEurope, Northern and Western Europe, Spain, Northern and Western European, Spainish, Muslim, Nasrid Dynasty, ArchitectureCC0 1.0 Universal Public Domain<br/>A crenellated wall made of red brick spans the photograph, punctuated by four rectangular square-topped battlement towers. Beyond the wall are other buildings with arched, square, and round windows, and a tower. In the background are rocky peaks of a distant mountain range. Crossroadshttps://drive.google.com/file/d/1PwkTC6fIHtJJkQhbvHV-FShYE7UF9S05/view?usp=sharingDome showing muqarnas in the the Hall of the Abencerrajes. (Image Attribution Artstor Department of Art HIstory Digital Collection)https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/ap-art-islamic-world-medieval/a/the-alhambraKhan Academy lesson on the Alhambra Palace.<ul><li><a href="https://drive.google.com/file/d/1PwkTC6fIHtJJkQhbvHV-FShYE7UF9S05/view?usp=sharing" target="_blank">Dome showing muqarnas in the the Hall of the Abencerrajes. (Image Attribution Artstor Department of Art HIstory Digital Collection)</a></li><li><a href="https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/ap-art-islamic-world-medieval/a/the-alhambra" target="_blank">Khan Academy lesson on the Alhambra Palace.</a></li></ul>ImageN/AN/AL 740 m x W 205 m (35 acres)13th-14th Century CE, Moorish Nasrid DynastySpain, MuslimN/AN/AN/AN/Ahttps://commons.wikimedia.org/wiki/File:Dawn_Charles_V_Palace_Alhambra_Granada_Andalusia_Spain.jpg37.17633476-3.58823798237.17633476-3.588237982<iframe src="https://www.google.com/maps/embed?pb=!4v1646517771933!6m8!1m7!1shMaynQmwE7Y4CKmlls7hjw!2m2!1d37.17666937290458!2d-3.589524008287327!3f105.45357592121853!4f11.792892919760845!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy"></iframe>[leaflet-map lat=37.1763347559522 lng=-3.58823798214138 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Granada, Andalucia, Spain [/leaflet-marker]15<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000015%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
17
000016-13902022-08-02 12:54:54Amunhotep IIIBCE 1390-1352 <a href="https://drive.google.com/file/d/1LTI-uofhcMJmOrlDMyRMfNpdc5MaDI1U/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 1390-1352 <br/>Artist/Agent: Unknown<br/>Place of Origin: Egypt<br/>Current Location: Brooklyn Museum, Egyptian Orientation Gallery, Third Floor<br/>Cultural Context: Ancient Egyptian, New Kingdom<br/>Worktype: Sculpture<br/><br/>With the left foot forward, Amunhotep III's statue asserts the figure’s adherence to a thousand years of visual code asserting male kingship in ancient Egypt. Other markers of royalty in this carved wood sculpture are the tri-fold kilt with central tab, the protective uraenus (now missing), and to some degree the crown. By the 18th Dynasty (1570-1293 BCE), however, innovation is also evident in the absence of a chin-beard, and softer modeling of the body and the face.<br/><br/> <ul><li><a href="https://www.brooklynmuseum.org/opencollection/objects/3496" target="_blank">Information from the Brooklyn Museum website. </a></li><li><a href="https://commons.wikimedia.org/wiki/File:Amenhotep_III_British_Museum.JPG" target="_blank">Compare with Amunhotep III statue at the British Museum. </a></li></ul><br/><br/><br/><br/>UnknownA carved wood statuette of a human form on an inscribed wooden base, with the left leg advanced. The arms are missing. A crown with uraeus body coiled in front rests atop the head. The eyes gaze forward, inlaid with glass. The figure wears a gold leaf kilt with wide border at top, incised with floral motifs.A carved wood statuette of a human form on an inscribed wooden baseEgyptBrooklyn Museum, Egyptian Orientation Gallery, Third FloorCC BY-SA 3.0 Brooklyn Art Museumhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj16.jpghttps://drive.google.com/uc?export=download&id=1LTI-uofhcMJmOrlDMyRMfNpdc5MaDI1Uhttps://drive.google.com/file/d/1LTI-uofhcMJmOrlDMyRMfNpdc5MaDI1U/view?usp=sharing<a href="https://drive.google.com/file/d/1LTI-uofhcMJmOrlDMyRMfNpdc5MaDI1U/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>With the left foot forward, Amunhotep III's statue asserts the figure’s adherence to a thousand years of visual code asserting male kingship in ancient Egypt. Other markers of royalty in this carved wood sculpture are the tri-fold kilt with central tab, the protective uraenus (now missing), and to some degree the crown. By the 18th Dynasty (1570-1293 BCE), however, innovation is also evident in the absence of a chin-beard, and softer modeling of the body and the face.Africa North of Sahara, Nile River ValleyAncient Egyptian, New KingdomSculptureAfrica North of Sahara, Nile River Valley, Ancient Egyptian, New Kingdom, SculptureAfrica North of Sahara, Nile River Valley, Ancient Egyptian, New Kingdom, SculptureCC BY-SA 3.0 Brooklyn Art Museum<br/>A carved wood statuette of a human form on an inscribed wooden base, with the left leg advanced. The arms are missing. A crown with uraeus body coiled in front rests atop the head. The eyes gaze forward, inlaid with glass. The figure wears a gold leaf kilt with wide border at top, incised with floral motifs.Antiquityhttps://www.brooklynmuseum.org/opencollection/objects/3496Information from the Brooklyn Museum website. https://commons.wikimedia.org/wiki/File:Amenhotep_III_British_Museum.JPGCompare with Amunhotep III statue at the British Museum. <ul><li><a href="https://www.brooklynmuseum.org/opencollection/objects/3496" target="_blank">Information from the Brooklyn Museum website. </a></li><li><a href="https://commons.wikimedia.org/wiki/File:Amenhotep_III_British_Museum.JPG" target="_blank">Compare with Amunhotep III statue at the British Museum. </a></li></ul>ImageN/Awood, gold leaf, glass, pigmentTotal height: 26.3 cm, Base: 16 x 2.7 x 6 cm2nd Millennium BCE, New KingdomAmunhotep IIIN/AN/AN/AN/Amt/cphttps://www.brooklynmuseum.org/opencollection/objects/349616<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000016%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
18
00001714382022-08-01 18:53:53Angelico: The Annunciation CE 1438-1447<a href="https://drive.google.com/file/d/1tcOoqkFFi3MqYX5zketBc2CnpkmE_4zE/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1438-1447<br/>Artist/Agent: Fra Angelico<br/>Place of Origin: Florence, Italy<br/>Current Location: Convent of San Marco, Florence, Italy<br/>Cultural Context: Southern European, Italian, Renaissance<br/>Worktype: Painting<br/><br/>The first viewers of this fresco were monks living in a monastery near Florence, where Fra Angelico painted it on wet plaster on a wall at the top of a staircase leading to their cells. They might have recognized the realistic contemporary architectural details like the loggia (arcaded exterior gallery), or the prayer cell with the window in the back. They certainly would have recognized, too, the miraculous story being told in this picture: the Angel Gabriel announces to Mary that she will be the mother of Christ. Their expressions are worth zooming in on: Gabriel blushes as he locks eyes with Mary, who appears to be both regal and humble as she receives the news. Notice the linear perspective used to represent 3D space on a 2D surface: all lines converge on the window at the back of the room, next to Mary's head. <br/><br/> <ul><li><a href="https://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/painting-in-florence/v/fra-angelico-the-annunciation-c-1438-47" target="_blank">Khan Academy video (with transcripts) about the piece.</a></li><li><a href="https://www.metmuseum.org/toah/hd/fang/hd_fang.htm" target="_blank">Metropolitan Museum of Art NYC article on the artist: Fra Angelico</a></li></ul><br/><br/><br/><br/>Fra AngelicoUnderneath a closed collonaded porch, with both rounded and pointed arches, and a garden, fence, and woods visible in the background, an angel in a pink robe, arms folded, kneels in front of a seated woman in a blue robe, whose folded arms mimic the angel's. They are looking into each other's eyes. At the back of the porch is a doorway to a room with a window in it.Two figures are under a covered colonnade. One is sitting on a bench, The other has wings and is kneeling.Florence, ItalyConvent of San Marco, Florence, ItalyArtstor fig. 15.28; EPhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj17.jpghttps://drive.google.com/uc?export=download&id=1tcOoqkFFi3MqYX5zketBc2CnpkmE_4zEhttps://drive.google.com/file/d/1tcOoqkFFi3MqYX5zketBc2CnpkmE_4zE/view?usp=sharing<a href="https://drive.google.com/file/d/1tcOoqkFFi3MqYX5zketBc2CnpkmE_4zE/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>The first viewers of this fresco were monks living in a monastery near Florence, where Fra Angelico painted it on wet plaster on a wall at the top of a staircase leading to their cells. They might have recognized the realistic contemporary architectural details like the loggia (arcaded exterior gallery), or the prayer cell with the window in the back. They certainly would have recognized, too, the miraculous story being told in this picture: the Angel Gabriel announces to Mary that she will be the mother of Christ. Their expressions are worth zooming in on: Gabriel blushes as he locks eyes with Mary, who appears to be both regal and humble as she receives the news. Notice the linear perspective used to represent 3D space on a 2D surface: all lines converge on the window at the back of the room, next to Mary's head. Europe, Southern Europe, ItalySouthern European, Italian, RenaissancePaintingEurope, Southern Europe, Italy, Southern European, Italian, Renaissance, PaintingEurope, Southern Europe, Italy, Southern European, Italian, Renaissance, PaintingArtstor fig. 15.28; EP<br/>Underneath a closed collonaded porch, with both rounded and pointed arches, and a garden, fence, and woods visible in the background, an angel in a pink robe, arms folded, kneels in front of a seated woman in a blue robe, whose folded arms mimic the angel's. They are looking into each other's eyes. At the back of the porch is a doorway to a room with a window in it.Crossroadshttps://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/painting-in-florence/v/fra-angelico-the-annunciation-c-1438-47Khan Academy video (with transcripts) about the piece. https://www.metmuseum.org/toah/hd/fang/hd_fang.htmMetropolitan Museum of Art NYC article on the artist: Fra Angelico<ul><li><a href="https://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/painting-in-florence/v/fra-angelico-the-annunciation-c-1438-47" target="_blank">Khan Academy video (with transcripts) about the piece.</a></li><li><a href="https://www.metmuseum.org/toah/hd/fang/hd_fang.htm" target="_blank">Metropolitan Museum of Art NYC article on the artist: Fra Angelico</a></li></ul>ImageLatin: When you come before the image of the Ever-Virgin take
care that you do not neglect to say an Ave (Virginis Intacte Cvm Veneris Ante Figvram Preterevndo Cave Ne Sileatvr
Ave.)		fresco230 x 297 cm15th Century CE, RenaissanceAnnunciation, Gabriel, St MaryN/AN/AN/AN/Ahttps://library.artstor.org/#/asset/SS33677_33677_142453417<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000017%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
19
000018-1502022-08-02 10:34:34Aphrodite (Venus De Milo)BCE 150-125<a href="https://drive.google.com/file/d/1150dT1TvVYNSdYklZRrm-yOSxt4R7rV9/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 150-125<br/>Artist/Agent: Alexandros of Antioch-On-The-Meander<br/>Place of Origin: Milos, Greece<br/>Current Location: Musee du Louvre, Paris <br/>Cultural Context: Ancient Greek, Hellenistic<br/>Worktype: Sculpture<br/><br/>Three periods of the classical Greek sculptural program are exemplified in this carved stone statue: the 5th century aesthetic values of impassivity and perfect harmony in the face; the 4th-century virtuoso skill of the sculptor Praxiteles in the delicate rendering of the hair and skin; and the 3rd-1st centuries Hellenistic influence in the spiraling position of the body and the elongated waist.
Students should study this sculpture for what is missing as well as what is shown. One interpretation is that Aphrodite once held an apple in her missing hand, which points to the myth of “The Judgment of Paris.” In that mythological contest of beauty, Aphrodite won Paris’s judgment by bribing him with Helen, whose beauty was so great, and whose abduction was so onerous, that a thousand ships got launched and the Trojan War began. Knowing this interpretation, look again at Aphrodite’s expression above. Do you still see impassivity?<br/><br/> <ul><li><a href="https://womeninantiquity.wordpress.com/2017/03/12/venus/" target="_blank">See short article on the Venus = Aphrodite confusion circulating around this statue </a></li><li><a href="https://en.wikipedia.org/wiki/Venus_de_Milo#/media/File:Scan_the_World_-_Venus_de_Milo.stl" target="_blank">A 3D rendering of this object his available here. </a></li></ul><br/><br/><br/><br/>		Alexandros of Antioch-On-The-MeanderA female form carved in marble stands with the weight on her right leg, with her torso swiveled and shoulders tilted. Her garment has slipped to her hips. She gazes with serene expression and neatly coiffed hair. Her arms are missing from her shoulders.Carved marble female figure, nude to the waist with a draped cloth to the floor. Both arms are broken at the elbow.Milos, GreeceMusee du Louvre, Paris CC BY-SA 4.0 Livioandronico2013https://globalimages.liberalstudies.hosting.nyu.edu/images/obj18.jpghttps://drive.google.com/uc?export=download&id=1150dT1TvVYNSdYklZRrm-yOSxt4R7rV9https://drive.google.com/file/d/1150dT1TvVYNSdYklZRrm-yOSxt4R7rV9/view?usp=sharing<a href="https://drive.google.com/file/d/1150dT1TvVYNSdYklZRrm-yOSxt4R7rV9/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>Three periods of the classical Greek sculptural program are exemplified in this carved stone statue: the 5th century aesthetic values of impassivity and perfect harmony in the face; the 4th-century virtuoso skill of the sculptor Praxiteles in the delicate rendering of the hair and skin; and the 3rd-1st centuries Hellenistic influence in the spiraling position of the body and the elongated waist.
Students should study this sculpture for what is missing as well as what is shown. One interpretation is that Aphrodite once held an apple in her missing hand, which points to the myth of “The Judgment of Paris.” In that mythological contest of beauty, Aphrodite won Paris’s judgment by bribing him with Helen, whose beauty was so great, and whose abduction was so onerous, that a thousand ships got launched and the Trojan War began. Knowing this interpretation, look again at Aphrodite’s expression above. Do you still see impassivity?		Europe, Southern Europe, GreeceAncient Greek, HellenisticSculptureEurope, Southern Europe, Greece, Ancient Greek, Hellenistic, SculptureEurope, Southern Europe, Greece, Ancient Greek, Hellenistic, SculptureCC BY-SA 4.0 Livioandronico2013<br/>A female form carved in marble stands with the weight on her right leg, with her torso swiveled and shoulders tilted. Her garment has slipped to her hips. She gazes with serene expression and neatly coiffed hair. Her arms are missing from her shoulders.Antiquityhttps://womeninantiquity.wordpress.com/2017/03/12/venus/See short article on the Venus = Aphrodite confusion circulating around this statue https://en.wikipedia.org/wiki/Venus_de_Milo#/media/File:Scan_the_World_-_Venus_de_Milo.stlA 3D rendering of this object his available here. <ul><li><a href="https://womeninantiquity.wordpress.com/2017/03/12/venus/" target="_blank">See short article on the Venus = Aphrodite confusion circulating around this statue </a></li><li><a href="https://en.wikipedia.org/wiki/Venus_de_Milo#/media/File:Scan_the_World_-_Venus_de_Milo.stl" target="_blank">A 3D rendering of this object his available here. </a></li></ul>ImageN/AParian marble2.02 m2nd Century BCE, HellenisticVenus, AphroditesculptingN/AN/AN/Acphttps://commons.wikimedia.org/wiki/File:Front_views_of_the_Venus_de_Milo.jpg18<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000018%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
20
000019-3502022-08-02 10:54:54Aphrodite of Knidos by PraxitelesBCE 350-340 <a href="https://drive.google.com/file/d/18fqrwgoWnGb_KIEDxnMVkzg7y2qMNR75/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 350-340 <br/>Artist/Agent: Unknown<br/>Place of Origin: Athens<br/>Current Location: Museo nazionale romano di palazzo Altemps, Rome<br/>Cultural Context: Ancient Greek, Classical Greek<br/>Worktype: Sculpture<br/><br/>The Knidian Aphrodite is ubiquitous in carved stone reproductions, and the figure is circulated widely on everything from t-shirts to suburban garden birdbaths. The original, now lost, was created by Praxiteles of Athens in the 4th century BCE. As an early life-sized representation of a nude female at the time, it shows a change in the longer-standing tradition of male heroic nudity.<br/><br/> <br/><br/><br/><br/>UnknownA life-size carved marble sculpture shows a nude female figure reaching for a bath towel. Her weight rests on her right leg, while her torso curves to the left. Her head is turned toward the left.A life-size carved marble sculpture shows a nude female figure reaching for a bath towel.AthensMuseo nazionale romano di palazzo Altemps, RomeCC BY 2.5 © Marie-Lan Nguyenhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj19.jpghttps://drive.google.com/uc?export=download&id=18fqrwgoWnGb_KIEDxnMVkzg7y2qMNR75https://drive.google.com/file/d/18fqrwgoWnGb_KIEDxnMVkzg7y2qMNR75/view?usp=sharing<a href="https://drive.google.com/file/d/18fqrwgoWnGb_KIEDxnMVkzg7y2qMNR75/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>The Knidian Aphrodite is ubiquitous in carved stone reproductions, and the figure is circulated widely on everything from t-shirts to suburban garden birdbaths. The original, now lost, was created by Praxiteles of Athens in the 4th century BCE. As an early life-sized representation of a nude female at the time, it shows a change in the longer-standing tradition of male heroic nudity.Europe, Southern Europe, GreeceAncient Greek, Classical GreekSculptureEurope, Southern Europe, Greece, Ancient Greek, Classical Greek, SculptureEurope, Southern Europe, Greece, Ancient Greek, Classical Greek, SculptureCC BY 2.5 © Marie-Lan Nguyen<br/>A life-size carved marble sculpture shows a nude female figure reaching for a bath towel. Her weight rests on her right leg, while her torso curves to the left. Her head is turned toward the left.AntiquityImageN/AmarbleH.: 168 cm, Width at breast: 57.2 cm, Width at hips: 43.2 cm, Width at base: 47 cm, Depth of body: 42 cm4th Century BCE, Classical GreeceVenus, AphroditesculptingN/ACult statue for the Temple of Aphrodite at KnidosN/Acphttps://commons.wikimedia.org/wiki/File:Cnidus_Aphrodite_Altemps_Inv8619_n3.jpg19<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000019%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
21
00002012002022-08-01 20:19:19Aquamanile in the Form of a DragonCE 1200<a href="https://drive.google.com/file/d/1YXp9YnSrgtsJ_F0M34J2uHPHy8kbAO6K/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1200<br/>Artist/Agent: Unknown<br/>Place of Origin: Chartres, France<br/>Current Location: The Cloisters, Metropolitan Museum of Art, New York, NY, USA<br/>Cultural Context: Northern and Western European, German, Christendom, Gothic<br/>Worktype: Metalwork<br/><br/>There was a tendency in Christendom throughout the Middle Ages to make every object into an image of some kind, often with a moral message. This aquamanile (a vessel used for washing hands) has been made from copper in the shape of a dragon; the monk protruding from its mouth serves as a comic reminder of the ever-present danger of sin (represented as a serpent; Christians identified the serpent of Genesis with Satan).<br/><br/> <br/><br/><br/><br/>UnknownHere is a metal jug with a spout in the shape of a dragon. The spout forms the dragon's neck and head. A small monk protrudes from the dragon's mouth at the end of the spout.Metal jug with a spout; the jug is in the shape of a dragon; a monk protrudes from the dragon's mouth.Chartres, FranceThe Cloisters, Metropolitan Museum of Art, New York, NY, USACC 1.0 Universal Public Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj20.jpghttps://drive.google.com/uc?export=download&id=1YXp9YnSrgtsJ_F0M34J2uHPHy8kbAO6Khttps://drive.google.com/file/d/1YXp9YnSrgtsJ_F0M34J2uHPHy8kbAO6K/view?usp=sharing<a href="https://drive.google.com/file/d/1YXp9YnSrgtsJ_F0M34J2uHPHy8kbAO6K/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>There was a tendency in Christendom throughout the Middle Ages to make every object into an image of some kind, often with a moral message. This aquamanile (a vessel used for washing hands) has been made from copper in the shape of a dragon; the monk protruding from its mouth serves as a comic reminder of the ever-present danger of sin (represented as a serpent; Christians identified the serpent of Genesis with Satan).Europe, Northern and Western Europe, GermanyNorthern and Western European, German, Christendom, GothicMetalworkEurope, Northern and Western Europe, Germany, Northern and Western European, German, Christendom, Gothic, MetalworkEurope, Northern and Western Europe, Germany, Northern and Western European, German, Christendom, Gothic, MetalworkCC 1.0 Universal Public Domain<br/>Here is a metal jug with a spout in the shape of a dragon. The spout forms the dragon's neck and head. A small monk protrudes from the dragon's mouth at the end of the spout.CrossroadsImageN/Acopper alloyOverall: 8 3/4 x 7 1/4 in., 4.4 lb. (22.2 x 18.4 cm, 2 kg)
Overall PD: 8 3/8 x 4 3/8 x 7 3/16 in. (21.2 x 11.1 x 18.2 cm)
Thickness PD: 3/25 in. (0.3 cm)		13th Century CE, Gothicdragon, GermanymetalworkingN/AN/AN/Arshttps://www.metmuseum.org/art/collection/search/471287?searchField=All&amp;sortBy=relevance&amp;ft=dragon+aquamanile&amp;offset=0&amp;rpp=20&amp;pos=120<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000020%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
22
000021-132022-08-02 10:18:18Ara Pacis-procession friezeBCE 13<a href="https://drive.google.com/file/d/1fsGO2RIvkYeGO7K4C11U_weSoOko8sB9/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 13<br/>Artist/Agent: Unknown<br/>Place of Origin: Rome<br/>Current Location: Rome<br/>Cultural Context: Ancient Roman, Imperial Roman<br/>Worktype: Sculpture<br/><br/>The Ara Pacis (Altar of Peace) is a stone relief carving on a monumental scale that was originally erected in 13 BCE, which was the 14th year of the reign of Augustus, the first emperor of Rome. It commemorates Augustus’s successful campaigns in Hispania (modern Spain) and Gaul (modern France), which were more and more fully being integrated into Roman civilization. The monument emphasizes the benefits of peace, which Rome purported to bring to its provinces by offering them Roman citizenship. Here, we see a procession of nobles (identifiable by their wearing of togas, which by this time was limited to the upper classes, and mainly adopted only for ceremonies) and their families as they proceed to a sacrifice. The Ara Pacis was long lost; it began to be uncovered in the 16th century, but the various pieces that composed it were not reassembled until the 20th century (with parts being modern reconstructions). Much of the work was undertaken during the reign of Mussolini, who sought to position fascist Italy as the inheritor of the achievements of ancient Rome.<br/><br/> <ul><li><a href="https://www.ancient.eu/article/618/ara-pacis-augustae/" target="_blank">See this encyclopedia entry for more info on Ara Pacis Augustae</a></li></ul><br/><br/>[leaflet-map lat=41.8985655381309 lng=12.4803822979157 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Rome [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1645963106175!6m8!1m7!1sCAoSLEFGMVFpcE9JNVV0S3RFVHBMbThKM2NpRHI5cUE5Uks0VVFvUTdYWjF0UHZf!2m2!1d41.90636838400975!2d12.47547347098589!3f220!4f0!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy"></iframe>UnknownLarge marble relief sculpture depicting a procession of men, women, and a child, dressed in togas and Roman ceremonial garb.Large marble relief sculpture depicting a procession of men, women, and a child, dressed in togas.RomeRomeCC BY-SA 3.0 WolfgangRiegerhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj21.jpghttps://drive.google.com/uc?export=download&id=1fsGO2RIvkYeGO7K4C11U_weSoOko8sB9https://drive.google.com/file/d/1fsGO2RIvkYeGO7K4C11U_weSoOko8sB9/view?usp=sharing<a href="https://drive.google.com/file/d/1fsGO2RIvkYeGO7K4C11U_weSoOko8sB9/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>The Ara Pacis (Altar of Peace) is a stone relief carving on a monumental scale that was originally erected in 13 BCE, which was the 14th year of the reign of Augustus, the first emperor of Rome. It commemorates Augustus’s successful campaigns in Hispania (modern Spain) and Gaul (modern France), which were more and more fully being integrated into Roman civilization. The monument emphasizes the benefits of peace, which Rome purported to bring to its provinces by offering them Roman citizenship. Here, we see a procession of nobles (identifiable by their wearing of togas, which by this time was limited to the upper classes, and mainly adopted only for ceremonies) and their families as they proceed to a sacrifice. The Ara Pacis was long lost; it began to be uncovered in the 16th century, but the various pieces that composed it were not reassembled until the 20th century (with parts being modern reconstructions). Much of the work was undertaken during the reign of Mussolini, who sought to position fascist Italy as the inheritor of the achievements of ancient Rome.Europe, Southern Europe, ItalyAncient Roman, Imperial RomanSculptureEurope, Southern Europe, Italy, Ancient Roman, Imperial Roman, SculptureEurope, Southern Europe, Italy, Ancient Roman, Imperial Roman, SculptureCC BY-SA 3.0 WolfgangRieger<br/>Large marble relief sculpture depicting a procession of men, women, and a child, dressed in togas and Roman ceremonial garb.Antiquityhttps://www.ancient.eu/article/618/ara-pacis-augustae/See this encyclopedia entry for more info on Ara Pacis Augustaehttps://drive.google.com/file/d/1-GeM11TK33imP2ekHcYQRkIhHmldOH2Y/view?usp=sharingDetail from the Ara Pacis, east side, "Tellus" (earth), showing a dragon's head.<ul><li><a href="https://www.ancient.eu/article/618/ara-pacis-augustae/" target="_blank">See this encyclopedia entry for more info on Ara Pacis Augustae</a></li></ul>ImageN/Amarble6m x 7m1st Century BCE, Imperial RomeAugustus, AgrippaN/AN/AN/AN/ARNhttps://commons.wikimedia.org/wiki/File:Ara_pacis_fregio_lato_ovest_2_A.JPG41.8985655412.480382341.9059165812.47533276<iframe src="https://www.google.com/maps/embed?pb=!4v1645963106175!6m8!1m7!1sCAoSLEFGMVFpcE9JNVV0S3RFVHBMbThKM2NpRHI5cUE5Uks0VVFvUTdYWjF0UHZf!2m2!1d41.90636838400975!2d12.47547347098589!3f220!4f0!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy"></iframe>[leaflet-map lat=41.8985655381309 lng=12.4803822979157 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Rome [/leaflet-marker]No21<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000021%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
23
00002215392022-08-01 17:31:31Ardabil Carpet CE 1539<a href="https://drive.google.com/file/d/1kDyHQ8MYCiGDn3OnpcpCNVDZCooUIg3o/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1539<br/>Artist/Agent: Maqsud of Kashan and others (unknown) <br/>Place of Origin: Tabriz, Iran OR Kashan, Iran<br/>Current Location: Los Angeles County Museum of Art, Los Angeles, CA, USA<br/>Cultural Context: Middle Eastern, Iranian, Muslim, Persian, Safavid<br/>Worktype: Textile - Carpet <br/><br/>This carpet has a twin, currently located at the Victoria and Albert Museum in London; both were made in Ardabil in northwest Iran for Safavid rulers. Each contains approximately 35 million knots that were tied by almost a dozen craftspeople working for almost four years. The central sunburst medallion is typical of Tabriz work, which is known for adopting Chinese motifs not just in the undulating border forms, but also in the cross between Sasanian lotus palmettes and Chinese peony blossoms in an arabesque floral motif that covers the entire ground. Look carefully at the roundel in the center, which resembles the pools in the Islamic gardens of the Alhambra in Spain. Both carpets show these inscriptions: "Except for thy haven, there is no refuge for me in this world: / Other than here, there is no place for my head. / Work of a servant of the court, Maqsud of Kashan, 946." <br/><br/> <ul><li><a href="https://collections.lacma.org/node/230372" target="_blank">LACMA website for this object.</a></li><li><a href="https://www.khanacademy.org/humanities/ap-art-history/west-and-central-asia/a/the-ardabil-carpet" target="_blank">Short essay on the Ardabil carpets.</a></li><li><a href="http://collections.vam.ac.uk/item/O54307/the-ardabil-carpet-carpet-unknown/" target="_blank">Victoria and Albert Museum website for the Ardabil carpet.</a></li></ul><br/><br/><br/><br/>Maqsud of Kashan and others (unknown) On a rectangular carpet, a sunburst medallion appears in the center, surrounded by sixteen ogival shapes. A pair of mosque lamps appear above and below the central medallion on the vertical axis. Around the border of the rectangle is a band showing undulating floral motifs. A rug with Chinese and Iranian motifsTabriz, Iran OR Kashan, IranLos Angeles County Museum of Art, Los Angeles, CA, USAPublic Domain, © MUSEUM ASSOCIATES 2017https://globalimages.liberalstudies.hosting.nyu.edu/images/obj22.jpghttps://drive.google.com/uc?export=download&id=1kDyHQ8MYCiGDn3OnpcpCNVDZCooUIg3ohttps://drive.google.com/file/d/1kDyHQ8MYCiGDn3OnpcpCNVDZCooUIg3o/view?usp=sharing<a href="https://drive.google.com/file/d/1kDyHQ8MYCiGDn3OnpcpCNVDZCooUIg3o/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This carpet has a twin, currently located at the Victoria and Albert Museum in London; both were made in Ardabil in northwest Iran for Safavid rulers. Each contains approximately 35 million knots that were tied by almost a dozen craftspeople working for almost four years. The central sunburst medallion is typical of Tabriz work, which is known for adopting Chinese motifs not just in the undulating border forms, but also in the cross between Sasanian lotus palmettes and Chinese peony blossoms in an arabesque floral motif that covers the entire ground. Look carefully at the roundel in the center, which resembles the pools in the Islamic gardens of the Alhambra in Spain. Both carpets show these inscriptions: "Except for thy haven, there is no refuge for me in this world: / Other than here, there is no place for my head. / Work of a servant of the court, Maqsud of Kashan, 946." Middle East, Iran Middle Eastern, Iranian, Muslim, Persian, SafavidTextile - Carpet Middle East, Iran , Middle Eastern, Iranian, Muslim, Persian, Safavid, Textile - Carpet Middle East, Iran , Middle Eastern, Iranian, Muslim, Persian, Safavid, Textile - Carpet Public Domain, © MUSEUM ASSOCIATES 2017<br/>On a rectangular carpet, a sunburst medallion appears in the center, surrounded by sixteen ogival shapes. A pair of mosque lamps appear above and below the central medallion on the vertical axis. Around the border of the rectangle is a band showing undulating floral motifs. Crossroadshttps://collections.lacma.org/node/230372LACMA website for this object.https://www.khanacademy.org/humanities/ap-art-history/west-and-central-asia/a/the-ardabil-carpetShort essay on the Ardabil carpets.http://collections.vam.ac.uk/item/O54307/the-ardabil-carpet-carpet-unknown/Victoria and Albert Museum website for the Ardabil carpet.<ul><li><a href="https://collections.lacma.org/node/230372" target="_blank">LACMA website for this object.</a></li><li><a href="https://www.khanacademy.org/humanities/ap-art-history/west-and-central-asia/a/the-ardabil-carpet" target="_blank">Short essay on the Ardabil carpets.</a></li><li><a href="http://collections.vam.ac.uk/item/O54307/the-ardabil-carpet-carpet-unknown/" target="_blank">Victoria and Albert Museum website for the Ardabil carpet.</a></li></ul>ImageN/Awool knotted pile on silk plain weave foundation718.82 x 400.05 cm16th Century CE, SafavidSafavid, allover patternwovenN/AN/AN/ARSamet/cphttps://collections.lacma.org/node/23037222<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000022%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
24
0000231002022-08-01 23:33:33Assault of MaraCE 100-300<a href="https://drive.google.com/file/d/1LSSqMwcg_jR-3lyNvdKLTehhYRsT-bYE/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 100-300<br/>Artist/Agent: Unknown<br/>Place of Origin: Central Asia/South Asia<br/>Current Location: British Museum, Not on display<br/>Cultural Context: South Asian, Pakistani, Buddhist, Gandhara, Hellenistic, Kushan<br/>Worktype: Sculpture
<br/><br/>The kingdom of Gandhara (in what is now eastern Afghanistan and western Pakistan), conquered by Alexander in 327 BCE, was for hundreds of years afterwards a cross-roads of cultures and goods, particularly during its years as a center of Buddhist art (1st-5th century CE). Hellenistic and local traditions intersected to form a distinctive Gandhara style in Buddhist art; artists from the same Hellenistic traditions developed some of the earliest sculptural depictions of the life of Jesus, which has many points of similarity with depictions of the Buddha’s life. The Buddha was not depicted in art for several hundred years after his death; sculpting him in human form seems to have been associated with the development of the Mahayana strain of Buddhist thought, which taught that ultimate enlightenment could be achieved by all beings. The sculptural cycles of Buddha’s life in this period set the template that would be followed for many centuries, emphasizing a limited set of incidents. In this carved stone surface, in high relief, we see the Buddha meditating under a bodhi tree (where he would receive the great revelation of detachment from suffering). The panel can be read chronologically from (the viewer’s) right to left. On the right, we see the armed demon Mara, who has failed to tempt Buddha with sensual pleasures, attempting to distract him with violence. His horse breathes fire above him. On the left, we see Mara, his sword fallen in failure, being led away by his troops. His horse is now quiescent.<br/><br/> <br/><br/><br/><br/>		UnknownRelief panel in stone showing the Buddha seated cross-legged in the center. On his left (the viewer’s right), the demon Mara, armed with a sword, is accompanied by several followers; on Buddha’s right (our left), we see the defeated demon being led away by members of his army.Relief sculpture of Buddha and the demon MaraCentral Asia/South AsiaBritish Museum, Not on displayCC BY-SA 3.0 © The Trustees of the British Museumhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj23.jpghttps://drive.google.com/uc?export=download&id=1LSSqMwcg_jR-3lyNvdKLTehhYRsT-bYEhttps://drive.google.com/file/d/1LSSqMwcg_jR-3lyNvdKLTehhYRsT-bYE/view?usp=sharing<a href="https://drive.google.com/file/d/1LSSqMwcg_jR-3lyNvdKLTehhYRsT-bYE/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>The kingdom of Gandhara (in what is now eastern Afghanistan and western Pakistan), conquered by Alexander in 327 BCE, was for hundreds of years afterwards a cross-roads of cultures and goods, particularly during its years as a center of Buddhist art (1st-5th century CE). Hellenistic and local traditions intersected to form a distinctive Gandhara style in Buddhist art; artists from the same Hellenistic traditions developed some of the earliest sculptural depictions of the life of Jesus, which has many points of similarity with depictions of the Buddha’s life. The Buddha was not depicted in art for several hundred years after his death; sculpting him in human form seems to have been associated with the development of the Mahayana strain of Buddhist thought, which taught that ultimate enlightenment could be achieved by all beings. The sculptural cycles of Buddha’s life in this period set the template that would be followed for many centuries, emphasizing a limited set of incidents. In this carved stone surface, in high relief, we see the Buddha meditating under a bodhi tree (where he would receive the great revelation of detachment from suffering). The panel can be read chronologically from (the viewer’s) right to left. On the right, we see the armed demon Mara, who has failed to tempt Buddha with sensual pleasures, attempting to distract him with violence. His horse breathes fire above him. On the left, we see Mara, his sword fallen in failure, being led away by his troops. His horse is now quiescent.Asia, South Asia, PakistanSouth Asian, Pakistani, Buddhist, Gandhara, Hellenistic, KushanSculpture
Asia, South Asia, Pakistan, South Asian, Pakistani, Buddhist, Gandhara, Hellenistic, Kushan, Sculpture
Asia, South Asia, Pakistan, South Asian, Pakistani, Buddhist, Gandhara, Hellenistic, Kushan, Sculpture
CC BY-SA 3.0 © The Trustees of the British Museum<br/>Relief panel in stone showing the Buddha seated cross-legged in the center. On his left (the viewer’s right), the demon Mara, armed with a sword, is accompanied by several followers; on Buddha’s right (our left), we see the defeated demon being led away by members of his army.AntiquityImageN/AschistHeight: 28.5 cm
Width: 49.8 cm
Diameter: 6.4 cm		2nd-3rd Century CE, Gandhara, Hellenistic, KushanBuddhism, MaracarvedN/AN/AN/Arshttp://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=225498&partId=1&searchText=buddha+mara&images=true&from=ad&fromDate=1&to=ad&toDate=500&page=123<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000023%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
25
000024-802022-08-02 10:23:23Aulus Metellus, or The OratorBCE 80<a href="https://drive.google.com/file/d/1ZSAxEhoKT5XrvVz1nL_dPXxfpBOcoPEV/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 80<br/>Artist/Agent: Unknown<br/>Place of Origin: Perugia, Italy<br/>Current Location: Museo Archeologico Nazionale, Florence<br/>Cultural Context: Ancient Roman, Imperial Roman<br/>Worktype: Sculpture<br/><br/>This bronze statue is an example of a votive offering, which is payment for a prayer that was fulfilled. While much of the iconography on this figure is Roman, certain details are also Etruscan, showing how the two cultures co-existed. An inscription in Etruscan, not Latin, verifies its likeness to “Auli Meteli, the son of Vel and Vesi, Tenine,” who was a senator in the Roman republic representing his home in Perugia or Cortonan. Another reason to study this statue is for its accuracy in costuming the figure, who wears a “toga exigua.” The boots are called “calceus senatorius”; made from red leather, they identified senators and Roman magistrates.<br/><br/> <br/><br/><br/><br/>UnknownA life-size statue of a man wearing a toga and boots stands with one arm stretched forward with an open palm. HIs mouth is open to express that he is speaking, and his eyes are fixed forward.Life-size statue of a man wearing a toga and boots stands with one arm stretched forward with an open palmPerugia, ItalyMuseo Archeologico Nazionale, FlorenceArtStor Department of Art History Digital Collectionshttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj24.jpghttps://drive.google.com/uc?export=download&id=1ZSAxEhoKT5XrvVz1nL_dPXxfpBOcoPEVhttps://drive.google.com/file/d/1ZSAxEhoKT5XrvVz1nL_dPXxfpBOcoPEV/view?usp=sharing<a href="https://drive.google.com/file/d/1ZSAxEhoKT5XrvVz1nL_dPXxfpBOcoPEV/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This bronze statue is an example of a votive offering, which is payment for a prayer that was fulfilled. While much of the iconography on this figure is Roman, certain details are also Etruscan, showing how the two cultures co-existed. An inscription in Etruscan, not Latin, verifies its likeness to “Auli Meteli, the son of Vel and Vesi, Tenine,” who was a senator in the Roman republic representing his home in Perugia or Cortonan. Another reason to study this statue is for its accuracy in costuming the figure, who wears a “toga exigua.” The boots are called “calceus senatorius”; made from red leather, they identified senators and Roman magistrates.Europe, Northern and Western Europe, ItalyAncient Roman, Imperial RomanSculptureEurope, Northern and Western Europe, Italy, Ancient Roman, Imperial Roman, SculptureEurope, Northern and Western Europe, Italy, Ancient Roman, Imperial Roman, SculptureArtStor Department of Art History Digital Collections<br/>A life-size statue of a man wearing a toga and boots stands with one arm stretched forward with an open palm. HIs mouth is open to express that he is speaking, and his eyes are fixed forward.AntiquityImageTo (or from) Auli Meteli, the son of Vel and Vesi, Tenine (?) set up this statue as a votive offering to Sans, by deliberation of the people' (auleśi meteliś ve[luś] vesial clenśi / cen flereś tece sanśl tenine / tu θineś χisvlicś).bronze179 cm1st Century BCE, Imperial RomeImperial Rome, oratorhollow-castingN/AN/AN/Acphttps://library.artstor.org/#/asset/SS33677_33677_149851624<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000024%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
26
00002512962022-08-01 19:59:59Autumn Colors on the Qiao and Hua MountainsCE 1296<a href="https://drive.google.com/file/d/1PaIXYhP-DFYtZxra4y1qB60p7JrZaE88/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1296<br/>Artist/Agent: Zhao Mengfu 趙孟頫<br/>Place of Origin: Huzhou, Zhejiang, China<br/>Current Location: National Palace Museum, Taipei, Taiwan<br/>Cultural Context: East Asian, Chinese, Yuan Dynasty<br/>Worktype: Painting<br/><br/>Look at this landscape's cool hues on the two mountains, and the delicate blues of the inlet in the lower left, and the blueish touches on the tree foliage at the center-left. Now look for the warm colors on the rooftops, tree trunks and foliage: reds yellows, and ochre hues. Some scholars see a backhanded political motive in Zhao Mengfu's color reference to the Tang Dynasty's (618-907 CE) green-and-blue landscapes. After all, he had survived the collapse of the Song dynasty and had declined to serve the courts of the Yuan who now occupied the palaces. If the painter's innermost feelings about the lost glory of Tang-era landscape paintings is evident in this masterful example of homage, then they are not riotous feelings. Instead, his colors generate the sensory impression of coolness and freshness balanced by warmth that comes with an autumn day. Neutral tranquility was a quality that the Tang dynasty literati celebrated more than most, and Zhao Mengfu, almost 300 years later, appears to have achieved it. <br/><br/> <ul><li><a href="https://www.metmuseum.org/toah/hd/chin/hd_chin.htm" target="_blank">Chinese Painting, an essay at the Heilbrunn Timeline, offers a close analysis of Zhou Mengfu's landscapes.</a></li></ul><br/><br/><br/><br/>Zhao Mengfu 趙孟頫This is a Yuan Dynasty landscape of mountains and trees with strong blue and green inks.This is a Yuan Dynasty landscape of mountains and trees with strong blue and green inks.Huzhou, Zhejiang, ChinaNational Palace Museum, Taipei, TaiwanArtstor University of California San Diego Slide Galleryhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj25.jpghttps://drive.google.com/uc?export=download&id=1PaIXYhP-DFYtZxra4y1qB60p7JrZaE88https://drive.google.com/file/d/1PaIXYhP-DFYtZxra4y1qB60p7JrZaE88/view?usp=sharing<a href="https://drive.google.com/file/d/1PaIXYhP-DFYtZxra4y1qB60p7JrZaE88/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>Look at this landscape's cool hues on the two mountains, and the delicate blues of the inlet in the lower left, and the blueish touches on the tree foliage at the center-left. Now look for the warm colors on the rooftops, tree trunks and foliage: reds yellows, and ochre hues. Some scholars see a backhanded political motive in Zhao Mengfu's color reference to the Tang Dynasty's (618-907 CE) green-and-blue landscapes. After all, he had survived the collapse of the Song dynasty and had declined to serve the courts of the Yuan who now occupied the palaces. If the painter's innermost feelings about the lost glory of Tang-era landscape paintings is evident in this masterful example of homage, then they are not riotous feelings. Instead, his colors generate the sensory impression of coolness and freshness balanced by warmth that comes with an autumn day. Neutral tranquility was a quality that the Tang dynasty literati celebrated more than most, and Zhao Mengfu, almost 300 years later, appears to have achieved it. Asia, East Asia, ChinaEast Asian, Chinese, Yuan DynastyPaintingAsia, East Asia, China, East Asian, Chinese, Yuan Dynasty, PaintingAsia, East Asia, China, East Asian, Chinese, Yuan Dynasty, PaintingArtstor University of California San Diego Slide Gallery<br/>This is a Yuan Dynasty landscape of mountains and trees with strong blue and green inks.Crossroadshttps://www.metmuseum.org/toah/hd/chin/hd_chin.htm"Chinese Painting," an essay at the Heilbrunn Timeline, offers a close analysis of Zhou Mengfu's landscapes. <ul><li><a href="https://www.metmuseum.org/toah/hd/chin/hd_chin.htm" target="_blank">Chinese Painting, an essay at the Heilbrunn Timeline, offers a close analysis of Zhou Mengfu's landscapes.</a></li></ul>ImageN/Aink and color on paper28.4 x 93.2 cm13th Century CE, Yuan Dynastyshan shui, mountainsChinese ink paintingN/AN/AN/AAM/cphttp://library.artstor.org/asset/ARTSTOR_103_4182200104266025<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000025%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
27
000026-15002022-08-02 13:14:14Baal with Thunderbolt BCE 1500-1300<a href="https://drive.google.com/file/d/1TwCKy1LdyS8oTTd9jkfyU1BoclNei5Be/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 1500-1300<br/>Artist/Agent: Unknown<br/>Place of Origin: Ras Shamra (= Ugarit), Syria<br/>Current Location: Louvre, Paris<br/>Cultural Context: Ancient Egyptian, New Kingdom<br/>Worktype: Sculpture<br/><br/>The Baal Stele was uncovered at Ugarit (modern Ras Shamra, Syria) in 1932. It carved stone surface depicts Baal Hadad, the storm god called Adad in the Epic of Gilgamesh and equated with the Greek god Zeus. This Baal was the patron god of Ugarit, and atop nearby Mt. Saphon (called in Arabic al-Jabal al-Aqra or Bald Mountain) was his temple; Zeus was worshiped there also. Baal is of course a famous name to readers of the Hebrew Bible: the name is applied broadly to Canaanite deities. Yahweh is himself assimilated to Baal in many respects, as shown by Frank Moore Cross in Canaanite Myth and Hebrew Epic (Harvard UP, 1973).<br/><br/> <ul><li><a href="https://www.louvre.fr/en/oeuvre-notices/stela-depicting-storm-god-baal" target="_blank">Louvre website </a></li></ul><br/><br/><br/><br/>UnknownAn upright stone slab with relief carvings depicting a standing male figure (representing the Canaanite storm god Baal) who faces right, and stands on a large pedestal carved with mountains and seas. His right hand is upraised, brandishing a club, and his left hand is outstretched, holding a thunderbolt. This figure is bearded, and wears a helmet with bull’s horns. A smaller male figure, bareheaded, stands on a horned altar, between the god and his thunderbolt. (This is thought to be a king of Ugarit.)An upright stone slab with relief carvings depicting a standing male figure.Ras Shamra (= Ugarit), SyriaLouvre, ParisGNU Free Documentation License Mbzthttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj26.jpghttps://drive.google.com/uc?export=download&id=1TwCKy1LdyS8oTTd9jkfyU1BoclNei5Behttps://drive.google.com/file/d/1TwCKy1LdyS8oTTd9jkfyU1BoclNei5Be/view?usp=sharing<a href="https://drive.google.com/file/d/1TwCKy1LdyS8oTTd9jkfyU1BoclNei5Be/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>The Baal Stele was uncovered at Ugarit (modern Ras Shamra, Syria) in 1932. It carved stone surface depicts Baal Hadad, the storm god called Adad in the Epic of Gilgamesh and equated with the Greek god Zeus. This Baal was the patron god of Ugarit, and atop nearby Mt. Saphon (called in Arabic al-Jabal al-Aqra or Bald Mountain) was his temple; Zeus was worshiped there also. Baal is of course a famous name to readers of the Hebrew Bible: the name is applied broadly to Canaanite deities. Yahweh is himself assimilated to Baal in many respects, as shown by Frank Moore Cross in Canaanite Myth and Hebrew Epic (Harvard UP, 1973).Africa North of Sahara, Nile River ValleyAncient Egyptian, New KingdomSculptureAfrica North of Sahara, Nile River Valley, Ancient Egyptian, New Kingdom, SculptureAfrica North of Sahara, Nile River Valley, Ancient Egyptian, New Kingdom, SculptureGNU Free Documentation License Mbzt<br/>An upright stone slab with relief carvings depicting a standing male figure (representing the Canaanite storm god Baal) who faces right, and stands on a large pedestal carved with mountains and seas. His right hand is upraised, brandishing a club, and his left hand is outstretched, holding a thunderbolt. This figure is bearded, and wears a helmet with bull’s horns. A smaller male figure, bareheaded, stands on a horned altar, between the god and his thunderbolt. (This is thought to be a king of Ugarit.)Antiquityhttps://www.louvre.fr/en/oeuvre-notices/stela-depicting-storm-god-baalLouvre website <ul><li><a href="https://www.louvre.fr/en/oeuvre-notices/stela-depicting-storm-god-baal" target="_blank">Louvre website </a></li></ul>ImageN/Alimestone142 x 50 cm2nd Millennium BCE, New KingdomBaalbas-relief carvingN/Astele from the Temple of Baal, Ugarit, SyriaN/ADL/cphttps://commons.wikimedia.org/wiki/File:P1050759_Louvre_st%C3%A8le_du_Baal_au_foudre_rwk.JPG26<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000026%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
28
00002715802022-08-01 17:10:10Babur Receives a CourtierCE 1580-1585<a href="https://drive.google.com/file/d/19cT1H4onv6s-_MzT9wLgbxJSNiAnFL4y/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1580-1585<br/>Artist/Agent: Farrukh Beg<br/>Place of Origin: Lahore, Pakistan<br/>Current Location: Freer | Sackler Museum, Smithsonian Institution, Washington, DC USA<br/>Cultural Context: South Asian, Muslim, Indian, Mughal<br/>Worktype: Painting<br/><br/>This watercolor illustration shows the founder of the Mughal Empire, Zahir-al-Din Muhammad Babur, in a scene from his autobiography, Baburnama (Book of Babur, or Tuzuk-i Baburi). This edition was commissioned by Babur's grandson, Akbar (Abū al-Fatḥ Jalāl al-Dīn Muḥammad Akbar), who chose one of his favorite court painters, Farrukh Beg, to illustrate several episodes. Miniatures like this were originally bound into albums where the folios -- pages-- alternated with those of calligraphy. The albums have long since been dispersed. In this example, note the portraits of the individuals, for example the musicians in the lower left corner, to see Farrukh's skill in Persian portraiture conventions; then look at the upper left corner where the leaves of the tree intermingle with the vegetal motifs on the pavilion rooftop in what could be seen as whimsical visual poetry. <br/><br/> <ul><li><a href="https://www.freersackler.si.edu/object/S1986.230/" target="_blank">See the Freer/Sackler Museum webpage for this item.</a></li><li><a href="https://www.freersackler.si.edu/object/S1986.232/" target="_blank">Another folio from this same Baburnama -- Babur Entertains in Sultan Ibrahim Lodi’s Palace -- can be seen at this Freer/Sackler webpage.</a></li><li><a href="https://www.metmuseum.org/art/collection/search/76195" target="_blank">For more on the artist, Farrukh Beg, see this MMA webpage.</a></li></ul><br/><br/><br/><br/>Farrukh BegThe top half of this painting shows a palace decorated with arabesque floral motifs. Two arches and a dome are visible, and above them a garden appears. In the bottom half, a central bearded figure sits on a square throne, surrounded by 14 males of various occupations and positions, and a horse. Babur sits in his elaborately decorated throne roomLahore, PakistanFreer | Sackler Museum, Smithsonian Institution, Washington, DC USAPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj27.jpghttps://drive.google.com/uc?export=download&id=19cT1H4onv6s-_MzT9wLgbxJSNiAnFL4yhttps://drive.google.com/file/d/19cT1H4onv6s-_MzT9wLgbxJSNiAnFL4y/view?usp=sharing<a href="https://drive.google.com/file/d/19cT1H4onv6s-_MzT9wLgbxJSNiAnFL4y/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This watercolor illustration shows the founder of the Mughal Empire, Zahir-al-Din Muhammad Babur, in a scene from his autobiography, Baburnama (Book of Babur, or Tuzuk-i Baburi). This edition was commissioned by Babur's grandson, Akbar (Abū al-Fatḥ Jalāl al-Dīn Muḥammad Akbar), who chose one of his favorite court painters, Farrukh Beg, to illustrate several episodes. Miniatures like this were originally bound into albums where the folios -- pages-- alternated with those of calligraphy. The albums have long since been dispersed. In this example, note the portraits of the individuals, for example the musicians in the lower left corner, to see Farrukh's skill in Persian portraiture conventions; then look at the upper left corner where the leaves of the tree intermingle with the vegetal motifs on the pavilion rooftop in what could be seen as whimsical visual poetry. Asia, South Asia, India South Asian, Muslim, Indian, MughalPaintingAsia, South Asia, India , South Asian, Muslim, Indian, Mughal, PaintingAsia, South Asia, India , South Asian, Muslim, Indian, Mughal, PaintingPublic Domain<br/>The top half of this painting shows a palace decorated with arabesque floral motifs. Two arches and a dome are visible, and above them a garden appears. In the bottom half, a central bearded figure sits on a square throne, surrounded by 14 males of various occupations and positions, and a horse. Crossroadshttps://www.freersackler.si.edu/object/S1986.230/See the Freer/Sackler Museum webpage for this item.https://www.freersackler.si.edu/object/S1986.232/Another folio from this same Baburnama -- Babur Entertains in Sultan Ibrahim Lodi’s Palace -- can be seen at this Freer/Sackler webpage.https://www.metmuseum.org/art/collection/search/76195For more on the artist, Farrukh Beg, see this MMA webpage.<ul><li><a href="https://www.freersackler.si.edu/object/S1986.230/" target="_blank">See the Freer/Sackler Museum webpage for this item.</a></li><li><a href="https://www.freersackler.si.edu/object/S1986.232/" target="_blank">Another folio from this same Baburnama -- Babur Entertains in Sultan Ibrahim Lodi’s Palace -- can be seen at this Freer/Sackler webpage.</a></li><li><a href="https://www.metmuseum.org/art/collection/search/76195" target="_blank">For more on the artist, Farrukh Beg, see this MMA webpage.</a></li></ul>ImageN/Aopaque watercolor and gold on paper41.4 x 27 cm17th Century CE, MughalMughal manuscript, BaburnamaN/AN/AN/AN/AWK/cphttps://commons.wikimedia.org/wiki/File:Babur_Receives_a_Courtier-Farrukh_Baig-from_Rawdat_al-safa.jpg27<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000027%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
29
00002818002022-08-01 14:11:11Baleen Whale MaskCE 1800-1900<a href="https://drive.google.com/file/d/1x8NuYZfVMKhvvotBIw0t2FZc8tNMKf2-/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1800-1900<br/>Artist/Agent: Unknown<br/>Place of Origin: Knight's Inlet, British Columbia, Canada<br/>Current Location: Brooklyn Museum, New York, USA<br/>Cultural Context: North American, Canadian, Kwakwaka’wakw<br/>Worktype: Sculpture<br/><br/>With its expressive painted face and body markings, this whale-shaped mask exhibits streamlined beauty in repose, but imagine it moving in a ritualized dance, dipping and rising with the dorsal and the tail fins waving. The whale dance is still performed today by descendents of the Kwakwaka’wakw who made this object more than 100 years ago.<br/><br/> <ul><li><a href="https://www.brooklynmuseum.org/opencollection/objects/4651" target="_blank">The Brooklyn Museum's webpage for this object offers multiple views and more information.</a></li></ul><br/><br/><br/><br/>UnknownThis large whale-shaped carved cedar sculpture is painted with reds, blues, and whites to emphasize the flared nostril, the eye, and the jaw. Other decorative painted shapes appear on a collar, around the blow-hole, and along the sides and the fluted tail. Moveable fins would have enhanced the effect when this mask -- hollowed out so it could be carried on the back of a dancer -- was worn in ritualized performances.A large wooden whale-shaped mask is painted black red and blue.Knight's Inlet, British Columbia, CanadaBrooklyn Museum, New York, USACC BY-SA 3.0, © Brooklyn Museumhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj28.jpghttps://drive.google.com/uc?export=download&id=1x8NuYZfVMKhvvotBIw0t2FZc8tNMKf2-https://drive.google.com/file/d/1x8NuYZfVMKhvvotBIw0t2FZc8tNMKf2-/view?usp=sharing<a href="https://drive.google.com/file/d/1x8NuYZfVMKhvvotBIw0t2FZc8tNMKf2-/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>With its expressive painted face and body markings, this whale-shaped mask exhibits streamlined beauty in repose, but imagine it moving in a ritualized dance, dipping and rising with the dorsal and the tail fins waving. The whale dance is still performed today by descendents of the Kwakwaka’wakw who made this object more than 100 years ago.The Americas, North America, CanadaNorth American, Canadian, Kwakwaka’wakwSculptureThe Americas, North America, Canada, North American, Canadian, Kwakwaka’wakw, SculptureThe Americas, North America, Canada, North American, Canadian, Kwakwaka’wakw, SculptureCC BY-SA 3.0, © Brooklyn Museum<br/>This large whale-shaped carved cedar sculpture is painted with reds, blues, and whites to emphasize the flared nostril, the eye, and the jaw. Other decorative painted shapes appear on a collar, around the blow-hole, and along the sides and the fluted tail. Moveable fins would have enhanced the effect when this mask -- hollowed out so it could be carried on the back of a dancer -- was worn in ritualized performances.Modernityhttps://www.brooklynmuseum.org/opencollection/objects/4651The Brooklyn Museum's webpage for this object offers multiple views and more information.<ul><li><a href="https://www.brooklynmuseum.org/opencollection/objects/4651" target="_blank">The Brooklyn Museum's webpage for this object offers multiple views and more information.</a></li></ul>ImageN/Acedar wood, hide, cotton cord, nails, pigment60 x 72.4 x 206 cm19th Century CE, Kwakwaka’wakwKwakwaka’wakwN/AN/AN/AN/Ahttps://www.brooklynmuseum.org/opencollection/objects/465128<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000028%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
30
000029-13502022-08-02 12:45:45Banquet Scene in Nebamun's Tomb paintingBCE 1350<a href="https://drive.google.com/file/d/1NvCP6kaAypx-E0CtyqPvTkbqvfJyst3R/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 1350<br/>Artist/Agent: Unknown<br/>Place of Origin: Thebes, Tomb of Nebamun, Upper Egypt<br/>Current Location: British Museum, London, UK. Room 61<br/>Cultural Context: Ancient Egyptian, New Kingdom<br/>Worktype: Painting<br/><br/>At the temple of Amun at Karnak in Thebes (now Luxor, Egypt), archaeologists discovered this scene showing a feast and entertainment, meant to be enjoyed by the deceased for eternity. Take a careful look at the musicians in the lower register, all female, who are less formally drawn in the fresco painting than the seated elites at the tables in the register above. Two of the musicians are depicted frontally, looking directly at the viewer, instead of in profile, as the other musicians are shown. Frontal portraiture in ancient Egyptian figural representations is extremely rare.<br/><br/> <ul><li><a href="https://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/new-kingdom/a/paintings-from-the-tomb-chapel-of-nebamun" target="_blank">Khan Academy website with detailed descriptions and images from Nebamun Tomb Painting series</a></li></ul><br/><br/><br/><br/>Unknown In the upper register, a dozen Egyptian figures are seated in a row of chairs, most of them in profile facing the viewer’s left. They are dressed in robes, kilts, and jewelry. A standing nude female offers a dish to one of them. On a lower register, four seated musicians play instruments on the right, and five on the left, flanking two nearly-nude dancing figures and a group of amphora-shaped jugs in the center. Two musicians are shown full face. There are 15 vertical registers of hieroglyphs visible.banquet scene in Nebamun's tomb painting in two registersThebes, Tomb of Nebamun, Upper EgyptBritish Museum, London, UK. Room 61CC BY-SA 3.0 © The Trustees of the British Museumhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj29.jpghttps://drive.google.com/uc?export=download&id=1NvCP6kaAypx-E0CtyqPvTkbqvfJyst3Rhttps://drive.google.com/file/d/1NvCP6kaAypx-E0CtyqPvTkbqvfJyst3R/view?usp=sharing<a href="https://drive.google.com/file/d/1NvCP6kaAypx-E0CtyqPvTkbqvfJyst3R/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>At the temple of Amun at Karnak in Thebes (now Luxor, Egypt), archaeologists discovered this scene showing a feast and entertainment, meant to be enjoyed by the deceased for eternity. Take a careful look at the musicians in the lower register, all female, who are less formally drawn in the fresco painting than the seated elites at the tables in the register above. Two of the musicians are depicted frontally, looking directly at the viewer, instead of in profile, as the other musicians are shown. Frontal portraiture in ancient Egyptian figural representations is extremely rare.Africa North of Sahara, Nile River ValleyAncient Egyptian, New KingdomPaintingAfrica North of Sahara, Nile River Valley, Ancient Egyptian, New Kingdom, PaintingAfrica North of Sahara, Nile River Valley, Ancient Egyptian, New Kingdom, PaintingCC BY-SA 3.0 © The Trustees of the British Museum<br/> In the upper register, a dozen Egyptian figures are seated in a row of chairs, most of them in profile facing the viewer’s left. They are dressed in robes, kilts, and jewelry. A standing nude female offers a dish to one of them. On a lower register, four seated musicians play instruments on the right, and five on the left, flanking two nearly-nude dancing figures and a group of amphora-shaped jugs in the center. Two musicians are shown full face. There are 15 vertical registers of hieroglyphs visible.Antiquityhttps://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/new-kingdom/a/paintings-from-the-tomb-chapel-of-nebamunKhan Academy website with detailed descriptions and images from Nebamun Tomb Painting series<ul><li><a href="https://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/new-kingdom/a/paintings-from-the-tomb-chapel-of-nebamun" target="_blank">Khan Academy website with detailed descriptions and images from Nebamun Tomb Painting series</a></li></ul>Image15 vertical registers of hieroglyphs surviveplasterHeight: 88 cm; Width: 119 cm; Thickness: 22 cm; Width: 99.5 cm (painting only)2nd Millennium BCE, New KingdomNew Kingdom, banquetpaintingN/AN/AN/Amt/cphttp://www.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?assetId=244310001&objectId=119660&partId=129<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000029%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
31
00003017502022-08-01 15:21:21Baqir: Lion and Dragon in CombatCE 1750<a href="https://drive.google.com/file/d/1oynBqldm7peMat-ns3ZFOpnburZkCdQ7/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1750<br/>Artist/Agent: Muhammad Baqir<br/>Place of Origin: Sari, Iran<br/>Current Location: The Metropolitan Museum of Art, New York, NY USA<br/>Cultural Context: Middle Eastern, Iranian, Muslim, Persian, Safavid<br/>Worktype: Painting<br/><br/>This painting was probably originally an illustration in a manuscript when it was first produced in the 1750s. The pages of the manuscript are now dispersed. Dragons and lions both are repeated subjects in Persian iconographic history.<br/><br/> <ul><li><a href="https://www.metmuseum.org/art/collection/search/452514" target="_blank">The MMA webpage for this drawing offers more informaiton.</a></li><li><a href="https://www.metmuseum.org/toah/hd/isbk/hd_isbk.htm" target="_blank">The MMA's Heilbrunn Timeline offers an essay on "The Arts of the Book in the Islamic World, 1600-1800"</a></li></ul><br/><br/><br/><br/>Muhammad BaqirDrawn in ink and watercolor on paper are a lion and a dragon grappling in fierce face-to-face combat, with the lion's teeth embedded in the dragon's body which is entwining the lion's torso.A lion and a dragon wrestle.Sari, IranThe Metropolitan Museum of Art, New York, NY USAPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj30.jpghttps://drive.google.com/uc?export=download&id=1oynBqldm7peMat-ns3ZFOpnburZkCdQ7https://drive.google.com/file/d/1oynBqldm7peMat-ns3ZFOpnburZkCdQ7/view?usp=sharing<a href="https://drive.google.com/file/d/1oynBqldm7peMat-ns3ZFOpnburZkCdQ7/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This painting was probably originally an illustration in a manuscript when it was first produced in the 1750s. The pages of the manuscript are now dispersed. Dragons and lions both are repeated subjects in Persian iconographic history.Middle East, IranMiddle Eastern, Iranian, Muslim, Persian, SafavidPaintingMiddle East, Iran, Middle Eastern, Iranian, Muslim, Persian, Safavid, PaintingMiddle East, Iran, Middle Eastern, Iranian, Muslim, Persian, Safavid, PaintingPublic Domain<br/>Drawn in ink and watercolor on paper are a lion and a dragon grappling in fierce face-to-face combat, with the lion's teeth embedded in the dragon's body which is entwining the lion's torso.Modernityhttps://www.metmuseum.org/art/collection/search/452514The MMA webpage for this drawing offers more informaiton.https://www.metmuseum.org/toah/hd/isbk/hd_isbk.htmThe MMA's Heilbrunn Timeline offers an essay on "The Arts of the Book in the Islamic World, 1600-1800"<ul><li><a href="https://www.metmuseum.org/art/collection/search/452514" target="_blank">The MMA webpage for this drawing offers more informaiton.</a></li><li><a href="https://www.metmuseum.org/toah/hd/isbk/hd_isbk.htm" target="_blank">The MMA's Heilbrunn Timeline offers an essay on "The Arts of the Book in the Islamic World, 1600-1800"</a></li></ul>ImageSignature in Persian in nasta‘liq script at lower right: In the town of Sari, this was drawn by the humble Muhammad Baqir.ink and watercolor on paper20.6 cm x 30.8 cm18th Century CE, SafavidSafavid, lion, dragonN/AN/AN/AN/Ahttps://www.metmuseum.org/art/collection/search/45251430<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000030%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
32
000031-2202022-08-02 10:44:44Barberini Faun (Sleeping Satyr)BCE 220<a href="https://drive.google.com/file/d/11e0mdzqfTcdEd7gSvgOmDXXPuNbfERCk/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 220<br/>Artist/Agent: Unknown<br/>Place of Origin: Castel Sant’ Angelo, Parco Adriano, Rome, Italy<br/>Current Location: Glyptothek, Munich, Germany<br/>Cultural Context: Ancient Greek, Hellenistic<br/>Worktype: Sculpture<br/><br/>It's easy to forget the material from which this form is made: hard marble that has been carved and polished to illustrate a body's trembling tension between sleep and wakefulness. The face is a portrait of troubled dreams, and the muscled torso seems to pant as well as breathe. Satyrs in Ancient Greek mythology were half-human, half-animal, known for carousing in excess. This one is taking a rest from the party, but the story told by the artist is that he won't be asleep for long.<br/><br/> <ul><li><a href="https://www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/hellenistic/v/barberini-faun-c-220-b-c-e" target="_blank">Khan Academy offers a video with more information on the work.</a></li><li><a href="https://muse.jhu.edu/article/604618" target="_blank">Project Muse offers access to an article by Amanda Herring that analyzes the Greek Satyr as an object of desire.</a></li></ul><br/><br/><br/><br/>UnknownMarble sculpture of a "half-human, half-animal", known as a Satyr in Ancient Greek mythology and a Faun in Roman mythology. He lays back while sleeping, his tail visible under his left leg and his right leg propped up.Satyr lays back against a rock while sleeping.Castel Sant’ Angelo, Parco Adriano, Rome, ItalyGlyptothek, Munich, GermanyArtstor University of California, San Diegohttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj31.jpghttps://drive.google.com/uc?export=download&id=11e0mdzqfTcdEd7gSvgOmDXXPuNbfERCkhttps://drive.google.com/file/d/11e0mdzqfTcdEd7gSvgOmDXXPuNbfERCk/view?usp=sharing<a href="https://drive.google.com/file/d/11e0mdzqfTcdEd7gSvgOmDXXPuNbfERCk/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>It's easy to forget the material from which this form is made: hard marble that has been carved and polished to illustrate a body's trembling tension between sleep and wakefulness. The face is a portrait of troubled dreams, and the muscled torso seems to pant as well as breathe. Satyrs in Ancient Greek mythology were half-human, half-animal, known for carousing in excess. This one is taking a rest from the party, but the story told by the artist is that he won't be asleep for long.Europe, Southern Europe, GreeceAncient Greek, HellenisticSculptureEurope, Southern Europe, Greece, Ancient Greek, Hellenistic, SculptureEurope, Southern Europe, Greece, Ancient Greek, Hellenistic, SculptureArtstor University of California, San Diego<br/>Marble sculpture of a "half-human, half-animal", known as a Satyr in Ancient Greek mythology and a Faun in Roman mythology. He lays back while sleeping, his tail visible under his left leg and his right leg propped up.Antiquityhttps://www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/hellenistic/v/barberini-faun-c-220-b-c-eKhan Academy offers a video with more information on the work.https://muse.jhu.edu/article/604618Project Muse offers access to an article by Amanda Herring that analyzes the Greek Satyr as an object of desire.<ul><li><a href="https://www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/hellenistic/v/barberini-faun-c-220-b-c-e" target="_blank">Khan Academy offers a video with more information on the work.</a></li><li><a href="https://muse.jhu.edu/article/604618" target="_blank">Project Muse offers access to an article by Amanda Herring that analyzes the Greek Satyr as an object of desire.</a></li></ul>ImageN/Amarble215 cm2nd Century BCE, HellenisticsatyrsculptingN/AN/AN/AACChttps://library.artstor.org/#/asset/ARTSTOR_103_4182200016855731<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000031%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
33
0000323062022-08-01 22:56:56Basilica of Maxentius, or the Basilica NovaCE 306-312<a href="https://drive.google.com/file/d/1AwMeDASidgJTGZZcKBOeQWRZwzlt0DVT/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 306-312<br/>Artist/Agent: Unknown<br/>Place of Origin: The Roman Forum<br/>Current Location: Rome, Italy<br/>Cultural Context: Ancient Roman, Imperial Roman, Late Antiquity<br/>Worktype: Architecture<br/><br/>The massive ruins of what was once the Basilica of Maxentius dominate one edge of the excavated Roman Forum. A basilica was originally a building dedicated to the administration of laws; many were later used as churches by early Christians, and Christian churches would often be built on the basilica pattern. This allowed Christians to worship in spaces that were not patterned on pagan temples. Maxentius, upon whose accession the basilica was constructed, was one of a set of men who ruled Rome jointly as the tetrarchy, a relatively short-lived method of government adopted during the troubled period of the late 3rd century CE. It divided the Empire into four (originally, two) quadrants, each ruled by a tetrarch; the system came to an end when Constantine defeated Maxentius and then Licinius to begin his reign as sole emperor. It did, however, presage the lasting division between the Western (Latin-speaking) and Eastern (Greek-speaking) Roman Empires at the start of the 5th century CE.<br/><br/> <ul><li><a href="https://www.thinglink.com/scene/716712976819683328" target="_blank">Interactive website that annotates objects in the Basilica Nova</a></li></ul><br/><br/>[leaflet-map lat=41.892286242462 lng=12.4887942839484 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: The Roman Forum [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1650374286189!6m8!1m7!1sCAoSLEFGMVFpcE1aOE1pZmhRUkF0LWVCdEVWRzFuXzVzRFc4SnV1WkhoUU1PS0tS!2m2!1d41.8918084!2d12.4880364!3f11.24229601682626!4f15.053158297680412!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>UnknownThis photograph shows the basilica Nova’s three barrel vaults.This photograph shows the basilica Nova's three barrel vaults.The Roman ForumRome, ItalyCC BY-SA 4.0 Livioandronico2013 https://globalimages.liberalstudies.hosting.nyu.edu/images/obj32.jpghttps://drive.google.com/uc?export=download&id=1AwMeDASidgJTGZZcKBOeQWRZwzlt0DVThttps://drive.google.com/file/d/1AwMeDASidgJTGZZcKBOeQWRZwzlt0DVT/view?usp=sharing<a href="https://drive.google.com/file/d/1AwMeDASidgJTGZZcKBOeQWRZwzlt0DVT/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>The massive ruins of what was once the Basilica of Maxentius dominate one edge of the excavated Roman Forum. A basilica was originally a building dedicated to the administration of laws; many were later used as churches by early Christians, and Christian churches would often be built on the basilica pattern. This allowed Christians to worship in spaces that were not patterned on pagan temples. Maxentius, upon whose accession the basilica was constructed, was one of a set of men who ruled Rome jointly as the tetrarchy, a relatively short-lived method of government adopted during the troubled period of the late 3rd century CE. It divided the Empire into four (originally, two) quadrants, each ruled by a tetrarch; the system came to an end when Constantine defeated Maxentius and then Licinius to begin his reign as sole emperor. It did, however, presage the lasting division between the Western (Latin-speaking) and Eastern (Greek-speaking) Roman Empires at the start of the 5th century CE.Europe, Southern Europe, ItalyAncient Roman, Imperial Roman, Late AntiquityArchitectureEurope, Southern Europe, Italy, Ancient Roman, Imperial Roman, Late Antiquity, ArchitectureEurope, Southern Europe, Italy, Ancient Roman, Imperial Roman, Late Antiquity, ArchitectureCC BY-SA 4.0 Livioandronico2013 <br/>This photograph shows the basilica Nova’s three barrel vaults.Antiquityhttps://www.thinglink.com/scene/716712976819683328Interactive website that annotates objects in the Basilica Novahttps://drive.google.com/file/d/1eZfaeVv6V7XHxYXHaBa5fRPXW9S0z5K6/view?usp=sharingFloorplan of the Basilica of Maxentius (Public Domain)https://drive.google.com/file/d/1czU9OCfPdOAaal53TNrNcYm1lIKl6_z2/view?usp=sharingDrawing of what the interior of the Basilica Nova might have looked like (Artstor: Institute of Fine Arts/NYU Digital Collections)<ul><li><a href="https://www.thinglink.com/scene/716712976819683328" target="_blank">Interactive website that annotates objects in the Basilica Nova</a></li></ul>ImageN/Aconcrete (barrel vault)23 x 17 m. 37 m at the center of each barrel vault4th Century CE, Imperial Roman, Late AntiquityImperial Rome, Maxentius, ConstantineN/AN/AN/AN/Acphttps://en.wikipedia.org/wiki/Basilica_of_Maxentius#/media/File:Basilica_of_Maxentius.JPG41.8922862412.4887942841.8922862412.48879428<iframe src="https://www.google.com/maps/embed?pb=!4v1650374286189!6m8!1m7!1sCAoSLEFGMVFpcE1aOE1pZmhRUkF0LWVCdEVWRzFuXzVzRFc4SnV1WkhoUU1PS0tS!2m2!1d41.8918084!2d12.4880364!3f11.24229601682626!4f15.053158297680412!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>[leaflet-map lat=41.892286242462 lng=12.4887942839484 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: The Roman Forum [/leaflet-marker]Yes32<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000032%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
34
00003311442022-08-01 20:50:50Basilica of Saint-DenisCE 1144<a href="https://drive.google.com/file/d/1r1sIaNzMFIp2L4JvyW8HfhcbNZnWo3eA/view?usp=sharing
" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1144<br/>Artist/Agent: Unknown<br/>Place of Origin: Saint-Denis, France<br/>Current Location: Saint-Denis, France<br/>Cultural Context: Northern and Western European, French, Christendom, Gothic<br/>Worktype: Architecture<br/><br/>The Basilica of St Denis is an example of a major architectural landmark in the quickly changing designs of Gothic Cathedrals built during the 12th century in France. Both stylistically and structurally, the design, credited to Abbot Suger, marked a change from Romanesque architecture to Gothic architecture. <br/><br/> <ul><li><a href="http://www.saint-denis-basilique.fr/en/" target="_blank">Additional Resource</a></li></ul><br/><br/>[leaflet-map lat=48.9356303277906 lng=2.35984612683165 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Saint-Denis, France [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1655838053317!6m8!1m7!1sCAoSLEFGMVFpcFBrRWFpaldCZ0M5QThZRXZJVWlQcEptWWtZOW9hRmdLbGVvWDR0!2m2!1d48.9357299!2d2.3588734!3f104.07596420082075!4f30.679275931440216!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>		UnknownA photograph shows the west façade of Saint Denis, which has three portals at the ground level, separated by two massive vertical buttresses between them rising three levels high, marked by horizontal string-courses and window arcades that mark each level on the exterior of the building. The central portal is one larger than those either side, topped by a Tympanum and lintel. Above the central portal is a second-level arched window arcade, and above that is a large round rose window in a square frame. Above the right flanking portal and window arcades rises a bell tower.A cathedral facade shows three portals at the ground level. A second-level arched window arcade shows a large round rose window in a square frame. A bell tower spire rises above. Saint-Denis, FranceSaint-Denis, FranceCC BY-SA 4.0 Thomas Clouethttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj33.jpghttps://drive.google.com/uc?export=download&id=1r1sIaNzMFIp2L4JvyW8HfhcbNZnWo3eAhttps://drive.google.com/file/d/1r1sIaNzMFIp2L4JvyW8HfhcbNZnWo3eA/view?usp=sharing
<a href="https://drive.google.com/file/d/1r1sIaNzMFIp2L4JvyW8HfhcbNZnWo3eA/view?usp=sharing
" target="_blank">Link to image in Google Drive</a></br>		The Basilica of St Denis is an example of a major architectural landmark in the quickly changing designs of Gothic Cathedrals built during the 12th century in France. Both stylistically and structurally, the design, credited to Abbot Suger, marked a change from Romanesque architecture to Gothic architecture. Europe, Northern and Western Europe, FranceNorthern and Western European, French, Christendom, GothicArchitectureEurope, Northern and Western Europe, France, Northern and Western European, French, Christendom, Gothic, ArchitectureEurope, Northern and Western Europe, France, Northern and Western European, French, Christendom, Gothic, ArchitectureCC BY-SA 4.0 Thomas Clouet<br/>A photograph shows the west façade of Saint Denis, which has three portals at the ground level, separated by two massive vertical buttresses between them rising three levels high, marked by horizontal string-courses and window arcades that mark each level on the exterior of the building. The central portal is one larger than those either side, topped by a Tympanum and lintel. Above the central portal is a second-level arched window arcade, and above that is a large round rose window in a square frame. Above the right flanking portal and window arcades rises a bell tower.Crossroadshttp://www.saint-denis-basilique.fr/en/Additional Resource<ul><li><a href="http://www.saint-denis-basilique.fr/en/" target="_blank">Additional Resource</a></li></ul>ImageN/AN/A108 x 39 m12th Century CE, GothicFrance, ChristianityN/AN/AN/AN/Apl/cphttps://en.wikipedia.org/wiki/Basilica_of_Saint-Denis#/media/File:Saint-Denis_-_Fa%C3%A7ade.jpg48.935630332.35984612748.935630332.359846127<iframe src="https://www.google.com/maps/embed?pb=!4v1655838053317!6m8!1m7!1sCAoSLEFGMVFpcFBrRWFpaldCZ0M5QThZRXZJVWlQcEptWWtZOW9hRmdLbGVvWDR0!2m2!1d48.9357299!2d2.3588734!3f104.07596420082075!4f30.679275931440216!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>[leaflet-map lat=48.9356303277906 lng=2.35984612683165 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Saint-Denis, France [/leaflet-marker]Yes33<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000033%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
35
00003411802022-08-01 20:41:41Basilica of Saint-Sernin, ToulouseCE 1180<a href="https://drive.google.com/file/d/16Z7w-3nvC-4JPmXNb-TEOxcQ6nHWlwW6/view?usp=sharing " target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1180<br/>Artist/Agent: Unknown<br/>Place of Origin: Toulouse, France<br/>Current Location: Toulouse, France<br/>Cultural Context: Northern and Western European, French, Christendom, Romanesque<br/>Worktype: Architecture<br/><br/>The Basilica of Saint-Sernin is an example of the Romanesque style of Cathedrals. Built between about 1080 and 1120 CE, the walls of its barrel-vaulted central nave are supported by buttresses. The north transept, shown, is a marble altar. Pope Urban II consecrated it in 1096. Bernard Gelduin designed it. The vaulted ceilings above the altars in the north transept were innovative for the time, as were the ambulatories on either side, which allowed pilgrims to circulate during Mass. <br/><br/> <ul><li><a href="https://drive.google.com/file/d/1vPsovgLz2Tzz6eNKFlKJHX25gdOadE-Q/view?usp=sharing" target="_blank">A wide-angle view of the nave, the ambulatories, and the galleries above is available here (CC BY-SA 3.0 PierreSelim)</a></li></ul><br/><br/>[leaflet-map lat=43.6084864847168 lng=1.44178244012208 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Toulouse, France [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1655842610005!6m8!1m7!1sCAoSLEFGMVFpcE5pZVZBRFR1ekhsWFI0UVpzV0I2NEFCUUc4NzJLdG1ZZUNuUWRi!2m2!1d43.6083156!2d1.4418039!3f0.8042035576618347!4f32.99948269488772!5f0.4000000000000002" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>UnknownAn interior view of a church shows a pair of arched recessed rooms, each containing a painting and an altar. A row of wooden pews faces the paired rooms. Above them are a pair of arched balcony openings. An interior view of a church shows a pair of arched recessed rooms, each containing a painting and an altar. A row of wooden pews face the paired rooms. Above them are a pair of arched balcony openings.Toulouse, FranceToulouse, FranceCC BY 3.0 PierreSelimhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj34.jpghttps://drive.google.com/uc?export=download&id=16Z7w-3nvC-4JPmXNb-TEOxcQ6nHWlwW6https://drive.google.com/file/d/16Z7w-3nvC-4JPmXNb-TEOxcQ6nHWlwW6/view?usp=sharing <a href="https://drive.google.com/file/d/16Z7w-3nvC-4JPmXNb-TEOxcQ6nHWlwW6/view?usp=sharing " target="_blank">Link to image in Google Drive</a></br>The Basilica of Saint-Sernin is an example of the Romanesque style of Cathedrals. Built between about 1080 and 1120 CE, the walls of its barrel-vaulted central nave are supported by buttresses. The north transept, shown, is a marble altar. Pope Urban II consecrated it in 1096. Bernard Gelduin designed it. The vaulted ceilings above the altars in the north transept were innovative for the time, as were the ambulatories on either side, which allowed pilgrims to circulate during Mass. Europe, Northern and Western Europe, FranceNorthern and Western European, French, Christendom, RomanesqueArchitectureEurope, Northern and Western Europe, France, Northern and Western European, French, Christendom, Romanesque, ArchitectureEurope, Northern and Western Europe, France, Northern and Western European, French, Christendom, Romanesque, ArchitectureCC BY 3.0 PierreSelim<br/>An interior view of a church shows a pair of arched recessed rooms, each containing a painting and an altar. A row of wooden pews faces the paired rooms. Above them are a pair of arched balcony openings. Crossroadshttps://drive.google.com/file/d/1vPsovgLz2Tzz6eNKFlKJHX25gdOadE-Q/view?usp=sharingA wide-angle view of the nave, the ambulatories, and the galleries above is available here (CC BY-SA 3.0 PierreSelim)<ul><li><a href="https://drive.google.com/file/d/1vPsovgLz2Tzz6eNKFlKJHX25gdOadE-Q/view?usp=sharing" target="_blank">A wide-angle view of the nave, the ambulatories, and the galleries above is available here (CC BY-SA 3.0 PierreSelim)</a></li></ul>ImageN/AN/A115 x 64 x 21m (interior)12th Century CE, RomanesqueFrance, ChristianityN/AN/AN/AN/Apl/cphttps://en.wikipedia.org/wiki/Basilica_of_Saint-Sernin,_Toulouse#/media/File:North_transepts_-_Basilique_Saint-Sernin_-_fixed_perspective_(cropped).jpg43.608486481.4417824443.608486481.44178244<iframe src="https://www.google.com/maps/embed?pb=!4v1655842610005!6m8!1m7!1sCAoSLEFGMVFpcE5pZVZBRFR1ekhsWFI0UVpzV0I2NEFCUUc4NzJLdG1ZZUNuUWRi!2m2!1d43.6083156!2d1.4418039!3f0.8042035576618347!4f32.99948269488772!5f0.4000000000000002" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>[leaflet-map lat=43.6084864847168 lng=1.44178244012208 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Toulouse, France [/leaflet-marker]Yes34<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000034%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
36
0000355262022-08-01 22:34:34Basilica of San Vitale at RavennaCE 526-547<a href="https://drive.google.com/file/d/192YMyftdyin80pJpyXeBMnCKeNW8sgmz/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 526-547<br/>Artist/Agent: Bishop Ecclesius and Bishop Maximian<br/>Place of Origin: Ravenna, Italy<br/>Current Location: Ravenna, Italy<br/>Cultural Context: Southern European, Italian, Byzantine, Late Antiquity, Christendom<br/>Worktype: Architecture<br/><br/>This octagonal building resembles the Roman basilica plans, but shows Byzantine influences. It is widely known for the mosaics decorating its interior.<br/><br/> <ul><li><a href="https://whc.unesco.org/en/list/788/" target="_blank">The Basilica of San Vitale is a UNESCO world heritage site.</a></li><li><a href="https://drive.google.com/file/d/1ABYRr0v1MxYA2tQ62bCQpbIobRHVpdzR/view?usp=sharing" target="_blank">Interior of San Vitale showing the apse with a partial view of the colonnaded arcade. (Image: CC BY-SA 4.0 Tango7174)</a></li></ul><br/><br/>[leaflet-map lat=44.4206016556867 lng=12.1968262803157 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Ravenna, Italy [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1659457471434!6m8!1m7!1sS4brmSM1REk_DoaVvusfSg!2m2!1d44.42061456225115!2d12.19688829427551!3f265.64362509987416!4f10.992681946484282!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>Bishop Ecclesius and Bishop MaximianAn octagonal building is seen from the side, showing two stories of arched windows, buttressed supports, and a cupola.An octagonal building with buttresses and a cupolaRavenna, ItalyRavenna, ItalyCC BY-SA 3.0 Madakihttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj35.jpghttps://drive.google.com/uc?export=download&id=192YMyftdyin80pJpyXeBMnCKeNW8sgmzhttps://drive.google.com/file/d/192YMyftdyin80pJpyXeBMnCKeNW8sgmz/view?usp=sharing<a href="https://drive.google.com/file/d/192YMyftdyin80pJpyXeBMnCKeNW8sgmz/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This octagonal building resembles the Roman basilica plans, but shows Byzantine influences. It is widely known for the mosaics decorating its interior.Europe, Southern Europe, ItalySouthern European, Italian, Byzantine, Late Antiquity, ChristendomArchitectureEurope, Southern Europe, Italy, Southern European, Italian, Byzantine, Late Antiquity, Christendom, ArchitectureEurope, Southern Europe, Italy, Southern European, Italian, Byzantine, Late Antiquity, Christendom, ArchitectureCC BY-SA 3.0 Madaki<br/>An octagonal building is seen from the side, showing two stories of arched windows, buttressed supports, and a cupola.Antiquityhttps://whc.unesco.org/en/list/788/The Basilica of San Vitale is a UNESCO world heritage site.https://drive.google.com/file/d/1ABYRr0v1MxYA2tQ62bCQpbIobRHVpdzR/view?usp=sharingInterior of San Vitale showing the apse with a partial view of the colonnaded arcade. (Image: CC BY-SA 4.0 Tango7174)<ul><li><a href="https://whc.unesco.org/en/list/788/" target="_blank">The Basilica of San Vitale is a UNESCO world heritage site.</a></li><li><a href="https://drive.google.com/file/d/1ABYRr0v1MxYA2tQ62bCQpbIobRHVpdzR/view?usp=sharing" target="_blank">Interior of San Vitale showing the apse with a partial view of the colonnaded arcade. (Image: CC BY-SA 4.0 Tango7174)</a></li></ul>ImageN/AN/A0.14 ha (0.35 acres)6th Century CE, Late Antiquity, ByzantineByzantine, ChristianityN/AN/AN/AN/Acphttps://en.wikipedia.org/wiki/Basilica_of_San_Vitale#/media/File:San_Vitale_Ravenna.jpg44.4206016612.1968262844.4206016612.19682628<iframe src="https://www.google.com/maps/embed?pb=!4v1659457471434!6m8!1m7!1sS4brmSM1REk_DoaVvusfSg!2m2!1d44.42061456225115!2d12.19688829427551!3f265.64362509987416!4f10.992681946484282!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>[leaflet-map lat=44.4206016556867 lng=12.1968262803157 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Ravenna, Italy [/leaflet-marker]Yes35<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000035%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
37
0000364222022-08-01 22:44:44Basilica of Santa Sabina, InteriorCE 422-432<a href="https://drive.google.com/file/d/1wu4wHRjlw3kWiWf--0HQvnA83pGbmS8v/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 422-432<br/>Artist/Agent: Peter of Illyria<br/>Place of Origin: Rome, Italy<br/>Current Location: Rome, Italy<br/>Cultural Context: Southern European, Italian, Byzantine, Late Antiquity, Christendom<br/>Worktype: Architecture<br/><br/>The Basilica of Santa Sabina is an example of an early Christian church built on the rectangular Roman basilica plan.<br/><br/> <br/><br/>[leaflet-map lat=41.8844436788232 lng=12.4808597394907 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Rome, Italy [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1659457719222!6m8!1m7!1sCAoSLEFGMVFpcE54RHZYc3JkTUpmOEY5bzlVdDRHcURtX1RvVFFTMExOX0NINVRM!2m2!1d41.8841711!2d12.4799358!3f2.684442491587447!4f26.751496203654398!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>Peter of IllyriaA central nave is flanked by rows of corinthian columns and arches, above which are rows of stained glass clerestory windows. At the far end is the apse showing a triumphal arch.A central nave is flanked by columns and windows. An apse is at the far end.Rome, ItalyRome, ItalyCC BY-SA 3.0 Dnalor 01https://globalimages.liberalstudies.hosting.nyu.edu/images/obj36.jpghttps://drive.google.com/uc?export=download&id=1wu4wHRjlw3kWiWf--0HQvnA83pGbmS8vhttps://drive.google.com/file/d/1wu4wHRjlw3kWiWf--0HQvnA83pGbmS8v/view?usp=sharing<a href="https://drive.google.com/file/d/1wu4wHRjlw3kWiWf--0HQvnA83pGbmS8v/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>The Basilica of Santa Sabina is an example of an early Christian church built on the rectangular Roman basilica plan.Europe, Southern Europe, ItalySouthern European, Italian, Byzantine, Late Antiquity, ChristendomArchitectureEurope, Southern Europe, Italy, Southern European, Italian, Byzantine, Late Antiquity, Christendom, ArchitectureEurope, Southern Europe, Italy, Southern European, Italian, Byzantine, Late Antiquity, Christendom, ArchitectureCC BY-SA 3.0 Dnalor 01<br/>A central nave is flanked by rows of corinthian columns and arches, above which are rows of stained glass clerestory windows. At the far end is the apse showing a triumphal arch.AntiquityImageN/AN/A60 x 30 m5th Century CE, Late Antiquity, Early ChristianByzantine, Early ChristianityN/AN/AN/AN/ACPhttps://whc.unesco.org/en/list/788/41.8844436812.4808597441.8844436812.48085974<iframe src="https://www.google.com/maps/embed?pb=!4v1659457719222!6m8!1m7!1sCAoSLEFGMVFpcE54RHZYc3JkTUpmOEY5bzlVdDRHcURtX1RvVFFTMExOX0NINVRM!2m2!1d41.8841711!2d12.4799358!3f2.684442491587447!4f26.751496203654398!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>[leaflet-map lat=41.8844436788232 lng=12.4808597394907 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Rome, Italy [/leaflet-marker]Yes36<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000036%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
38
00003716002022-08-01 16:44:44Bath of FasiledesCE 1600-1700<a href="https://drive.google.com/file/d/1WcaUnnDswxBsITvFSljLs1mzy5miW9Re/view?usp=sharing
" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1600-1700<br/>Artist/Agent: Unknown<br/>Place of Origin: Gondar, Ethiopia <br/>Current Location: Gondar, Ethiopia <br/>Cultural Context: East African, Ethiopian, Gondarian<br/>Worktype: Architecture<br/><br/>The Baths at Fasil Ghebbi (Royal Enclosure) are an example of the architectural amenities provided within the fortress-city in Gondar built by Ethiopian Emperors in the 1600s, who claimed to be descended from King Solomon and Queen Sheba. <br/><br/> <ul><li><a href="https://whc.unesco.org/en/list/19" target="_blank">UNESCO site.</a></li></ul><br/><br/>[leaflet-map lat=12.6183109619032 lng=37.4570970756148 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Gondar, Ethiopia [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1659379200082!6m8!1m7!1sCAoSLEFGMVFpcE9BZFN6dDdKdHlTT2NBaGRmVzVCeTdYbXFVai1LMGtvNWZHbkVh!2m2!1d12.6171728!2d37.4574916!3f340!4f20!5f1.9587109090973311" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>		UnknownA three-story stone building stands in a giant stone-walled rectangular pool with no water in it. Two arched doorways are at the ground level on each of two visible sides of the building. Above, two arched doorways permit access to a balcony that spans the width of the building. A square tower rises to a third level on the right corner of the building, with round-topped battlements on the tower's roofline.A castle with arches on the ground floorGondar, Ethiopia Gondar, Ethiopia CC BY-SA 3.0 © UNESCO Francesco Bandarin https://globalimages.liberalstudies.hosting.nyu.edu/images/obj37.jpghttps://drive.google.com/uc?export=download&id=1WcaUnnDswxBsITvFSljLs1mzy5miW9Rehttps://drive.google.com/file/d/1WcaUnnDswxBsITvFSljLs1mzy5miW9Re/view?usp=sharing
<a href="https://drive.google.com/file/d/1WcaUnnDswxBsITvFSljLs1mzy5miW9Re/view?usp=sharing
" target="_blank">Link to image in Google Drive</a></br>		The Baths at Fasil Ghebbi (Royal Enclosure) are an example of the architectural amenities provided within the fortress-city in Gondar built by Ethiopian Emperors in the 1600s, who claimed to be descended from King Solomon and Queen Sheba. Africa South of Sahara, Eastern Africa, EthiopiaEast African, Ethiopian, GondarianArchitectureAfrica South of Sahara, Eastern Africa, Ethiopia, East African, Ethiopian, Gondarian, ArchitectureAfrica South of Sahara, Eastern Africa, Ethiopia, East African, Ethiopian, Gondarian, ArchitectureCC BY-SA 3.0 © UNESCO Francesco Bandarin <br/>A three-story stone building stands in a giant stone-walled rectangular pool with no water in it. Two arched doorways are at the ground level on each of two visible sides of the building. Above, two arched doorways permit access to a balcony that spans the width of the building. A square tower rises to a third level on the right corner of the building, with round-topped battlements on the tower's roofline.Crossroadshttps://whc.unesco.org/en/list/19UNESCO site.<ul><li><a href="https://whc.unesco.org/en/list/19" target="_blank">UNESCO site.</a></li></ul>ImageN/AN/AN/A17th Century CE, Gondar PeriodFasiledes, GondarN/AN/AN/AN/ARSamet/cphttps://whc.unesco.org/en/list/19/gallery/
12.6183109637.4570970812.6183109637.45709708<iframe src="https://www.google.com/maps/embed?pb=!4v1659379200082!6m8!1m7!1sCAoSLEFGMVFpcE9BZFN6dDdKdHlTT2NBaGRmVzVCeTdYbXFVai1LMGtvNWZHbkVh!2m2!1d12.6171728!2d37.4574916!3f340!4f20!5f1.9587109090973311" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>[leaflet-map lat=12.6183109619032 lng=37.4570970756148 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Gondar, Ethiopia [/leaflet-marker]Yes37<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000037%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
39
000038-3152022-08-02 10:53:53Battle of Issus (Alexander Mosaic) BCE 315<a href="https://drive.google.com/file/d/1OcsGMtwy8JvBYlaK4kcPP3x6EZ9NJogo/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 315<br/>Artist/Agent: Unknown<br/>Place of Origin: House of Faun, Pompeii<br/>Current Location: Museo Archeologico Nazionale, Naples<br/>Cultural Context: Ancient Greek, Hellenistic<br/>Worktype: Mosaic<br/><br/>This mosaic made of ceramic chips in BCE 333 illustrates the Battle of Issus. It is an example of a Roman mosaic copy of a Greek painting, now lost, by Philoxenos of Eretria (Greek painter, late 4th c. BCE). It should be studied because it captures in Hellenistic dramatic style the decisive moment when this conflict early in Alexander the Great’s invasion of Asia turned into a defeat for the Persian army under King Darius III. It could be usefully compared to The Dying Gaul as an artistic expression calling for pathos for the defeated while at the same time trumpeting the achievement of the victor.<br/><br/> <ul><li><a href="https://www.khanacademy.org/humanities/ap-art-history/ancient-mediterranean-ap/greece-etruria-rome/v/alexander-mosaic-c-100-b-c-e" target="_blank">Khan Academy 3 minute video of this mosaic.</a></li><li><a href="http://alexandermosaik.de/en/" target="_blank">This website offers a good interpretation and background of the Alexander Battle Mosaic.</a></li></ul><br/><br/><br/><br/>UnknownThis mosaic shows a dramatic moment in a battle: a clash of horses, soldiers, shields and spears. Alexander can be seen on the viewer’s left, representing Greece. On the right, Darius and the Persian army charge toward the center. In the middle, horses wheel and prop under the charioteers’ whip, who are responding to Darius’s order to reverse their charge and flee. On the ground are wounded soldiers.The mosaic shows a battle scene where two armies of mounted soldiers with shields and spears.House of Faun, PompeiiMuseo Archeologico Nazionale, NaplesCC BY-SA 3.0 Berthold Wernerhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj38.jpghttps://drive.google.com/uc?export=download&id=1OcsGMtwy8JvBYlaK4kcPP3x6EZ9NJogohttps://drive.google.com/file/d/1OcsGMtwy8JvBYlaK4kcPP3x6EZ9NJogo/view?usp=sharing<a href="https://drive.google.com/file/d/1OcsGMtwy8JvBYlaK4kcPP3x6EZ9NJogo/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This mosaic made of ceramic chips in BCE 333 illustrates the Battle of Issus. It is an example of a Roman mosaic copy of a Greek painting, now lost, by Philoxenos of Eretria (Greek painter, late 4th c. BCE). It should be studied because it captures in Hellenistic dramatic style the decisive moment when this conflict early in Alexander the Great’s invasion of Asia turned into a defeat for the Persian army under King Darius III. It could be usefully compared to The Dying Gaul as an artistic expression calling for pathos for the defeated while at the same time trumpeting the achievement of the victor.Europe, Southern Europe, Greece, Middle East, PersiaAncient Greek, HellenisticMosaicEurope, Southern Europe, Greece, Middle East, Persia, Ancient Greek, Hellenistic, MosaicEurope, Southern Europe, Greece, Middle East, Persia, Ancient Greek, Hellenistic, MosaicCC BY-SA 3.0 Berthold Werner<br/>This mosaic shows a dramatic moment in a battle: a clash of horses, soldiers, shields and spears. Alexander can be seen on the viewer’s left, representing Greece. On the right, Darius and the Persian army charge toward the center. In the middle, horses wheel and prop under the charioteers’ whip, who are responding to Darius’s order to reverse their charge and flee. On the ground are wounded soldiers.Antiquityhttps://www.khanacademy.org/humanities/ap-art-history/ancient-mediterranean-ap/greece-etruria-rome/v/alexander-mosaic-c-100-b-c-eKhan Academy 3 minute video of this mosaic.http://alexandermosaik.de/en/This website offers a good interpretation and background of the Alexander Battle Mosaic.<ul><li><a href="https://www.khanacademy.org/humanities/ap-art-history/ancient-mediterranean-ap/greece-etruria-rome/v/alexander-mosaic-c-100-b-c-e" target="_blank">Khan Academy 3 minute video of this mosaic.</a></li><li><a href="http://alexandermosaik.de/en/" target="_blank">This website offers a good interpretation and background of the Alexander Battle Mosaic.</a></li></ul>ImageN/Aglass or stone tesserae5.82 x 3.13 m4th Century BCE, HellenisticAlexander the Great, Darius IIIN/AN/ARoman copy of a lost Greek paintingN/Acphttps://commons.wikimedia.org/wiki/File:Battle_of_Issus_mosaic_-_Museo_Archeologico_Nazionale_-_Naples_BW.jpg38<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000038%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
40
00003918752022-08-01 12:35:35Battle of KarbalaCE 1875-1925<a href="https://drive.google.com/file/d/1Er6xFpNR9M4n1snqFalMZlfVfztV5BYa/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1875-1925<br/>Artist/Agent: Abbas Al-Musavi<br/>Place of Origin: Isfahan, Iran<br/>Current Location: Brooklyn Museum, New York, USA<br/>Cultural Context: Middle Eastern, Iranian, Qajar, Muslim<br/>Worktype: Painting<br/><br/>This painting was unrolled and used as a backdrop for theatrical performances called tacziya in late 19th- and early 20th-century Iran. Often these performed lectures occurred in coffeehouses, so the paintings are known as qahvakhana. Paintings like this one served as visual references used by a pardadar, or reciter, who told a story familiar to audiences: the martyrdom of the prophet Muhammad's grandson, Imam Husayn at the Battle of Karbala (680 CE). The monumental scale of this painting -- the central figures are nearly life-sized -- helped to draw audiences into the drama. The two central figures show Abbas, the standard-bearer in battles for his half-brother Husayn, stabbing a member of Yazid’s army, who represented Umayyad rule. Surrounding the two central figures are multiple scenes of Husayn's life and struggles on the left, and his celestial life in heaven (upper right) while his persecutors suffer in hell (lower right).<br/><br/> <ul><li><a href="https://www.brooklynmuseum.org/opencollection/objects/3054" target="_blank">The Brooklyn Museum's webpage for this object offers multiple views and more information.</a></li></ul><br/><br/><br/><br/>Abbas Al-MusaviIn the center of this oil-on-canvas scene is a bearded, helmeted warrior on a white horse stabbing a bareheaded mustached man on a dark horse in the chest. Surrounding the central scene are dozens of miniature scenes depicting religious and courtly rituals on the viewer's left, and, on the viewer's right, visual references of heaven and hell.A bearded, helmeted warrior on a horse stabs a bareheaded mustached man on a dark horse.Isfahan, IranBrooklyn Museum, New York, USAPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj39.jpghttps://drive.google.com/uc?export=download&id=1Er6xFpNR9M4n1snqFalMZlfVfztV5BYahttps://drive.google.com/file/d/1Er6xFpNR9M4n1snqFalMZlfVfztV5BYa/view?usp=sharing<a href="https://drive.google.com/file/d/1Er6xFpNR9M4n1snqFalMZlfVfztV5BYa/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This painting was unrolled and used as a backdrop for theatrical performances called tacziya in late 19th- and early 20th-century Iran. Often these performed lectures occurred in coffeehouses, so the paintings are known as qahvakhana. Paintings like this one served as visual references used by a pardadar, or reciter, who told a story familiar to audiences: the martyrdom of the prophet Muhammad's grandson, Imam Husayn at the Battle of Karbala (680 CE). The monumental scale of this painting -- the central figures are nearly life-sized -- helped to draw audiences into the drama. The two central figures show Abbas, the standard-bearer in battles for his half-brother Husayn, stabbing a member of Yazid’s army, who represented Umayyad rule. Surrounding the two central figures are multiple scenes of Husayn's life and struggles on the left, and his celestial life in heaven (upper right) while his persecutors suffer in hell (lower right).Middle East, IranMiddle Eastern, Iranian, Qajar, MuslimPaintingMiddle East, Iran, Middle Eastern, Iranian, Qajar, Muslim, PaintingMiddle East, Iran, Middle Eastern, Iranian, Qajar, Muslim, PaintingPublic Domain<br/>In the center of this oil-on-canvas scene is a bearded, helmeted warrior on a white horse stabbing a bareheaded mustached man on a dark horse in the chest. Surrounding the central scene are dozens of miniature scenes depicting religious and courtly rituals on the viewer's left, and, on the viewer's right, visual references of heaven and hell.Modernityhttps://www.brooklynmuseum.org/opencollection/objects/3054The Brooklyn Museum's webpage for this object offers multiple views and more information.<ul><li><a href="https://www.brooklynmuseum.org/opencollection/objects/3054" target="_blank">The Brooklyn Museum's webpage for this object offers multiple views and more information.</a></li></ul>ImageThe name of the patron and city of production (Darvish 'Abbas Uvaysi, Isfahan) as well as the artist's name ('Abbas al-Musavi) are found in two important Persian inscriptions in the painting.oil on canvas175.4 x 341.6 x 5.7 cm19th-20th Century CE, QajarQajar, Imam HusaynpaintingN/AN/AN/Ahttps://commons.wikimedia.org/wiki/File:Brooklyn_Museum_-_Battle_of_Karbala_-_Abbas_Al-Musavi_-_overall.jpg39<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000039%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
41
00004010702022-08-01 21:12:12Bayeux Tapestry Death of HaroldCE 1070-1080<a href="https://drive.google.com/file/d/1jk9Vya_-Mmsrl4SNWSsb_0ly3Fwxt92D/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1070-1080<br/>Artist/Agent: Unknown <br/>Place of Origin: England, UK<br/>Current Location: Musée de la Tapisserie de Bayeux, Bayeux, France<br/>Cultural Context: Northern and Western European, French, Christendom, Medieval<br/>Worktype: Textile<br/><br/>The Bayeux Tapestry was created in the years after the conquest of England by William of Normandy after defeating Harold at the Battle of Hastings in 1066. The piece is not a true tapestry, but an embroidered strip of cloth almost 230 feet long that tells in comic-strip fashion the story of William's claim to the throne of England and his successful invasion and conquest of that land (he would retain the throne of Normandy; parts of England and France were for a few hundred years a single kingdom, which at its height is sometimes referred to as the Angevin Empire). It is a unique object (likely made in England and later shipped to Bayeux, where it remains today); there are no known embroideries of similar narrative scope or size from the Middle Ages. In this panel, we see the death of King Harold. The Latin caption reads, "Harold Rex Infectus est" -- King Harold is killed. Tradition holds that the death of Harold was the turning point of the battle, which had been unresolved up to that point, the Anglo-Saxon shield wall holding up against the Norman cavalry. These depictions are an important source of information on the appearance and use of arms and armor in this region and period.<br/><br/> <br/><br/><br/><br/>Unknown The embroidery on cloth uses tan, green, red, and two shades of blue thread. The image has an upper register that contains several panels of decorative beasts and beards. The main, central register shows (left to right) a man whose shield has several arrows buried in it, a man who has been struck in the eye by an arrow, and a swordsman on horseback striking down a man with an axe. Above them are stitched the words "Harold Rex Infectus est." The bottom register shows smaller depictions of men in battle, including a man stripping the armor from a dead opponent.Embroidery on cloth showing the death of King Harold of England from being struck in the eye by an arrow.England, UKMusée de la Tapisserie de Bayeux, Bayeux, FranceCC 1.0 Universal Public Domain Myrabella https://globalimages.liberalstudies.hosting.nyu.edu/images/obj40.jpghttps://drive.google.com/uc?export=download&id=1jk9Vya_-Mmsrl4SNWSsb_0ly3Fwxt92Dhttps://drive.google.com/file/d/1jk9Vya_-Mmsrl4SNWSsb_0ly3Fwxt92D/view?usp=sharing<a href="https://drive.google.com/file/d/1jk9Vya_-Mmsrl4SNWSsb_0ly3Fwxt92D/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>The Bayeux Tapestry was created in the years after the conquest of England by William of Normandy after defeating Harold at the Battle of Hastings in 1066. The piece is not a true tapestry, but an embroidered strip of cloth almost 230 feet long that tells in comic-strip fashion the story of William's claim to the throne of England and his successful invasion and conquest of that land (he would retain the throne of Normandy; parts of England and France were for a few hundred years a single kingdom, which at its height is sometimes referred to as the Angevin Empire). It is a unique object (likely made in England and later shipped to Bayeux, where it remains today); there are no known embroideries of similar narrative scope or size from the Middle Ages. In this panel, we see the death of King Harold. The Latin caption reads, "Harold Rex Infectus est" -- King Harold is killed. Tradition holds that the death of Harold was the turning point of the battle, which had been unresolved up to that point, the Anglo-Saxon shield wall holding up against the Norman cavalry. These depictions are an important source of information on the appearance and use of arms and armor in this region and period.Europe, Northern and Western Europe, FranceNorthern and Western European, French, Christendom, MedievalTextileEurope, Northern and Western Europe, France, Northern and Western European, French, Christendom, Medieval, TextileEurope, Northern and Western Europe, France, Northern and Western European, French, Christendom, Medieval, TextileCC 1.0 Universal Public Domain Myrabella <br/>The embroidery on cloth uses tan, green, red, and two shades of blue thread. The image has an upper register that contains several panels of decorative beasts and beards. The main, central register shows (left to right) a man whose shield has several arrows buried in it, a man who has been struck in the eye by an arrow, and a swordsman on horseback striking down a man with an axe. Above them are stitched the words "Harold Rex Infectus est." The bottom register shows smaller depictions of men in battle, including a man stripping the armor from a dead opponent.CrossroadsImageLatin: Here King Harold is slain (HIC HAROLD REX INTERFECTUS EST)wool thread on linen cloth70 m (230 ft) long and 50 cm (20 in) tall11th Century CE, MedievalHarold Godwinson, Harold IIembroideryN/AN/AN/Arshttps://commons.wikimedia.org/wiki/File:Bayeux_Tapestry_scene57_Harold_death.jpg40<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000040%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
42
00004110702022-08-01 21:13:13Bayeux Tapestry Halley's CometCE 1070-1080<a href="https://drive.google.com/file/d/1Gk9t8UM3-Z0py7T6unxpZzfwKV33woF2/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1070-1080<br/>Artist/Agent: Unknown <br/>Place of Origin: England, UK<br/>Current Location: Musée de la Tapisserie de Bayeux, Bayeux, France<br/>Cultural Context: Northern and Western European, French, Christendom, Medieval<br/>Worktype: Textile<br/><br/>The Bayeux Tapestry was created in the years after the conquest of England by William of Normandy, who defeated Harold at the Battle of Hastings in 1066. The piece is not a true tapestry, but an embroidered strip of cloth almost 230 feet long that tells in comic-strip fashion the story of William's claim to the throne of England and his successful invasion and conquest of that land (he would retain the throne of Normandy; parts of England and France were for a few hundred years a single kingdom, which at its height is sometimes referred to as the Angevin Empire). It is a unique object (likely made in England and later shipped to Bayeux, where it remains today); there are no known embroideries of similar narrative scope or size from the Middle Ages. In this panel, we see the appearance of Halley's Comet; comets were associated from antiquity with world-changing events. The Latin caption reads, "Isti mirant stella" (The men marvel at the star). Since the fixed heavens normally remained fixed, the appearance of a phenomenon like a comet was a great and fearful event. King Harold, on the right (identified by having his name stitched above his head), appears troubled by a courtier who has come to tell him of the wonder. The unmanned ships in the bottom register foretell the coming invasion, after Harold refuses to come to terms with William.<br/><br/> <br/><br/><br/><br/>Unknown This embroidery on cloth uses tan, green, red, and two shades of blue thread. The image has an upper register that shows a comet at the center and the Latin caption "Isti mirant stella" on the left. In the left lower register we see a group of six men in a castle pointing to the sky; on the right, a man with a sword speaking urgently to an enthroned king in a castle, above whom the name "Harold" is stitched. A narrow band at the bottom of the cloth shows a bird and a group of unmanned longboats.Embroidery on cloth showing a comet at the center and the Latin caption "Isti mirant stella" on the left.England, UKMusée de la Tapisserie de Bayeux, Bayeux, FranceCC 1.0 Universal Public Domain Myrabella https://globalimages.liberalstudies.hosting.nyu.edu/images/obj41.jpghttps://drive.google.com/uc?export=download&id=1Gk9t8UM3-Z0py7T6unxpZzfwKV33woF2https://drive.google.com/file/d/1Gk9t8UM3-Z0py7T6unxpZzfwKV33woF2/view?usp=sharing<a href="https://drive.google.com/file/d/1Gk9t8UM3-Z0py7T6unxpZzfwKV33woF2/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>The Bayeux Tapestry was created in the years after the conquest of England by William of Normandy, who defeated Harold at the Battle of Hastings in 1066. The piece is not a true tapestry, but an embroidered strip of cloth almost 230 feet long that tells in comic-strip fashion the story of William's claim to the throne of England and his successful invasion and conquest of that land (he would retain the throne of Normandy; parts of England and France were for a few hundred years a single kingdom, which at its height is sometimes referred to as the Angevin Empire). It is a unique object (likely made in England and later shipped to Bayeux, where it remains today); there are no known embroideries of similar narrative scope or size from the Middle Ages. In this panel, we see the appearance of Halley's Comet; comets were associated from antiquity with world-changing events. The Latin caption reads, "Isti mirant stella" (The men marvel at the star). Since the fixed heavens normally remained fixed, the appearance of a phenomenon like a comet was a great and fearful event. King Harold, on the right (identified by having his name stitched above his head), appears troubled by a courtier who has come to tell him of the wonder. The unmanned ships in the bottom register foretell the coming invasion, after Harold refuses to come to terms with William.Europe, Northern and Western Europe, FranceNorthern and Western European, French, Christendom, MedievalTextileEurope, Northern and Western Europe, France, Northern and Western European, French, Christendom, Medieval, TextileEurope, Northern and Western Europe, France, Northern and Western European, French, Christendom, Medieval, TextileCC 1.0 Universal Public Domain Myrabella <br/>This embroidery on cloth uses tan, green, red, and two shades of blue thread. The image has an upper register that shows a comet at the center and the Latin caption "Isti mirant stella" on the left. In the left lower register we see a group of six men in a castle pointing to the sky; on the right, a man with a sword speaking urgently to an enthroned king in a castle, above whom the name "Harold" is stitched. A narrow band at the bottom of the cloth shows a bird and a group of unmanned longboats.CrossroadsImageLatin: These people marvel at the star (ISTI MIRANT[UR] STELLA[M]); HAROLDwool thread on linen cloth70 m (230 ft) long and 50 cm (20 in) tall11th Century CE, MedievalHarold Godwinson, Harold II, comet HalleyembroideryN/AN/AN/Arshttps://commons.wikimedia.org/wiki/File:Bayeux_Tapestry_32-33_comet_Halley_Harold.jpg41<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000041%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
43
00004219712022-08-01 10:24:24Bearden: The BlockCE 1971<a href="https://drive.google.com/file/d/1RUhfThZ1U3-0iBxo24Cjf1nFWT9oL6Qs/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1971<br/>Artist/Agent: Romare Bearden<br/>Place of Origin: New York, United States<br/>Current Location: The Metropolitan Museum of Art, New York, NY, USA<br/>Cultural Context: American, African American, Modernism, Social Realism<br/>Worktype: Mixed Media<br/><br/>A graduate of New York University, Romare Bearden (1911-1988) both painted and wrote music; throughout his long career, he brought a wide range of artistic influences - Cubism, the Dutch Golden Age, Chinese calligraphy - into conversation with his experiences as an African-American. In the 1960s, he developed a collage technique that won him widespread recognition. This piece embodies the vibrancy and community spirit of Black neighborhoods in American cities; it corrects the common misconception of such areas as dangerous slums.<br/><br/> <ul><li><a href="https://www.metmuseum.org/en/art/collection/search/481891" target="_blank">Museum site with more information.</a></li></ul><br/><br/><br/><br/>Romare BeardenThis mixed media collage included printed, colored, and metallic papers, graphite, marker, gouache, watercolor, and ink among other mediums. "The Block" was a tribute to New York City's Harlem neighborhood. The original installation included a tape recording of street sounds to enhance the viewer's experience of the work.Collage of a block of a city neighborhood with cars, people, buildings, and storefronts.New York, United StatesThe Metropolitan Museum of Art, New York, NY, USAArtstor: Romare Bearden Foundationhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj42.jpghttps://drive.google.com/uc?export=download&id=1RUhfThZ1U3-0iBxo24Cjf1nFWT9oL6Qshttps://drive.google.com/file/d/1RUhfThZ1U3-0iBxo24Cjf1nFWT9oL6Qs/view?usp=sharing<a href="https://drive.google.com/file/d/1RUhfThZ1U3-0iBxo24Cjf1nFWT9oL6Qs/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>A graduate of New York University, Romare Bearden (1911-1988) both painted and wrote music; throughout his long career, he brought a wide range of artistic influences - Cubism, the Dutch Golden Age, Chinese calligraphy - into conversation with his experiences as an African-American. In the 1960s, he developed a collage technique that won him widespread recognition. This piece embodies the vibrancy and community spirit of Black neighborhoods in American cities; it corrects the common misconception of such areas as dangerous slums.The Americas, North America, United StatesAmerican, African American, Modernism, Social RealismMixed MediaThe Americas, North America, United States, American, African American, Modernism, Social Realism, Mixed MediaThe Americas, North America, United States, American, African American, Modernism, Social Realism, Mixed MediaArtstor: Romare Bearden Foundation<br/>This mixed media collage included printed, colored, and metallic papers, graphite, marker, gouache, watercolor, and ink among other mediums. "The Block" was a tribute to New York City's Harlem neighborhood. The original installation included a tape recording of street sounds to enhance the viewer's experience of the work.Modernityhttps://www.metmuseum.org/en/art/collection/search/481891Museum site with more information.<ul><li><a href="https://www.metmuseum.org/en/art/collection/search/481891" target="_blank">Museum site with more information.</a></li></ul>ImageSigned (upper right, in pen): Romare Bearden; (upper left): Romare Bearden; (lower left, in red pencil): Romare Beardenmural, collage of pasted paper w/sym. Polymer paint on masonite, 6 panels48 in. x 18 ft. (121.9 x 548.6 cm)20th Century CE, Modernism, Social RealismAfrican American, HarlemcollageN/AN/AN/Ahttps://library.artstor.org/#/asset/ABEARDENIG_1031365048742<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000042%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
44
00004319672022-08-01 10:26:26Bearden: Three Folk MusiciansCE 1967<a href="https://drive.google.com/file/d/1Z4pTTlwHr1SuV7UYM_0FiflezOvdNHax/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1967<br/>Artist/Agent: Romare Bearden<br/>Place of Origin: Harlem, New York<br/>Current Location: J.L. Hudson Gallery, Detroit, MI, USA<br/>Cultural Context: American, African American, Modernism, Social Realism<br/>Worktype: Painting<br/><br/>A graduate of New York University, Romare Bearden (1911-1988) both painted and wrote music; throughout his long career, he brought a wide range of artistic influences - Cubism, the Dutch Golden Age, Chinese calligraphy - into conversation with his experiences as an African-American. In the 1960s, he developed a collage technique that won him widespread recognition. In this piece, Bearden riffs on Pablo Picasso's cubist painting "Three Musicians," translating the cubist approach to simultaneously depicting objects from different perspectives into collage and re-imagining the context as American folk music, which had undergone a hugely popular revival in the late 1950s and early 1960s. Bearden's image emphasizes the centrality of African-American musicians, who rarely profited from their own work, in the foundation of American popular music. The figure on the right holds a banjo, an instrument fundamental to American folk music that derives from West African stringed instruments. Bearden is notable for his depictions of the tightly-knit bonds of African-American community life.<br/><br/> <br/><br/><br/><br/>Romare BeardenCollage of three men holding instruments, two a guitar and one a banjoThree men holding musical instrumentsHarlem, New YorkJ.L. Hudson Gallery, Detroit, MI, USAArtStor: © Estate of Romare Bearden / Licensed by VAGA, New York, NYhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj43.jpghttps://drive.google.com/uc?export=download&id=1Z4pTTlwHr1SuV7UYM_0FiflezOvdNHaxhttps://drive.google.com/file/d/1Z4pTTlwHr1SuV7UYM_0FiflezOvdNHax/view?usp=sharing<a href="https://drive.google.com/file/d/1Z4pTTlwHr1SuV7UYM_0FiflezOvdNHax/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>A graduate of New York University, Romare Bearden (1911-1988) both painted and wrote music; throughout his long career, he brought a wide range of artistic influences - Cubism, the Dutch Golden Age, Chinese calligraphy - into conversation with his experiences as an African-American. In the 1960s, he developed a collage technique that won him widespread recognition. In this piece, Bearden riffs on Pablo Picasso's cubist painting "Three Musicians," translating the cubist approach to simultaneously depicting objects from different perspectives into collage and re-imagining the context as American folk music, which had undergone a hugely popular revival in the late 1950s and early 1960s. Bearden's image emphasizes the centrality of African-American musicians, who rarely profited from their own work, in the foundation of American popular music. The figure on the right holds a banjo, an instrument fundamental to American folk music that derives from West African stringed instruments. Bearden is notable for his depictions of the tightly-knit bonds of African-American community life.The Americas, North America, United StatesAmerican, African American, Modernism, Social RealismPaintingThe Americas, North America, United States, American, African American, Modernism, Social Realism, PaintingThe Americas, North America, United States, American, African American, Modernism, Social Realism, PaintingArtStor: © Estate of Romare Bearden / Licensed by VAGA, New York, NY<br/>Collage of three men holding instruments, two a guitar and one a banjoModernityImageN/Acollage on canvas board50 x 60 in. (127 x 152.4 cm)20th Century CE, Modernism, Social RealismAfrican American, musicianscollageN/AN/AN/Ahttps://library.artstor.org/#/asset/ABEARDENIG_1031365092643<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000043%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
45
00004418942022-08-01 12:07:07Beardsley: Cover of "The Yellow Book: an Illustrated Quarterly"CE 1894<a href="https://drive.google.com/file/d/1735kS8_9PZmSjox00bhhr7vLxIz3JpJg/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1894<br/>Artist/Agent: Aubrey Vincent Beardsley<br/>Place of Origin: London, England<br/>Current Location: Yale Center for British Art, New Haven, CT, USA<br/>Cultural Context: Northern and Western European, British, Art Nouveau<br/>Worktype: Prints<br/><br/>The Yellow Book was a leading illustrated quarterly periodical that published literary and visual works of art. Beardsley was its first art editor, and he is credited with the idea of the yellow cover, as well as with the controversial quality of the publication, which challenged prevailing conventions. The format involved a fairly new technology: photomechanical reproduction on thin, slightly textured, orange wove paper, laid on contemporary mount made of moderately thick, slightly textured, cream laid paper.<br/><br/> <ul><li><a href="https://collections.britishart.yale.edu/vufind/Record/3642026" target="_blank">The Yale Center for British Art webpage for the Yellow Book offers more information.</a></li></ul><br/><br/><br/><br/>Aubrey Vincent BeardsleyThis is the cover of a periodical that depicts a woman on the right side of the image against a light background; her bountiful dark hair contrasts with her light face, and this contrast is picked up in the light and dark layering of her dress with its dark bow and wide collar. To the left of the image, set against a dark background, is a low bookshelf on which is a bowl of flowers; the repeating floral image behind that suggests wallpaper. The name of the journal and publication information frame the image on the top and bottom.The cover of a magazine shows a woman's portrait, lamps, and some books.London, EnglandYale Center for British Art, New Haven, CT, USAPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj44.jpghttps://drive.google.com/uc?export=download&id=1735kS8_9PZmSjox00bhhr7vLxIz3JpJghttps://drive.google.com/file/d/1735kS8_9PZmSjox00bhhr7vLxIz3JpJg/view?usp=sharing<a href="https://drive.google.com/file/d/1735kS8_9PZmSjox00bhhr7vLxIz3JpJg/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>The Yellow Book was a leading illustrated quarterly periodical that published literary and visual works of art. Beardsley was its first art editor, and he is credited with the idea of the yellow cover, as well as with the controversial quality of the publication, which challenged prevailing conventions. The format involved a fairly new technology: photomechanical reproduction on thin, slightly textured, orange wove paper, laid on contemporary mount made of moderately thick, slightly textured, cream laid paper.Europe, Northern and Western Europe, United KingdomNorthern and Western European, British, Art NouveauPrintsEurope, Northern and Western Europe, United Kingdom, Northern and Western European, British, Art Nouveau, PrintsEurope, Northern and Western Europe, United Kingdom, Northern and Western European, British, Art Nouveau, PrintsPublic Domain<br/>This is the cover of a periodical that depicts a woman on the right side of the image against a light background; her bountiful dark hair contrasts with her light face, and this contrast is picked up in the light and dark layering of her dress with its dark bow and wide collar. To the left of the image, set against a dark background, is a low bookshelf on which is a bowl of flowers; the repeating floral image behind that suggests wallpaper. The name of the journal and publication information frame the image on the top and bottom.Modernityhttps://collections.britishart.yale.edu/vufind/Record/3642026The Yale Center for British Art webpage for the Yellow Book offers more information.<ul><li><a href="https://collections.britishart.yale.edu/vufind/Record/3642026" target="_blank">The Yale Center for British Art webpage for the Yellow Book offers more information.</a></li></ul>ImageInscribed in black ink, upper center, within border: "The Yellow Book | An Illustrated Quarterly | Volume I April 1894"; lower center, within border: "London: Elkin Mathews & John Lane | Boston: Copeland & Day"; on mount, lower center: "-The Yellow Book-"; lower right, within border: "Price | 5/.- | Net"; on mount, lower right: "6-19-94."
signed in black ink, lower center: "-Aubrey Beardsley-"; dated in black ink, lower right: "6-19-94."		photomechanical reproduction on thin, slightly textured, orange wove paper, laid on contemporary mount made of moderately thick, slightly textured, cream laid paperSheet: 21.3 cm x 16.4 cm Image: 12.6 cm x 15.1 cm19th Century CE, Art Nouveauperiodical coverN/AN/AN/AN/Ahttps://collections.britishart.yale.edu/vufind/Record/364202644<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000044%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
46
00004519802022-08-01 10:17:17Becher: Water TowersCE 1980<a href="https://drive.google.com/file/d/10vbHSxQXdSQMKu5RLqrNGplWCn3Tquml/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1980<br/>Artist/Agent: Bernd and Hilla Becher<br/>Place of Origin: Europe and North America<br/>Current Location: Solomon R. Guggenheim Museum, NY, NY, USA<br/>Cultural Context: Northern and Western European, Minimalism<br/>Worktype: Photography<br/><br/>Husband-and-wife team Bernd and Hilla Becher photographed industrial architecture. These images are always organized in series, usually in the form of a grid. The repetitive and industrial elements of this work link the Bechers to minimalism.<br/><br/> <ul><li><a href="https://www.guggenheim.org/artwork/500" target="_blank">The Guggenheim Museum webpage for this photograph offers more information.</a></li></ul><br/><br/><br/><br/>Bernd and Hilla BecherPhotographs of six water towers in black and white form a grid.Six photographs of water towers and placed in a grid.Europe and North AmericaSolomon R. Guggenheim Museum, NY, NY, USAArtStor: The Solomon R. Guggenheim Foundationhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj45.jpghttps://drive.google.com/uc?export=download&id=10vbHSxQXdSQMKu5RLqrNGplWCn3Tqumlhttps://drive.google.com/file/d/10vbHSxQXdSQMKu5RLqrNGplWCn3Tquml/view?usp=sharing<a href="https://drive.google.com/file/d/10vbHSxQXdSQMKu5RLqrNGplWCn3Tquml/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>Husband-and-wife team Bernd and Hilla Becher photographed industrial architecture. These images are always organized in series, usually in the form of a grid. The repetitive and industrial elements of this work link the Bechers to minimalism.Europe, Northern and Western EuropeNorthern and Western European, MinimalismPhotographyEurope, Northern and Western Europe, Northern and Western European, Minimalism, PhotographyEurope, Northern and Western Europe, Northern and Western European, Minimalism, PhotographyArtStor: The Solomon R. Guggenheim Foundation<br/>Photographs of six water towers in black and white form a grid.Modernityhttps://www.guggenheim.org/artwork/500The Guggenheim Museum webpage for this photograph offers more information.<ul><li><a href="https://www.guggenheim.org/artwork/500" target="_blank">The Guggenheim Museum webpage for this photograph offers more information.</a></li></ul>ImageN/Agelatin silver prints155.6 x 125.1 cm20th Century CE, Minimalismwater towerN/AN/AN/AN/Ahttps://library.artstor.org/#/asset/AGUGGENHEIMIG_1031346397445<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000045%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
47
00004619742022-08-01 10:23:23Bechtle: Alameda Gran TorinoCE 1974<a href="https://drive.google.com/file/d/1AVjliEc4Hqy1YvTRj0UTNarnXSTlyF5J/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1974<br/>Artist/Agent: Robert Bechtle<br/>Place of Origin: San Francisco Bay Area, California, USA<br/>Current Location: San Francisco Museum of Modern Art (SFMOMA )<br/>Cultural Context: American, Photorealism<br/>Worktype: Painting<br/><br/>This example of photorealism attempts to conceal its oil paint by mimicking a polaroid snapshot. Zoom in on the license plate or one of the sunbursts reflecting from the chrome bumper to see the painterly touches that trick the eye into assuming a camera captured the image, not a painter's brush. Common themes of Bechtle’s work include middle-class scenes and cars.<br/><br/> <ul><li><a href="https://www.sfmoma.org/artwork/74-87/" target="_blank">More examples of Bechtel's work can be seen at the SFMOMA webpage.</a></li></ul><br/><br/><br/><br/>Robert BechtleA station wagon with wood paneling and a California license plate sits in a driveway in front of a closed garage door. A front door to the Ranch style house is behind the car. While the image appears to be a photograph, it is actually a painting.A station wagon sits in a driveway in front of a garage.San Francisco Bay Area, California, USASan Francisco Museum of Modern Art (SFMOMA )ArtStor: San Francisco Museum of Modern Art (SFMOMA)https://globalimages.liberalstudies.hosting.nyu.edu/images/obj46.jpghttps://drive.google.com/uc?export=download&id=1AVjliEc4Hqy1YvTRj0UTNarnXSTlyF5Jhttps://drive.google.com/file/d/1AVjliEc4Hqy1YvTRj0UTNarnXSTlyF5J/view?usp=sharing<a href="https://drive.google.com/file/d/1AVjliEc4Hqy1YvTRj0UTNarnXSTlyF5J/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This example of photorealism attempts to conceal its oil paint by mimicking a polaroid snapshot. Zoom in on the license plate or one of the sunbursts reflecting from the chrome bumper to see the painterly touches that trick the eye into assuming a camera captured the image, not a painter's brush. Common themes of Bechtle’s work include middle-class scenes and cars.The Americas, North America, United StatesAmerican, PhotorealismPaintingThe Americas, North America, United States, American, Photorealism, PaintingThe Americas, North America, United States, American, Photorealism, PaintingArtStor: San Francisco Museum of Modern Art (SFMOMA)<br/>A station wagon with wood paneling and a California license plate sits in a driveway in front of a closed garage door. A front door to the Ranch style house is behind the car. While the image appears to be a photograph, it is actually a painting.Modernityhttps://www.sfmoma.org/artwork/74-87/More examples of Bechtel's work can be seen at the SFMOMA webpage.<ul><li><a href="https://www.sfmoma.org/artwork/74-87/" target="_blank">More examples of Bechtel's work can be seen at the SFMOMA webpage.</a></li></ul>ImageN/Aoil on canvas121.92 cm x 175.26 cm20th Century CE, Photorealismstation wagonpaintingN/AN/AN/Ahttps://library.artstor.org/#/asset/ASFMOMAIG_1031270495446<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000046%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
48
000047-5152022-08-02 11:30:30Behistun InscriptionBCE 515 <a href="https://drive.google.com/file/d/1q_6IUAfp_14hc80FdMH3zfDOF0wma98F/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 515 <br/>Artist/Agent: Unknown<br/>Place of Origin: Mount Behistun, in the foothills of the Zagros mountains, facing the Kermanshah plain (now Province in northwestern Iran). <br/>Current Location: Behistun mountain<br/>Cultural Context: Middle Eastern, Iranian, Mesopotamian, Persian, Babylonian, Elamite<br/>Worktype: Sculpture<br/><br/>The Behistun Inscription is a stone surface, carved in relief, that shows triangulated translation, similar in importance to deciphering cuneiform and hieroglyphs on the Rosetta Stone. Studying it revealed a rare chance to decipher lost scripts; the inscriptions in all three languages tell of the glory of ancient Persia.<br/><br/> <ul><li><a href="https://whc.unesco.org/en/list/1222" target="_blank">The Behistun inscription received UNESCO World Heritage Site status in 2006 and offers a website with multiple views and further information.</a></li></ul><br/><br/>[leaflet-map lat=34.3908209173629 lng=47.4359657435703 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Mount Behistun, in the foothills of the Zagros mountains, facing the Kermanshah plain (now Province in northwestern Iran). [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1657650437144!6m8!1m7!1sCAoSLEFGMVFpcFBLeGEzZVpSdEdjYUN2M08zS09kLW03b3RxZllMeE9vY0x6QWN4!2m2!1d34.39247166003928!2d47.43598656447746!3f139.88483458183455!4f20.483438314616535!5f0.4000000000000002" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>UnknownThe Behistun Inscription is a rock face cliff engraving near Mount Behistun (now Kermanshah Province, Iran), which was on the Silk Road. In three languages (Old Persian, Elamite, Babylonian) it describes conquests of Darius the Great. It includes a relief carving of Darius, flanked by his soldiers, facing prisoners, with Faravahar, the symbol of Persia’s state religion, Zoroastrianism, blessing the scene.A rock face cliff shows engravings in in three languages, Old Persian, Elamite, and Babylonian.Mount Behistun, in the foothills of the Zagros mountains, facing the Kermanshah plain (now Province in northwestern Iran). Behistun mountainPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj47.jpghttps://drive.google.com/uc?export=download&id=1q_6IUAfp_14hc80FdMH3zfDOF0wma98Fhttps://drive.google.com/file/d/1q_6IUAfp_14hc80FdMH3zfDOF0wma98F/view?usp=sharing<a href="https://drive.google.com/file/d/1q_6IUAfp_14hc80FdMH3zfDOF0wma98F/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>The Behistun Inscription is a stone surface, carved in relief, that shows triangulated translation, similar in importance to deciphering cuneiform and hieroglyphs on the Rosetta Stone. Studying it revealed a rare chance to decipher lost scripts; the inscriptions in all three languages tell of the glory of ancient Persia.Middle East, IranMiddle Eastern, Iranian, Mesopotamian, Persian, Babylonian, ElamiteSculptureMiddle East, Iran, Middle Eastern, Iranian, Mesopotamian, Persian, Babylonian, Elamite, SculptureMiddle East, Iran, Middle Eastern, Iranian, Mesopotamian, Persian, Babylonian, Elamite, SculpturePublic Domain<br/>The Behistun Inscription is a rock face cliff engraving near Mount Behistun (now Kermanshah Province, Iran), which was on the Silk Road. In three languages (Old Persian, Elamite, Babylonian) it describes conquests of Darius the Great. It includes a relief carving of Darius, flanked by his soldiers, facing prisoners, with Faravahar, the symbol of Persia’s state religion, Zoroastrianism, blessing the scene.Antiquityhttps://whc.unesco.org/en/list/1222The Behistun inscription received UNESCO World Heritage Site status in 2006 and offers a website with multiple views and further information.<ul><li><a href="https://whc.unesco.org/en/list/1222" target="_blank">The Behistun inscription received UNESCO World Heritage Site status in 2006 and offers a website with multiple views and further information.</a></li></ul>ImageN/Alimestone15 m high by 25 m wide, and 100 m up a limestone cliff from an ancient road connecting the capitals of Babylonia and Media (Babylon and Ecbatana).6th Century BCE, Persian, Babylonian, Elamitecuneiform script, Darius I of PersiaN/AN/AN/AN/Acphttps://commons.wikimedia.org/wiki/File:Bisotun_Iran_Relief_Achamenid_Period.JPG34.3908209247.4359657434.3908209247.43596574<iframe src="https://www.google.com/maps/embed?pb=!4v1657650437144!6m8!1m7!1sCAoSLEFGMVFpcFBLeGEzZVpSdEdjYUN2M08zS09kLW03b3RxZllMeE9vY0x6QWN4!2m2!1d34.39247166003928!2d47.43598656447746!3f139.88483458183455!4f20.483438314616535!5f0.4000000000000002" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>[leaflet-map lat=34.3908209173629 lng=47.4359657435703 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Mount Behistun, in the foothills of the Zagros mountains, facing the Kermanshah plain (now Province in northwestern Iran). [/leaflet-marker]Yes47<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000047%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
49
00004814802022-08-01 18:35:35Bellini: Portrait of Mehmet IICE 1480<a href="https://drive.google.com/file/d/172Ot_PTD9FYyZYLz1vlwkXDcwV-P7acQ/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1480<br/>Artist/Agent: Gentile Bellini<br/>Place of Origin: Istanbul, Turkey<br/>Current Location: National Gallery, London, UK<br/>Cultural Context: Central and Eastern European, Turkish, Italian, Italian Renaissance<br/>Worktype: Painting<br/><br/>Mehmet (or Mehmed) II was the Sultan of the Ottoman Turks when they conquered the last stronghold of the Byzantine Empire, Constantinople, in 1453. Mehmed II, thereafter often referred to as "Mehmet the Conqueror," was only 21 at the time; since the Byzantines were the inheritors of the Eastern Roman Empire, Mehmet also proclaimed himself Caesar. For centuries afterward, the Ottomans and the Hapsburgs would both lay claim to the title and prestige of Roman emperor, though neither ever ruled Rome. After making peace with Venice in 1479, Mehmet sought to supplement the humanist accomplishments of his court by requesting that a Venetian painter serve at his capital; Gentile Bellini answered the call and worked for two years in the Ottoman court. His portrait of Mehmet II was substantially repainted as part of a restoration effort in the 19th century; it is now difficult to tell whether it was originally painted by Bellini or is a copy of a lost original.<br/><br/> <ul><li><a href="https://www.nationalgallery.org.uk/paintings/gentile-bellini-the-sultan-mehmet-ii" target="_blank">More information and views of other paintings by Bellini are available at The National Gallery (DC) webpage.</a></li></ul><br/><br/><br/><br/>Gentile BelliniThis is a portrait of the Ottoman Sultan Mehmet II (1432-81).Portrait of the Ottoman Sultan Mehmet IIIstanbul, TurkeyNational Gallery, London, UKPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj48.jpghttps://drive.google.com/uc?export=download&id=172Ot_PTD9FYyZYLz1vlwkXDcwV-P7acQhttps://drive.google.com/file/d/172Ot_PTD9FYyZYLz1vlwkXDcwV-P7acQ/view?usp=sharing<a href="https://drive.google.com/file/d/172Ot_PTD9FYyZYLz1vlwkXDcwV-P7acQ/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>Mehmet (or Mehmed) II was the Sultan of the Ottoman Turks when they conquered the last stronghold of the Byzantine Empire, Constantinople, in 1453. Mehmed II, thereafter often referred to as "Mehmet the Conqueror," was only 21 at the time; since the Byzantines were the inheritors of the Eastern Roman Empire, Mehmet also proclaimed himself Caesar. For centuries afterward, the Ottomans and the Hapsburgs would both lay claim to the title and prestige of Roman emperor, though neither ever ruled Rome. After making peace with Venice in 1479, Mehmet sought to supplement the humanist accomplishments of his court by requesting that a Venetian painter serve at his capital; Gentile Bellini answered the call and worked for two years in the Ottoman court. His portrait of Mehmet II was substantially repainted as part of a restoration effort in the 19th century; it is now difficult to tell whether it was originally painted by Bellini or is a copy of a lost original.Europe, Central and Eastern Europe, TurkeyCentral and Eastern European, Turkish, Italian, Italian RenaissancePaintingEurope, Central and Eastern Europe, Turkey, Central and Eastern European, Turkish, Italian, Italian Renaissance, PaintingEurope, Central and Eastern Europe, Turkey, Central and Eastern European, Turkish, Italian, Italian Renaissance, PaintingPublic Domain<br/>This is a portrait of the Ottoman Sultan Mehmet II (1432-81).Crossroadshttps://www.nationalgallery.org.uk/paintings/gentile-bellini-the-sultan-mehmet-iiMore information and views of other paintings by Bellini are available at The National Gallery (DC) webpage.<ul><li><a href="https://www.nationalgallery.org.uk/paintings/gentile-bellini-the-sultan-mehmet-ii" target="_blank">More information and views of other paintings by Bellini are available at The National Gallery (DC) webpage.</a></li></ul>ImageLatin: ruler of the world (imperator orbis)oil (19th-century repaint) on canvas, perhaps transferred from wood70 x 52 cm15th Century CE, Italian RenaissanceMehmet IIpaintingN/AN/AN/Arshttps://commons.wikimedia.org/wiki/File:Gentile_Bellini_003.jpg48<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000048%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
50
00004914762022-08-01 18:37:37Bellini: Saint Francis in the DesertCE 1476-1478<a href="https://drive.google.com/file/d/1tx_ACQRbvyD3P7EWJlRs710AiMZ7wC0h/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1476-1478<br/>Artist/Agent: Giovanni Bellini<br/>Place of Origin: Venice, Italy<br/>Current Location: The Frick Collection, New York, United States<br/>Cultural Context: Southern European, Italian, Italian Renaissance<br/>Worktype: Painting<br/><br/>Zoom in on the fine lines and sharp focus Bellini used in this painting, from the face of St Francis in the near distance, to the donkey in the mid-distance pasture, to the castle on the mountaintop much further away. This technique delineating the finest details with thin lines came to Venice from painters in Flanders, as did a medium new to Venetian painters in the late 1400s: pigments suspended in oil. While painters in Flanders explored cooler hues in this medium, the warm golden light that suffuses all surfaces in Bellini's painting are uniquely Venetian.<br/><br/> <ul><li><a href="https://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/venice-early-ren/v/giovanni-bellini-saint-francis-in-the-desert-circa-1480" target="_blank">Khan Academy video on this piece.</a></li><li><a href="https://artsandculture.google.com/asset/st-francis-in-the-desert/egGQB5gOZujX4g?hl=en" target="_blank">Google Arts & Culture page on this work.</a></li></ul><br/><br/><br/><br/>Giovanni BelliniIn muted tones of yellow, blue, and grey, this oil-on-board scene shows a barfoot bearded figure in a robe standing on a rocky mountain, facing the sun. Behind him is a roughly built shelter with a vine trellis in front of its entrance. Under the trellis is a desk with a book and a skull on it. A donkey stands in a grassy plain behind the shelter. In the mountainscape beyond is a gated city with a fortress on its peak. A man in a robe stands on a cliff. In the distance there is a donkey and a building.Venice, ItalyThe Frick Collection, New York, United StatesArtstor Department of Art History Digital Collectionshttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj49.jpghttps://drive.google.com/uc?export=download&id=1tx_ACQRbvyD3P7EWJlRs710AiMZ7wC0hhttps://drive.google.com/file/d/1tx_ACQRbvyD3P7EWJlRs710AiMZ7wC0h/view?usp=sharing<a href="https://drive.google.com/file/d/1tx_ACQRbvyD3P7EWJlRs710AiMZ7wC0h/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>Zoom in on the fine lines and sharp focus Bellini used in this painting, from the face of St Francis in the near distance, to the donkey in the mid-distance pasture, to the castle on the mountaintop much further away. This technique delineating the finest details with thin lines came to Venice from painters in Flanders, as did a medium new to Venetian painters in the late 1400s: pigments suspended in oil. While painters in Flanders explored cooler hues in this medium, the warm golden light that suffuses all surfaces in Bellini's painting are uniquely Venetian.Europe, Southern Europe, ItalySouthern European, Italian, Italian RenaissancePaintingEurope, Southern Europe, Italy, Southern European, Italian, Italian Renaissance, PaintingEurope, Southern Europe, Italy, Southern European, Italian, Italian Renaissance, PaintingArtstor Department of Art History Digital Collections<br/>In muted tones of yellow, blue, and grey, this oil-on-board scene shows a barfoot bearded figure in a robe standing on a rocky mountain, facing the sun. Behind him is a roughly built shelter with a vine trellis in front of its entrance. Under the trellis is a desk with a book and a skull on it. A donkey stands in a grassy plain behind the shelter. In the mountainscape beyond is a gated city with a fortress on its peak. Crossroadshttps://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/venice-early-ren/v/giovanni-bellini-saint-francis-in-the-desert-circa-1480Khan Academy video on this piece. https://artsandculture.google.com/asset/st-francis-in-the-desert/egGQB5gOZujX4g?hl=enGoogle Arts & Culture page on this work. <ul><li><a href="https://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/venice-early-ren/v/giovanni-bellini-saint-francis-in-the-desert-circa-1480" target="_blank">Khan Academy video on this piece.</a></li><li><a href="https://artsandculture.google.com/asset/st-francis-in-the-desert/egGQB5gOZujX4g?hl=en" target="_blank">Google Arts & Culture page on this work.</a></li></ul>ImageN/Aoil on panel124.6 cm x 142 cm15th Century CE, Italian RenaissanceSaint Francispanel paintingN/AN/AN/Ahttps://library.artstor.org/#/asset/SS33677_33677_142577349<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000049%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
51
00005019092022-08-01 11:35:35Bellows: Both Members of this ClubCE 1909<a href="https://drive.google.com/file/d/1X2Qy5lVUzLMF4xEyUmJUp0zmeE1pAP23/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1909<br/>Artist/Agent: George Bellows<br/>Place of Origin: New York, NY, United States<br/>Current Location: National Gallery, Washington DC, USA<br/>Cultural Context: American, Social Realism, Realism<br/>Worktype: Painting<br/><br/>George Bellows (1882-1925) was one of the leaders of the "ashcan school," a group of painters settled in New York City who believed it the artist's responsibility to capture the social realities of their day. Born in Columbus, Ohio, Bellows did not follow the pattern of earlier American artists and train in Europe. Boxing was an immensely popular spectator sport in the United States from the era of John L. Sullivan in the 1880s through the 1980s; at the time Bellows executed this painting, however, it was illegal in New York state (the prohibition lasted from 1896-1911). Club-fighting, in which the fighters were enrolled for a night as members of a private club so they could hold a match, became the way around the law. By titling his picture "Both Members of this Club," Bellows emphasize the cynicism of a system in which fighters, who tended to come from poor backgrounds, were momentarily accepted as "equals" by members of mens' clubs that would watch them fight for amusement; the faces of the spectators reveal the brutality of the spectacle. The presence of the black boxer (who appears to be winning the contest) is historically accurate; boxing was one of the few sports in which black athletes were allowed to compete with whites in the US before the Second World War. Indeed, at the time Bellows painted "Both Members of this Club," the heavyweight champion was Jack Johnson, a black boxer who held the crown from 1908-15 and is widely considered one of the greatest boxers in the history of the sport. Johnson, unapologetic in his pursuit of equality, was a subject of hatred from many white fans, and was frequently prosecuted for minor infractions by local police departments.<br/><br/> <br/><br/><br/><br/>George BellowsTwo bloodied boxers face off in a prize-fighting ring, surrounded by a mass of spectatorsTwo boxers fighting in a ringNew York, NY, United StatesNational Gallery, Washington DC, USAPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj50.jpghttps://drive.google.com/uc?export=download&id=1X2Qy5lVUzLMF4xEyUmJUp0zmeE1pAP23https://drive.google.com/file/d/1X2Qy5lVUzLMF4xEyUmJUp0zmeE1pAP23/view?usp=sharing<a href="https://drive.google.com/file/d/1X2Qy5lVUzLMF4xEyUmJUp0zmeE1pAP23/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>George Bellows (1882-1925) was one of the leaders of the "ashcan school," a group of painters settled in New York City who believed it the artist's responsibility to capture the social realities of their day. Born in Columbus, Ohio, Bellows did not follow the pattern of earlier American artists and train in Europe. Boxing was an immensely popular spectator sport in the United States from the era of John L. Sullivan in the 1880s through the 1980s; at the time Bellows executed this painting, however, it was illegal in New York state (the prohibition lasted from 1896-1911). Club-fighting, in which the fighters were enrolled for a night as members of a private club so they could hold a match, became the way around the law. By titling his picture "Both Members of this Club," Bellows emphasize the cynicism of a system in which fighters, who tended to come from poor backgrounds, were momentarily accepted as "equals" by members of mens' clubs that would watch them fight for amusement; the faces of the spectators reveal the brutality of the spectacle. The presence of the black boxer (who appears to be winning the contest) is historically accurate; boxing was one of the few sports in which black athletes were allowed to compete with whites in the US before the Second World War. Indeed, at the time Bellows painted "Both Members of this Club," the heavyweight champion was Jack Johnson, a black boxer who held the crown from 1908-15 and is widely considered one of the greatest boxers in the history of the sport. Johnson, unapologetic in his pursuit of equality, was a subject of hatred from many white fans, and was frequently prosecuted for minor infractions by local police departments.The Americas, North America, United StatesAmerican, Social Realism, RealismPaintingThe Americas, North America, United States, American, Social Realism, Realism, PaintingThe Americas, North America, United States, American, Social Realism, Realism, PaintingPublic Domain<br/>Two bloodied boxers face off in a prize-fighting ring, surrounded by a mass of spectatorsModernityImageSignature bottom right: Geo Bellowsoil on canvas115 x 160.5 cm20th Century CE, Social Realism, Realismboxing matchpaintingN/AN/AN/Ahttps://commons.wikimedia.org/wiki/File:Both_Members_of_This_Club_George_Bellows.jpeg50<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000050%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
52
00005119242022-08-01 11:11:11Bellows: Dempsey and FirpoCE 1924<a href="https://drive.google.com/file/d/1176qyXmdwFjVFfRIFn__g3S1Zk7aEKnw/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1924<br/>Artist/Agent: George Bellows<br/>Place of Origin: United States<br/>Current Location: Whitney Museum of American Art, New York, United States<br/>Cultural Context: American, Social Realism, Realism<br/>Worktype: Painting<br/><br/>The drama of this painted composition is enhanced by perspective that positions the viewer among the spectators who catch the fallen boxer and push him back into the ring. The standing boxer completing his right hook is Luis Angel Firpo, Argentinian heavyweight, who would eventually lose this fight, but not without landing blows that counted on his opponent, Jack Dempsey, who was the reigning U.S. Heavyweight Champion from 1919-1926. Bellows witnessed this fight live as a reporter for the New York Evening Journal. He painted it later, and included a self-portrait among the crowd -- the balding man on the viewer's left side of the painting.<br/><br/> <ul><li><a href="https://whitney.org/collection/works/214" target="_blank">The Whitney Museum's webpage for this painting offers more information.</a></li></ul><br/><br/><br/><br/>George BellowsThis oil-on-canvas painting depicts a 1923 boxing match between Jack Dempsey and Luis Firpo. Firpo knocks down his opponent Dempsey out of the ring and onto the crowd as people watch. The boxers are highlighted with the misty background and spotlights.This painting depicts a 1923 boxing match between Jack Dempsey and Luis Firpo.United StatesWhitney Museum of American Art, New York, United StatesCC 1.0 Universal Public Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj51.jpghttps://drive.google.com/uc?export=download&id=1176qyXmdwFjVFfRIFn__g3S1Zk7aEKnwhttps://drive.google.com/file/d/1176qyXmdwFjVFfRIFn__g3S1Zk7aEKnw/view?usp=sharing<a href="https://drive.google.com/file/d/1176qyXmdwFjVFfRIFn__g3S1Zk7aEKnw/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>The drama of this painted composition is enhanced by perspective that positions the viewer among the spectators who catch the fallen boxer and push him back into the ring. The standing boxer completing his right hook is Luis Angel Firpo, Argentinian heavyweight, who would eventually lose this fight, but not without landing blows that counted on his opponent, Jack Dempsey, who was the reigning U.S. Heavyweight Champion from 1919-1926. Bellows witnessed this fight live as a reporter for the New York Evening Journal. He painted it later, and included a self-portrait among the crowd -- the balding man on the viewer's left side of the painting.The Americas, North America, United StatesAmerican, Social Realism, RealismPaintingThe Americas, North America, United States, American, Social Realism, Realism, PaintingThe Americas, North America, United States, American, Social Realism, Realism, PaintingCC 1.0 Universal Public Domain<br/>This oil-on-canvas painting depicts a 1923 boxing match between Jack Dempsey and Luis Firpo. Firpo knocks down his opponent Dempsey out of the ring and onto the crowd as people watch. The boxers are highlighted with the misty background and spotlights.Modernityhttps://whitney.org/collection/works/214The Whitney Museum's webpage for this painting offers more information.<ul><li><a href="https://whitney.org/collection/works/214" target="_blank">The Whitney Museum's webpage for this painting offers more information.</a></li></ul>ImageSignature bottom right: Geo Bellowsoil on canvas129.9 x 160.7 cm20th Century CE, Social Realism, Realismboxing matchpaintingN/AN/AN/Ahttps://commons.wikimedia.org/wiki/File:Bellows_George_Dempsey_and_Firpo_1924.jpg51<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000051%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
53
00005216672022-08-01 15:53:53Bernini: Elephant and ObeliskCE 1667<a href="https://drive.google.com/file/d/1vDjHyG-HWON9J_L-yODLAkUDSPkmBxLO/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1667<br/>Artist/Agent: Gian Lorenzo Bernini<br/>Place of Origin: Rome, Italy<br/>Current Location: Piazza della Minerva, Rome, Italy<br/>Cultural Context: Southern European, Italian, Baroque<br/>Worktype: Sculpture<br/><br/>Gian Lorenzo Bernini (1598-1680) is one of the few artists who can be reasonably credited with individually creating a major new style of sculpture: namely, baroque. The word “baroque” likely derives from a French word for an irregularly-shaped pearl; in regard to sculpture, the hallmarks of the baroque style developed by Bernini were an extravagant sense of motion, compositions that were planned for 360-degree viewing, and the breaking of any containing frame or niche that separated the viewer from the artwork. Bernini sought the same sort of emotional impact as the Hellenistic sculptors of Alexander’s successor states in Greece, the Middle East, and Central Asia. In this playful piece, Bernini designed an elephant as the base for an Egyptian obelisk that had been brought to ancient Rome and recently excavated in Bernini's time (the sculpture was likely executed by one of his assistants). The age of European exploration had brought greater knowledge of animals found outside Europe to Italy; unlike many medieval European depictions, Bernini's is relatively accurate. However, the fact he portrays in marble what is clearly an Asian elephant upholding a North African artifact is an early example of Orientalism, in which Europeans collapsed very different regions of Africa and Asia into a monolithic "Orient."<br/><br/> <br/><br/>[leaflet-map lat=41.8981167384088 lng=12.4776078134062 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Rome, Italy [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1646426502953!6m8!1m7!1sCAoSLEFGMVFpcE0wX2EtWDdwZE1abFpMZkw1RUhHeHVWZ01XYXBmZXA1d2hEdk1i!2m2!1d41.8982303!2d12.4768529!3f58.01998152274621!4f18.247118245590315!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy"></iframe>Gian Lorenzo BerniniThis sculpture shows an elephant, which serves as the base of an ancient Egyptian obeliskSculpture showing an elephant, which serves as the base of an ancient Egyptian obeliskRome, ItalyPiazza della Minerva, Rome, ItalyCC BY-SA 4.0 Petar Milošević https://globalimages.liberalstudies.hosting.nyu.edu/images/obj52.jpghttps://drive.google.com/uc?export=download&id=1vDjHyG-HWON9J_L-yODLAkUDSPkmBxLOhttps://drive.google.com/file/d/1vDjHyG-HWON9J_L-yODLAkUDSPkmBxLO/view?usp=sharing<a href="https://drive.google.com/file/d/1vDjHyG-HWON9J_L-yODLAkUDSPkmBxLO/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>Gian Lorenzo Bernini (1598-1680) is one of the few artists who can be reasonably credited with individually creating a major new style of sculpture: namely, baroque. The word “baroque” likely derives from a French word for an irregularly-shaped pearl; in regard to sculpture, the hallmarks of the baroque style developed by Bernini were an extravagant sense of motion, compositions that were planned for 360-degree viewing, and the breaking of any containing frame or niche that separated the viewer from the artwork. Bernini sought the same sort of emotional impact as the Hellenistic sculptors of Alexander’s successor states in Greece, the Middle East, and Central Asia. In this playful piece, Bernini designed an elephant as the base for an Egyptian obelisk that had been brought to ancient Rome and recently excavated in Bernini's time (the sculpture was likely executed by one of his assistants). The age of European exploration had brought greater knowledge of animals found outside Europe to Italy; unlike many medieval European depictions, Bernini's is relatively accurate. However, the fact he portrays in marble what is clearly an Asian elephant upholding a North African artifact is an early example of Orientalism, in which Europeans collapsed very different regions of Africa and Asia into a monolithic "Orient."Europe, Southern Europe, ItalySouthern European, Italian, BaroqueSculptureEurope, Southern Europe, Italy, Southern European, Italian, Baroque, SculptureEurope, Southern Europe, Italy, Southern European, Italian, Baroque, SculptureCC BY-SA 4.0 Petar Milošević <br/>This sculpture shows an elephant, which serves as the base of an ancient Egyptian obeliskCrossroadsImageLatin inscription at one side of the pedestal: "Let any beholder of the carved images of the wisdom of Egypt on the obelisk carried by the elephant, the strongest of beasts, realize that it takes a robust mind to carry solid wisdom."marbleheight of obelisk: 5.47 m; overall height: 12.69 m17th Century CE, BaroqueelephantN/AN/AN/AN/Arshttps://commons.wikimedia.org/wiki/File:Elephant_and_Obelisk_-_Bernini.jpg41.8981167412.4776078141.8981167412.47760781<iframe src="https://www.google.com/maps/embed?pb=!4v1646426502953!6m8!1m7!1sCAoSLEFGMVFpcE0wX2EtWDdwZE1abFpMZkw1RUhHeHVWZ01XYXBmZXA1d2hEdk1i!2m2!1d41.8982303!2d12.4768529!3f58.01998152274621!4f18.247118245590315!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy"></iframe>[leaflet-map lat=41.8981167384088 lng=12.4776078134062 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Rome, Italy [/leaflet-marker]Yes52<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000052%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
54
00005316472022-08-01 16:08:08Bernini: Four Rivers FountainCE 1647-1651<a href="https://drive.google.com/file/d/1bQFXxWlwgdl7bOWLd6s-ucSkMTyLnjFj/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1647-1651<br/>Artist/Agent: Gian Lorenzo Bernini<br/>Place of Origin: Rome, Italy<br/>Current Location: Piazza Navona, Rome, Italy<br/>Cultural Context: Southern European, Italian, Baroque<br/>Worktype: Sculpture<br/><br/>Gian Lorenzo Bernini (1598-1680) is one of the few artists who can be reasonably credited with individually creating a major new style of sculpture, what is now called baroque (parallel styles in architecture and music bear the same name). The word “baroque” likely derives from a French word for an irregularly-shaped pearl; in regard to sculpture, the hallmarks of the baroque style developed by Bernini were an extravagant sense of motion, compositions that were planned for 360-degree viewing, and the breaking of any containing frame or niche that separated the viewer from the artwork. Bernini sought the same sort of emotional impact as the Hellenistic sculptors of Alexander’s successor states in Greece, the Middle East, and Central Asia. One of his masterworks is the Four Rivers Fountain, which depicts a personification of a major river of each of four continents -- the Nile (Africa), Danube (Europe), Ganges (Asia), and Rio del la Plata (South America) -- accompanied by objects symbolizing the nature of those rivers. The Nile, for instance, covers its face with a cloth because the source of the river was not yet known. The Ganges is personified as a broad and powerful man holding an oar, as that wide river was much travelled by boats. The Fountain, which serves as the base for an ancient Roman copy of an Egyptian obelisk, is a perfect example of the tendency of the European Renaissance to (mis)understand the new worlds it was exploring by cloaking them in references to Classical antiquity. The omission of North America from the sculpture also suggests the continent's relative unimportance to Southern Europe in the 17th century. As with other works of the mature Bernini, he designed the work and supervised its execution, but much of the marble sculpting was done by his apprentices.<br/><br/> <ul><li><a href="https://drive.google.com/file/d/1XVQ-X7bhaFCZHRIVetBHWW2SyAGvRGJO/view?usp=sharing" target="_blank">Danube (Public Domain image)</a></li><li><a href="https://drive.google.com/file/d/1ihxu1ZswbuCTnZwnKh8VQPP74T-iU7rd/view?usp=sharing" target="_blank">Nile (Public Domain image)</a></li><li><a href="https://drive.google.com/file/d/1htRLKzyegMXhNzcru2jCmAsmnnxWLg25/view?usp=sharing" target="_blank">Rio de la Plata (Public Domain image)</a></li></ul><br/><br/>[leaflet-map lat=41.8993389643029 lng=12.4730956557347 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Rome, Italy [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1646426213651!6m8!1m7!1sCAoSLEFGMVFpcE5pSURabXFmTmM2Z0FtbExHM3lwSjZvOFlESFVwck1zWmw1V2M0!2m2!1d41.8990061!2d12.4731543!3f305.84510301043656!4f7.035720286237506!5f0.4000000000000002" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy"></iframe>Gian Lorenzo BerniniThis sculpted fountain shows personifications of four major rivers from continents. They serve as the base for an ancient Roman obelisk.Sculpted fountain showing personifications of major rivers from four continents serving as the base for an ancient Roman obelisk.Rome, ItalyPiazza Navona, Rome, ItalyCC BY 2.0 Bengt Nyman https://globalimages.liberalstudies.hosting.nyu.edu/images/obj53.jpghttps://drive.google.com/uc?export=download&id=1bQFXxWlwgdl7bOWLd6s-ucSkMTyLnjFjhttps://drive.google.com/file/d/1bQFXxWlwgdl7bOWLd6s-ucSkMTyLnjFj/view?usp=sharing<a href="https://drive.google.com/file/d/1bQFXxWlwgdl7bOWLd6s-ucSkMTyLnjFj/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>Gian Lorenzo Bernini (1598-1680) is one of the few artists who can be reasonably credited with individually creating a major new style of sculpture, what is now called baroque (parallel styles in architecture and music bear the same name). The word “baroque” likely derives from a French word for an irregularly-shaped pearl; in regard to sculpture, the hallmarks of the baroque style developed by Bernini were an extravagant sense of motion, compositions that were planned for 360-degree viewing, and the breaking of any containing frame or niche that separated the viewer from the artwork. Bernini sought the same sort of emotional impact as the Hellenistic sculptors of Alexander’s successor states in Greece, the Middle East, and Central Asia. One of his masterworks is the Four Rivers Fountain, which depicts a personification of a major river of each of four continents -- the Nile (Africa), Danube (Europe), Ganges (Asia), and Rio del la Plata (South America) -- accompanied by objects symbolizing the nature of those rivers. The Nile, for instance, covers its face with a cloth because the source of the river was not yet known. The Ganges is personified as a broad and powerful man holding an oar, as that wide river was much travelled by boats. The Fountain, which serves as the base for an ancient Roman copy of an Egyptian obelisk, is a perfect example of the tendency of the European Renaissance to (mis)understand the new worlds it was exploring by cloaking them in references to Classical antiquity. The omission of North America from the sculpture also suggests the continent's relative unimportance to Southern Europe in the 17th century. As with other works of the mature Bernini, he designed the work and supervised its execution, but much of the marble sculpting was done by his apprentices.Europe, Southern Europe, ItalySouthern European, Italian, BaroqueSculptureEurope, Southern Europe, Italy, Southern European, Italian, Baroque, SculptureEurope, Southern Europe, Italy, Southern European, Italian, Baroque, SculptureCC BY 2.0 Bengt Nyman <br/>This sculpted fountain shows personifications of four major rivers from continents. They serve as the base for an ancient Roman obelisk.Crossroadshttps://drive.google.com/file/d/1XVQ-X7bhaFCZHRIVetBHWW2SyAGvRGJO/view?usp=sharingDanube (Public Domain image)https://drive.google.com/file/d/1ihxu1ZswbuCTnZwnKh8VQPP74T-iU7rd/view?usp=sharingNile (Public Domain image)https://drive.google.com/file/d/1htRLKzyegMXhNzcru2jCmAsmnnxWLg25/view?usp=sharingRio de la Plata (Public Domain image)<ul><li><a href="https://drive.google.com/file/d/1XVQ-X7bhaFCZHRIVetBHWW2SyAGvRGJO/view?usp=sharing" target="_blank">Danube (Public Domain image)</a></li><li><a href="https://drive.google.com/file/d/1ihxu1ZswbuCTnZwnKh8VQPP74T-iU7rd/view?usp=sharing" target="_blank">Nile (Public Domain image)</a></li><li><a href="https://drive.google.com/file/d/1htRLKzyegMXhNzcru2jCmAsmnnxWLg25/view?usp=sharing" target="_blank">Rio de la Plata (Public Domain image)</a></li></ul>ImageN/AAswan granite (obelisk); travertine marble (sculpture)47 m (height of obelisk)17th Century CE, Baroquepersonifications, allegoriesN/AN/AN/AN/Arshttps://commons.wikimedia.org/wiki/File:Piazza_Navona_0956_2013.jpg41.8993389612.4730956641.8993389612.47309566<iframe src="https://www.google.com/maps/embed?pb=!4v1646426213651!6m8!1m7!1sCAoSLEFGMVFpcE5pSURabXFmTmM2Z0FtbExHM3lwSjZvOFlESFVwck1zWmw1V2M0!2m2!1d41.8990061!2d12.4731543!3f305.84510301043656!4f7.035720286237506!5f0.4000000000000002" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy"></iframe>[leaflet-map lat=41.8993389643029 lng=12.4730956557347 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Rome, Italy [/leaflet-marker]Yes53<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000053%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
55
00005416472022-08-01 16:09:09Bernini: The Ecstasy of Saint TeresaCE 1647-1652<a href="https://drive.google.com/file/d/12Jq1H7kR-qU-NGCLKcWj1gFcqDNXT0Uo/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1647-1652<br/>Artist/Agent: Gian Lorenzo Bernini<br/>Place of Origin: Rome, Italy<br/>Current Location: Santa Maria della Vittoria, Rome, Italy<br/>Cultural Context: Southern European, Italian, Baroque<br/>Worktype: Sculpture<br/><br/>Gian Lorenzo Bernini (1598-1680) is one of the few artists who can be reasonably credited with individually creating a major new style of sculpture: what is now called baroque. The word “baroque” likely derives from a French word for an irregularly-shaped pearl; in regard to sculpture, the hallmarks of the baroque style developed by Bernini were an extravagant sense of motion, compositions that were planned for 360-degree viewing, and the breaking of any containing frame or niche that separated the viewer from the artwork. Bernini sought the same sort of emotional impact as the Hellenistic sculptors of Alexander’s successor states in Greece, the Middle East, and Central Asia. One of his most famous works is the highly eroticized "Ecstasy of Saint Teresa" (as art historians have termed it), which depicts a scene in Teresa of Avila's account of her life when she describes a vision of being pierced by a divine "golden spear." Bernini transforms the spear to an arrow and the divine messenger to a cupid-like cherub, associating the moment of divine love even more closely with sexual love. The highly emotive carved marble postures of Teresa and the angel/cherub are set in a grouping between two boxes of observers, that on the right representing the Cornaro family, patrons of the sculpture. Bernini's work thus strives to break down the boundary between observer and participant.<br/><br/> <ul><li><a href="https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/reformation-counter-reformation/v/bernini-ecstasy-of-st-theresa" target="_blank">Short video from Khan Academy offers commentary on this sculpture.</a></li><li><a href="https://drive.google.com/file/d/1HUnUPQ6GW9imc-2aj0w4vCF1cQxhM8lW/view?usp=sharing" target="_blank">Broad view showing central sculpture and side panels (CC 2.5 Nina Aldin Thune).</a></li><li><a href="https://drive.google.com/file/d/1rjrQ4td7sQi9MUt_2d3gM4iXN3SxDQZT/view?usp=sharing" target="_blank">Detail showing four sculpted figures reacting to the central sculpture (Public Domain image).</a></li></ul><br/><br/>[leaflet-map lat=41.9049323440517 lng=12.4943800264449 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Rome, Italy [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1659024394777!6m8!1m7!1sCAoSLEFGMVFpcE9fWTlpY0tqN0syWGhyYjU1SGhxR2o5dW9QTWI1cFl1SjlLRVk2!2m2!1d41.90459!2d12.49402!3f202.88800696070783!4f39.95558073471028!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>Gian Lorenzo BerniniThis sculpture shows a recumbent Saint Teresa in a flowing gown, an angel poised with an arrow above her.Sculpture showing a recumbent Saint Teresa in a flowing gown, an angel poised with an arrow above her.Rome, ItalySanta Maria della Vittoria, Rome, ItalyPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj54.jpghttps://drive.google.com/uc?export=download&id=12Jq1H7kR-qU-NGCLKcWj1gFcqDNXT0Uohttps://drive.google.com/file/d/12Jq1H7kR-qU-NGCLKcWj1gFcqDNXT0Uo/view?usp=sharing<a href="https://drive.google.com/file/d/12Jq1H7kR-qU-NGCLKcWj1gFcqDNXT0Uo/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>Gian Lorenzo Bernini (1598-1680) is one of the few artists who can be reasonably credited with individually creating a major new style of sculpture: what is now called baroque. The word “baroque” likely derives from a French word for an irregularly-shaped pearl; in regard to sculpture, the hallmarks of the baroque style developed by Bernini were an extravagant sense of motion, compositions that were planned for 360-degree viewing, and the breaking of any containing frame or niche that separated the viewer from the artwork. Bernini sought the same sort of emotional impact as the Hellenistic sculptors of Alexander’s successor states in Greece, the Middle East, and Central Asia. One of his most famous works is the highly eroticized "Ecstasy of Saint Teresa" (as art historians have termed it), which depicts a scene in Teresa of Avila's account of her life when she describes a vision of being pierced by a divine "golden spear." Bernini transforms the spear to an arrow and the divine messenger to a cupid-like cherub, associating the moment of divine love even more closely with sexual love. The highly emotive carved marble postures of Teresa and the angel/cherub are set in a grouping between two boxes of observers, that on the right representing the Cornaro family, patrons of the sculpture. Bernini's work thus strives to break down the boundary between observer and participant.Europe, Southern Europe, ItalySouthern European, Italian, BaroqueSculptureEurope, Southern Europe, Italy, Southern European, Italian, Baroque, SculptureEurope, Southern Europe, Italy, Southern European, Italian, Baroque, SculpturePublic Domain<br/>This sculpture shows a recumbent Saint Teresa in a flowing gown, an angel poised with an arrow above her.Crossroadshttps://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/reformation-counter-reformation/v/bernini-ecstasy-of-st-theresaShort video from Khan Academy offers commentary on this sculpture.https://drive.google.com/file/d/1HUnUPQ6GW9imc-2aj0w4vCF1cQxhM8lW/view?usp=sharingBroad view showing central sculpture and side panels (CC 2.5 Nina Aldin Thune).https://drive.google.com/file/d/1rjrQ4td7sQi9MUt_2d3gM4iXN3SxDQZT/view?usp=sharingDetail showing four sculpted figures reacting to the central sculpture (Public Domain image).<ul><li><a href="https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/reformation-counter-reformation/v/bernini-ecstasy-of-st-theresa" target="_blank">Short video from Khan Academy offers commentary on this sculpture.</a></li><li><a href="https://drive.google.com/file/d/1HUnUPQ6GW9imc-2aj0w4vCF1cQxhM8lW/view?usp=sharing" target="_blank">Broad view showing central sculpture and side panels (CC 2.5 Nina Aldin Thune).</a></li><li><a href="https://drive.google.com/file/d/1rjrQ4td7sQi9MUt_2d3gM4iXN3SxDQZT/view?usp=sharing" target="_blank">Detail showing four sculpted figures reacting to the central sculpture (Public Domain image).</a></li></ul>ImageN/Amarble350 cm (height)17th Century CE, BaroqueSaint TeresaN/AN/Aelevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in RomeN/Arshttps://commons.wikimedia.org/wiki/File:Ecstasy_St_Theresa_SM_della_Vittoria.jpg41.9049323412.4943800341.9049323412.49438003<iframe src="https://www.google.com/maps/embed?pb=!4v1659024394777!6m8!1m7!1sCAoSLEFGMVFpcE9fWTlpY0tqN0syWGhyYjU1SGhxR2o5dW9QTWI1cFl1SjlLRVk2!2m2!1d41.90459!2d12.49402!3f202.88800696070783!4f39.95558073471028!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>[leaflet-map lat=41.9049323440517 lng=12.4943800264449 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Rome, Italy [/leaflet-marker]Yes54<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000054%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
56
00005511812022-08-01 20:40:40Bet Maryam CE 1181-1220<a href="https://drive.google.com/file/d/1jK1RIEBUL_cc9lNaFXMLErhXdKgtJXQa/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1181-1220<br/>Artist/Agent: Unknown<br/>Place of Origin: Lalibela, Ethiopia
<br/>Current Location: Lalibela, Ethiopia<br/>Cultural Context: East African, Ethiopian, Zagwe, Christendom<br/>Worktype: Architecture<br/><br/>Bet Maryam is a rock-cut church located in Lalibela, carved out of a massive single block of lava called tuff. It's an example of 11 such churches built between the 10th and the 13th centuries CE by the Zagwe dynasty ruler Gebre Mesqel Lalibela (r. ca. 1181–1221). The interior of this church shows painted ceilings, carved arches, and incised decorative elements.<br/><br/> <ul><li><a href="https://drive.google.com/file/d/1wYeDlT8hksUq1rdYC2Y3kNxLB5eYp5mC/view?usp=sharing" target="_blank">Detail of interior of Bet Maryam showing arches and painted ceiling. (CC BY 2.0 Generic Katie Hunt)</a></li><li><a href="http://whc.unesco.org/en/list/18" target="_blank">Introductory essay at UNESCO World Heritage website.</a></li></ul><br/><br/>[leaflet-map lat=12.0337690805887 lng=39.0437495204721 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Lalibela, Ethiopia [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1659380929095!6m8!1m7!1sCAoSLEFGMVFpcE9sM1c2Z2VTYWdNNUVHVWxjN2V4QllESUJlZFhEcHl3dlVGRDBO!2m2!1d12.0335931!2d39.04322519999999!3f69.7938061491806!4f-9.114055784324734!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>		UnknownA three-story stone square building stands under a modern shade-roof. On the first level are windows showing four cubes at each corner, with a cross-shape bisecting the opening. On the second level and third levels are simple square openings for windows. The roof is pitched.A three-story stone square building stands under a modern shade-roof with windows on the side. The roof is pitched.Lalibela, Ethiopia
Lalibela, EthiopiaCC BY 2.0 Katie Hunt https://globalimages.liberalstudies.hosting.nyu.edu/images/obj55.jpghttps://drive.google.com/uc?export=download&id=1jK1RIEBUL_cc9lNaFXMLErhXdKgtJXQahttps://drive.google.com/file/d/1jK1RIEBUL_cc9lNaFXMLErhXdKgtJXQa/view?usp=sharing<a href="https://drive.google.com/file/d/1jK1RIEBUL_cc9lNaFXMLErhXdKgtJXQa/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>Bet Maryam is a rock-cut church located in Lalibela, carved out of a massive single block of lava called tuff. It's an example of 11 such churches built between the 10th and the 13th centuries CE by the Zagwe dynasty ruler Gebre Mesqel Lalibela (r. ca. 1181–1221). The interior of this church shows painted ceilings, carved arches, and incised decorative elements.Africa South of Sahara, Eastern Africa, EthiopiaEast African, Ethiopian, Zagwe, ChristendomArchitectureAfrica South of Sahara, Eastern Africa, Ethiopia, East African, Ethiopian, Zagwe, Christendom, ArchitectureAfrica South of Sahara, Eastern Africa, Ethiopia, East African, Ethiopian, Zagwe, Christendom, ArchitectureCC BY 2.0 Katie Hunt <br/>A three-story stone square building stands under a modern shade-roof. On the first level are windows showing four cubes at each corner, with a cross-shape bisecting the opening. On the second level and third levels are simple square openings for windows. The roof is pitched.Crossroadshttps://drive.google.com/file/d/1wYeDlT8hksUq1rdYC2Y3kNxLB5eYp5mC/view?usp=sharingDetail of interior of Bet Maryam showing arches and painted ceiling. (CC BY 2.0 Generic Katie Hunt)http://whc.unesco.org/en/list/18Introductory essay at UNESCO World Heritage website.<ul><li><a href="https://drive.google.com/file/d/1wYeDlT8hksUq1rdYC2Y3kNxLB5eYp5mC/view?usp=sharing" target="_blank">Detail of interior of Bet Maryam showing arches and painted ceiling. (CC BY 2.0 Generic Katie Hunt)</a></li><li><a href="http://whc.unesco.org/en/list/18" target="_blank">Introductory essay at UNESCO World Heritage website.</a></li></ul>ImageN/AmonolithN/A12th-13th Century CE, Zagwe DynastyEthiopian Christianityrock-cutN/AN/AN/ARSamet/cphttps://commons.wikimedia.org/wiki/File:Bet_Maryam_(5497304373).jpg
12.0337690839.0437495212.0337690839.04374952<iframe src="https://www.google.com/maps/embed?pb=!4v1659380929095!6m8!1m7!1sCAoSLEFGMVFpcE9sM1c2Z2VTYWdNNUVHVWxjN2V4QllESUJlZFhEcHl3dlVGRDBO!2m2!1d12.0335931!2d39.04322519999999!3f69.7938061491806!4f-9.114055784324734!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>[leaflet-map lat=12.0337690805887 lng=39.0437495204721 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Lalibela, Ethiopia [/leaflet-marker]Yes55<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000055%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
57
00005612002022-08-01 20:20:20Beta Giorghis (Church of Saint George)CE 1200-1300<a href="https://drive.google.com/file/d/14aoWitGBKqnJVEOWkMQmQBgrHyck45u2/view?usp=sharing
" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1200-1300<br/>Artist/Agent: Unknown<br/>Place of Origin: Lalibela, Ethiopia <br/>Current Location: Lalibela, Ethiopia <br/>Cultural Context: East African, Ethiopian, Zagwe, Christendom<br/>Worktype: Architecture
<br/><br/>Carved entirely from volcanic rock called tuff, this church is an example of 11 medieval monolithic rock-cut cave churches. King Gebre Mesqel Lalibela of the Zagwe dynasty commissioned them with the idea that they would be a 13th century "New Jerusalem." <br/><br/> <ul><li><a href="https://whc.unesco.org/en/list/18" target="_blank">Essay on the Lalibela rock-cut churches from the UNESCO site can be found here.</a></li></ul><br/><br/>[leaflet-map lat=12.0319551269455 lng=39.0410780395114 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Lalibela, Ethiopia [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1655921283560!6m8!1m7!1sCAoSLEFGMVFpcFBXakdURzU3bGVJZ0dib3pTMWdsMVlBT1o3N0wzMnkxT3BOWEE5!2m2!1d12.0318131!2d39.0409909!3f149.35891741321507!4f-14.953083639059557!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>		UnknownA three-story square building stands in a wide pit. It sits on a three-tiered foundation, with two doorways and two blind windows on the first level. Four windows on the third level show pointed arches. The roof is flat. A three-story square building stands in a wide pit. It sits on a three-tiered foundation, with two doorways and windows with pointed arches. The roof is flat.Lalibela, Ethiopia Lalibela, Ethiopia CC BY-SA 3.0 © UNESCO World Heritage Centre 1992-2018 https://globalimages.liberalstudies.hosting.nyu.edu/images/obj56.jpghttps://drive.google.com/uc?export=download&id=14aoWitGBKqnJVEOWkMQmQBgrHyck45u2https://drive.google.com/file/d/14aoWitGBKqnJVEOWkMQmQBgrHyck45u2/view?usp=sharing
<a href="https://drive.google.com/file/d/14aoWitGBKqnJVEOWkMQmQBgrHyck45u2/view?usp=sharing
" target="_blank">Link to image in Google Drive</a></br>		Carved entirely from volcanic rock called tuff, this church is an example of 11 medieval monolithic rock-cut cave churches. King Gebre Mesqel Lalibela of the Zagwe dynasty commissioned them with the idea that they would be a 13th century "New Jerusalem." Africa South of Sahara, Eastern Africa, EthiopiaEast African, Ethiopian, Zagwe, ChristendomArchitecture
Africa South of Sahara, Eastern Africa, Ethiopia, East African, Ethiopian, Zagwe, Christendom, Architecture
Africa South of Sahara, Eastern Africa, Ethiopia, East African, Ethiopian, Zagwe, Christendom, Architecture
CC BY-SA 3.0 © UNESCO World Heritage Centre 1992-2018 <br/>A three-story square building stands in a wide pit. It sits on a three-tiered foundation, with two doorways and two blind windows on the first level. Four windows on the third level show pointed arches. The roof is flat. Crossroadshttps://whc.unesco.org/en/list/18Essay on the Lalibela rock-cut churches from the UNESCO site can be found here. <ul><li><a href="https://whc.unesco.org/en/list/18" target="_blank">Essay on the Lalibela rock-cut churches from the UNESCO site can be found here.</a></li></ul>ImageN/AmonolithN/A13th Century CE, Zagwe DynastyEthiopian Christianityrock-cutN/AN/AN/ARSamet/cphttps://whc.unesco.org/en/list/18
12.0319551339.0410780412.0319551339.04107804<iframe src="https://www.google.com/maps/embed?pb=!4v1655921283560!6m8!1m7!1sCAoSLEFGMVFpcFBXakdURzU3bGVJZ0dib3pTMWdsMVlBT1o3N0wzMnkxT3BOWEE5!2m2!1d12.0318131!2d39.0409909!3f149.35891741321507!4f-14.953083639059557!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>[leaflet-map lat=12.0319551269455 lng=39.0410780395114 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Lalibela, Ethiopia [/leaflet-marker]Yes56<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000056%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
58
00005713002022-08-01 19:51:51Bhairava from East Java, Indonesia CE 1300<a href="https://drive.google.com/file/d/17dqa2MRA2dJ_H4X9Trqt32eeESCa4iYZ/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1300<br/>Artist/Agent: Unknown<br/>Place of Origin: East Java, Indonesia<br/>Current Location: Museum of Fine Arts Boston, Boston, MA, USA<br/>Cultural Context: Southeast Asian, Indonesian, Hindu<br/>Worktype: Sculpture<br/><br/>The fangs and bulging eyes of this statue of Bhairava (Sanskrit भैरव, or "frightful") have been damaged. A severed head on a club would have been brandished by the figure's missing right hand, and his left hand would have held a skull drinking cup. Bhairava in Hindu iconography is a demonic form of Shiva, ferocious and terrifying, a figure associated with total destruction. The skull motif in this statue, appearing in the crown, earlobes, and jewelry, refers to a legend in the creation of the Kaala Bhairava, who beheaded Brahma, the creator god of Hinduism, thus humbling him and bestowing enlightenment on him. <br/><br/> <ul><li><a href="https://www.mfa.org/collections/object/bhairava-or-mahakala-22546" target="_blank">Boston Fine Arts Museum website for this object.</a></li><li><a href="https://www.khanacademy.org/partner-content/asian-art-museum/aam-hinduism-topic/aam-hinduism/a/hindu-deity-shiva-in-the-fierce-form-of-bhairava" target="_blank">Essay on Bhairava imagery in Hindu Temples</a></li></ul><br/><br/><br/><br/>UnknownCarved in volcanic stone is a standing figure wearing a floor-length skirt and elaborate jewelry at the waist, neck, and armbands. On the head is a crown, from which curled hair drapes down past the shoulders. The right arm is raised and broken at the forearm, while the left is down and across the body, broken at the wrist. A circular banner of sculls drapes across one shoulder and loops across the right hip before snaking up the back to join itself. Carved in volcanic stone is a standing figure wearing a floor-length skirt and elaborate jewelry and a crown. The arms are broken. A banner of sculls drapes across the chest.East Java, IndonesiaMuseum of Fine Arts Boston, Boston, MA, USAArtStor Museum of Fine Arts, Boston, Collection, Formerly in The AMICO Library https://globalimages.liberalstudies.hosting.nyu.edu/images/obj57.jpghttps://drive.google.com/uc?export=download&id=17dqa2MRA2dJ_H4X9Trqt32eeESCa4iYZhttps://drive.google.com/file/d/17dqa2MRA2dJ_H4X9Trqt32eeESCa4iYZ/view?usp=sharing<a href="https://drive.google.com/file/d/17dqa2MRA2dJ_H4X9Trqt32eeESCa4iYZ/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>The fangs and bulging eyes of this statue of Bhairava (Sanskrit भैरव, or "frightful") have been damaged. A severed head on a club would have been brandished by the figure's missing right hand, and his left hand would have held a skull drinking cup. Bhairava in Hindu iconography is a demonic form of Shiva, ferocious and terrifying, a figure associated with total destruction. The skull motif in this statue, appearing in the crown, earlobes, and jewelry, refers to a legend in the creation of the Kaala Bhairava, who beheaded Brahma, the creator god of Hinduism, thus humbling him and bestowing enlightenment on him. Asia, Southeast Asia, IndonesiaSoutheast Asian, Indonesian, HinduSculptureAsia, Southeast Asia, Indonesia, Southeast Asian, Indonesian, Hindu, SculptureAsia, Southeast Asia, Indonesia, Southeast Asian, Indonesian, Hindu, SculptureArtStor Museum of Fine Arts, Boston, Collection, Formerly in The AMICO Library <br/>Carved in volcanic stone is a standing figure wearing a floor-length skirt and elaborate jewelry at the waist, neck, and armbands. On the head is a crown, from which curled hair drapes down past the shoulders. The right arm is raised and broken at the forearm, while the left is down and across the body, broken at the wrist. A circular banner of sculls drapes across one shoulder and loops across the right hip before snaking up the back to join itself. Crossroadshttps://www.mfa.org/collections/object/bhairava-or-mahakala-22546Boston Fine Arts Museum website for this object. https://www.khanacademy.org/partner-content/asian-art-museum/aam-hinduism-topic/aam-hinduism/a/hindu-deity-shiva-in-the-fierce-form-of-bhairavaEssay on Bhairava imagery in Hindu Temples <ul><li><a href="https://www.mfa.org/collections/object/bhairava-or-mahakala-22546" target="_blank">Boston Fine Arts Museum website for this object.</a></li><li><a href="https://www.khanacademy.org/partner-content/asian-art-museum/aam-hinduism-topic/aam-hinduism/a/hindu-deity-shiva-in-the-fierce-form-of-bhairava" target="_blank">Essay on Bhairava imagery in Hindu Temples</a></li></ul>ImageN/Aandesite (volcanic stone)198.12 cm14th Century CEHinduismN/AN/AN/AN/ARSamet/cphttps://library.artstor.org/#/asset/AMICO_BOSTON_10383111757<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000057%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
59
000058-22502022-08-02 13:52:52Bi -- Ritual Disc NeolithicBCE 2250<a href="https://drive.google.com/file/d/12IHPM5xoaU9QAyvJV1LNuczFfFpIyDJJ/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 2250<br/>Artist/Agent: Unknown<br/>Place of Origin: China<br/>Current Location: Philadelphia Museum of Art<br/>Cultural Context: East Asian, Chinese, Liangzhu culture<br/>Worktype: Sculpture<br/><br/>The Bi is a flat stone disc with a circular hole in the center. This ritual object has its origins in the Neolithic period with the Liangzhu culture and grew in complexity through the centuries.<br/><br/> <br/><br/><br/><br/>UnknownA Bi, a jade ritual disc, 16.8 cm in diameter with a circular hole in the middleA jade ritual disc has a circular hole in the middleChinaPhiladelphia Museum of ArtArtStor Philadelphia Museum of Arthttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj58.jpghttps://drive.google.com/uc?export=download&id=12IHPM5xoaU9QAyvJV1LNuczFfFpIyDJJhttps://drive.google.com/file/d/12IHPM5xoaU9QAyvJV1LNuczFfFpIyDJJ/view?usp=sharing<a href="https://drive.google.com/file/d/12IHPM5xoaU9QAyvJV1LNuczFfFpIyDJJ/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>The Bi is a flat stone disc with a circular hole in the center. This ritual object has its origins in the Neolithic period with the Liangzhu culture and grew in complexity through the centuries.Asia, East Asia, ChinaEast Asian, Chinese, Liangzhu cultureSculptureAsia, East Asia, China, East Asian, Chinese, Liangzhu culture, SculptureAsia, East Asia, China, East Asian, Chinese, Liangzhu culture, SculptureArtStor Philadelphia Museum of Art<br/>A Bi, a jade ritual disc, 16.8 cm in diameter with a circular hole in the middleAntiquityImageN/Ajade (nephrite); wood stand16.8 cm diameter3rd Millennium BCE, Neolithic, Liangzhu cultureLiangzhu cultureN/AN/AN/AN/AAM/cphttp://library.artstor.org/asset/AWSS35953_35953_4135583258<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000058%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
60
000059-4812022-08-02 11:20:20Bi -- Ritual Disc with Two DragonsBCE 481-221<a href="https://drive.google.com/file/d/1jMYTiYTI0a50E_uZaNHhgroCtC5Qa3vp/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 481-221<br/>Artist/Agent: Unknown<br/>Place of Origin: China<br/>Current Location: Shanghai Museum<br/>Cultural Context: East Asian, Chinese, Warring States Period<br/>Worktype: Sculpture<br/><br/>The Bi is a flat stone disc with a circular hole in the center. This ritual object has its origins in the Neolithic period with the Liangzhu culture and grew in complexity through the centuries. Often used in ceremonial burials, it is symbolically associated with the sky. This Bi from the Warring States period (475–221 BCE) is textured and flanked by two dragons, which in the Tang Dynasty was associated with imperial power.<br/><br/> <ul><li><a href="https://www.ancient.eu/Warring_States_Period/" target="_blank">Ancient History Encyclopedia essay on The Warring States Period in China</a></li></ul><br/><br/><br/><br/>UnknownA Bi, a flat jade ritual disc with a circular hole in the middle. Its surface is carved with a repeating curled shape, and the outer rim on each side shows profiles of two undulating dragons.A jade ritual disc with a circular hole in the middle is flanked by two dragons.ChinaShanghai MuseumCC BY-SA 3.0 Mountainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj59.jpghttps://drive.google.com/uc?export=download&id=1jMYTiYTI0a50E_uZaNHhgroCtC5Qa3vphttps://drive.google.com/file/d/1jMYTiYTI0a50E_uZaNHhgroCtC5Qa3vp/view?usp=sharing<a href="https://drive.google.com/file/d/1jMYTiYTI0a50E_uZaNHhgroCtC5Qa3vp/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>The Bi is a flat stone disc with a circular hole in the center. This ritual object has its origins in the Neolithic period with the Liangzhu culture and grew in complexity through the centuries. Often used in ceremonial burials, it is symbolically associated with the sky. This Bi from the Warring States period (475–221 BCE) is textured and flanked by two dragons, which in the Tang Dynasty was associated with imperial power.Asia, East Asia, ChinaEast Asian, Chinese, Warring States PeriodSculptureAsia, East Asia, China, East Asian, Chinese, Warring States Period, SculptureAsia, East Asia, China, East Asian, Chinese, Warring States Period, SculptureCC BY-SA 3.0 Mountain<br/>A Bi, a flat jade ritual disc with a circular hole in the middle. Its surface is carved with a repeating curled shape, and the outer rim on each side shows profiles of two undulating dragons.Antiquityhttps://www.ancient.eu/Warring_States_Period/Ancient History Encyclopedia essay on The Warring States Period in China<ul><li><a href="https://www.ancient.eu/Warring_States_Period/" target="_blank">Ancient History Encyclopedia essay on The Warring States Period in China</a></li></ul>ImageN/AjadeN/A5th-3rd Century BCE, Warring States Periodgrain pattern, dragonN/AN/AN/AN/AAM/cphttps://commons.wikimedia.org/wiki/File:Bi_with_two_dragons_and_grain_pattern.jpg59<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000059%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
61
00006019342022-08-01 10:53:53Bialucha: Saint Michael’s CathedralCE 1934<a href="https://drive.google.com/file/d/1rx6pJqcXlY9RKVoqYsWfMs9eWvq0MgrJ/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1934<br/>Artist/Agent: Arthur Bialucha<br/>Place of Origin: Qingdao, Shandong Province, China<br/>Current Location: Qingdao, Shandong Province, China<br/>Cultural Context: East Asian, Chinese, Foreign Missionary Occupations, neo-Romanesque<br/>Worktype: Architecture<br/><br/>Built in the Romanesque Revival style, this1930s building in Qingdao, on the northeast coast of China, was meant tolook like a 12th-century German cathedral. Its troubled history started when Adolf Hitler cut off funds in 1933. Just after it was finished, in 1938, the Japanese occupied it. After surrender in 1945, a Chinese Bishop held services there until 1949, when the Communists took over the province. The cathedral was damaged during the Cultural Revolution in the late 1960s. Not until the 1980s was the church restored, and the former imprisonment of clergy was repudiated in the 1990s. The church is now active, with daily mass and thousands attending services.<br/><br/> <br/><br/>[leaflet-map lat=36.0673563705614 lng=120.320682279805 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Qingdao, Shandong Province, China [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1655836092103!6m8!1m7!1sCAoSLEFGMVFpcFBWMUZwZEpTd3dYN3U3WnVqU3NiaWNtN1YtdTM2ZmhoZ3hEYWtj!2m2!1d36.0677372!2d120.3202278!3f48.90663783224245!4f32.83573725592568!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>Arthur BialuchaTwo square bell towers topped by cone-shaped roofs and crosses at their peaks rise above the triple-gallery façade of this cream-colored cathedral. Arched windows and a stained-glass rose window adorn the upper galleries. A portal with a pier and arched tympanum is at the street level.A cathedral with two square bell towers shows arched windows and a rose window.Qingdao, Shandong Province, ChinaQingdao, Shandong Province, ChinaPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj60.jpghttps://drive.google.com/uc?export=download&id=1rx6pJqcXlY9RKVoqYsWfMs9eWvq0MgrJhttps://drive.google.com/file/d/1rx6pJqcXlY9RKVoqYsWfMs9eWvq0MgrJ/view?usp=sharing<a href="https://drive.google.com/file/d/1rx6pJqcXlY9RKVoqYsWfMs9eWvq0MgrJ/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>Built in the Romanesque Revival style, this1930s building in Qingdao, on the northeast coast of China, was meant tolook like a 12th-century German cathedral. Its troubled history started when Adolf Hitler cut off funds in 1933. Just after it was finished, in 1938, the Japanese occupied it. After surrender in 1945, a Chinese Bishop held services there until 1949, when the Communists took over the province. The cathedral was damaged during the Cultural Revolution in the late 1960s. Not until the 1980s was the church restored, and the former imprisonment of clergy was repudiated in the 1990s. The church is now active, with daily mass and thousands attending services.Asia, East Asia, ChinaEast Asian, Chinese, Foreign Missionary Occupations, neo-RomanesqueArchitectureAsia, East Asia, China, East Asian, Chinese, Foreign Missionary Occupations, neo-Romanesque, ArchitectureAsia, East Asia, China, East Asian, Chinese, Foreign Missionary Occupations, neo-Romanesque, ArchitecturePublic Domain<br/>Two square bell towers topped by cone-shaped roofs and crosses at their peaks rise above the triple-gallery façade of this cream-colored cathedral. Arched windows and a stained-glass rose window adorn the upper galleries. A portal with a pier and arched tympanum is at the street level.ModernityImageN/AN/A65.9 x 37.6 x 56 m20th Century CE, neo-RomanesqueChristianityN/AN/AN/AN/Ahttps://en.wikipedia.org/wiki/St._Michael%27s_Cathedral,_Qingdao#/media/File:St_Michaels_Cathedral_West_Front.png36.06735637120.320682336.06735637120.3206823<iframe src="https://www.google.com/maps/embed?pb=!4v1655836092103!6m8!1m7!1sCAoSLEFGMVFpcFBWMUZwZEpTd3dYN3U3WnVqU3NiaWNtN1YtdTM2ZmhoZ3hEYWtj!2m2!1d36.0677372!2d120.3202278!3f48.90663783224245!4f32.83573725592568!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>[leaflet-map lat=36.0673563705614 lng=120.320682279805 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Qingdao, Shandong Province, China [/leaflet-marker]Yes60
62
000061-4332022-08-02 11:03:03Bianzhong of Marquis Yi of ZengBCE 433 <a href="https://drive.google.com/file/d/1O_M-2TaWe-FNhs-E94CouB1ZgyAO5SEz/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 433 <br/>Artist/Agent: Unknown<br/>Place of Origin: China<br/>Current Location: China<br/>Cultural Context: East Asian, Chinese, Warring State Period<br/>Worktype: Metalwork<br/><br/>This ancient bronze musical instrument was found in the tomb of the Marquis Yi of Zeng (曾侯乙编钟). It is a rare example of an ancient instrument that survives with the music notations inscribed on each bell that detailed the relationships among the pitch standards. 64 bells are mounted on a wooden frame. Five people played it using wooden mallets. Five octaves are possible in the musical range of this instrument.<br/><br/> <br/><br/><br/><br/>UnknownThe set 64 of bianzhongs (bells) are hung on two three-level wooden racks that are perpendicular to each other. A group of 64 bronze bells of different sizes dangle from three tiers of wooden beams. ChinaChinaCC BY-SA 3.0 Zzjgbchttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj61.jpghttps://drive.google.com/uc?export=download&id=1O_M-2TaWe-FNhs-E94CouB1ZgyAO5SEzhttps://drive.google.com/file/d/1O_M-2TaWe-FNhs-E94CouB1ZgyAO5SEz/view?usp=sharing<a href="https://drive.google.com/file/d/1O_M-2TaWe-FNhs-E94CouB1ZgyAO5SEz/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This ancient bronze musical instrument was found in the tomb of the Marquis Yi of Zeng (曾侯乙编钟). It is a rare example of an ancient instrument that survives with the music notations inscribed on each bell that detailed the relationships among the pitch standards. 64 bells are mounted on a wooden frame. Five people played it using wooden mallets. Five octaves are possible in the musical range of this instrument.Asia, East Asia, ChinaEast Asian, Chinese, Warring State PeriodMetalworkAsia, East Asia, China, East Asian, Chinese, Warring State Period, MetalworkAsia, East Asia, China, East Asian, Chinese, Warring State Period, MetalworkCC BY-SA 3.0 Zzjgbc<br/>The set 64 of bianzhongs (bells) are hung on two three-level wooden racks that are perpendicular to each other. AntiquityImageN/Abronze (bells); wood (racks)Two perpendicular racks; one is 7.48 x 2.65 m; the other is 3.35 x 2.73 m5th Century BCE, Warring State Periodmusical instrument, ritual bronzeN/AN/Aunearthed in 1978 in the Tomb of Marquis Yi of ZengN/Aplhttps://en.wikipedia.org/wiki/Bianzhong_of_Marquis_Yi_of_Zeng61<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000061%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
63
00006218662022-08-01 12:55:55Bierstadt: A Storm in the Rocky Mountains, Mt. RosalieCE 1866<a href="https://drive.google.com/file/d/1FQiLaaHPdVtBb3DvrOjZ9gaPA4gzdjE0/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1866<br/>Artist/Agent: Albert Bierstadt<br/>Place of Origin: Rosalie Peak, Colorado, USA<br/>Current Location: Brooklyn Museum, New York, USA<br/>Cultural Context: American, Hudson River School, Romanticism<br/>Worktype: Painting<br/><br/>Albert Bierstadt (1830-1902) was an American landscape painter, one of the major figures (along with Frederic Church, qv) of the second generation of the Hudson River School, which had been founded earlier in the 19th century by Thomas Cole (qqv). The Hudson River School sought to express the sublimity of the American landscape, its overwhelming majesty in comparison with the smallness of the human figures who traversed it (though who yet rose above it by their power to hold it in their minds - the idea of the sublime postulated by Immanuel Kant in 1790's Critique of the Power of Judgment). In comparison to Europe, America boasted higher mountains, deeper valleys, vaster forests, and much greater expanses of wilderness. However, as the second generation painters moved westward in search of the most imposing American landscapes, their work contributed to the myth that America had been an unpeopled "virgin wilderness" before the coming of European settlers, either ignoring its indigenous population or treating it as part of the landscape itself. This may, unfortunately, have been one reason their work was immensely popular in the cities of the United States in the 19th century. In this large canvas, Bierstadt shows the formation of a thunderstorm over the Rocky Mountains, balancing the bands of brilliant light where the clouds have not yet obscured the sun with the pitch-black shadows cast by the approaching storm. A small band of Native Americans and their horses in the foreground gives a sense of scale and implies the imbalance of power between the natural and human worlds.<br/><br/> <br/><br/><br/><br/>Albert BierstadtView from a deep river valley in the Rocky Mountains of dark storm clouds gathering over Mount Rosalie.Storm clouds gathering over Mount RosalieRosalie Peak, Colorado, USABrooklyn Museum, New York, USAPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj62.jpghttps://drive.google.com/uc?export=download&id=1FQiLaaHPdVtBb3DvrOjZ9gaPA4gzdjE0https://drive.google.com/file/d/1FQiLaaHPdVtBb3DvrOjZ9gaPA4gzdjE0/view?usp=sharing<a href="https://drive.google.com/file/d/1FQiLaaHPdVtBb3DvrOjZ9gaPA4gzdjE0/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>Albert Bierstadt (1830-1902) was an American landscape painter, one of the major figures (along with Frederic Church, qv) of the second generation of the Hudson River School, which had been founded earlier in the 19th century by Thomas Cole (qqv). The Hudson River School sought to express the sublimity of the American landscape, its overwhelming majesty in comparison with the smallness of the human figures who traversed it (though who yet rose above it by their power to hold it in their minds - the idea of the sublime postulated by Immanuel Kant in 1790's Critique of the Power of Judgment). In comparison to Europe, America boasted higher mountains, deeper valleys, vaster forests, and much greater expanses of wilderness. However, as the second generation painters moved westward in search of the most imposing American landscapes, their work contributed to the myth that America had been an unpeopled "virgin wilderness" before the coming of European settlers, either ignoring its indigenous population or treating it as part of the landscape itself. This may, unfortunately, have been one reason their work was immensely popular in the cities of the United States in the 19th century. In this large canvas, Bierstadt shows the formation of a thunderstorm over the Rocky Mountains, balancing the bands of brilliant light where the clouds have not yet obscured the sun with the pitch-black shadows cast by the approaching storm. A small band of Native Americans and their horses in the foreground gives a sense of scale and implies the imbalance of power between the natural and human worlds.The Americas, North America, United StatesAmerican, Hudson River School, RomanticismPaintingThe Americas, North America, United States, American, Hudson River School, Romanticism, PaintingThe Americas, North America, United States, American, Hudson River School, Romanticism, PaintingPublic Domain<br/>View from a deep river valley in the Rocky Mountains of dark storm clouds gathering over Mount Rosalie.ModernityImageSigned lower right: "ABierstadt /N.Y. 1866"oil on canvas210.8 x 361.3 cm19th Century CE, Hudson River School, Romanticismlandscape, mountainpaintingN/AN/AN/Ahttps://commons.wikimedia.org/wiki/File:Albert_Bierstadt_-_A_Storm_in_the_Rocky_Mountains,_Mt._Rosalie_-_Google_Art_Project.jpg62<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000062%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
64
00006318882022-08-01 12:20:20Bierstadt: The Last of the BuffaloCE 1888<a href="https://drive.google.com/file/d/1dip_-2wEE_4POfafFdoPwx6O5coTgc8v/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1888<br/>Artist/Agent: Albert Bierstadt<br/>Place of Origin: New York, United States<br/>Current Location: National Gallery of Art, Washington D.C., United States<br/>Cultural Context: American, Hudson River School, Romanticism<br/>Worktype: Painting<br/><br/>Albert Bierstadt (1830-1902) was an American landscape painter, one of the major figures (along with Frederic Church, qv) of the second generation of the Hudson River School, which had been founded earlier in the 19th century by Thomas Cole (qqv). The Hudson River School sought to express the sublimity of the American landscape, its overwhelming majesty in comparison with the smallness of the human figures who traversed it (though who yet rose above it by their power to hold it in their minds - the idea of the sublime postulated by Immanuel Kant in 1790's Critique of the Power of Judgment). In comparison to Europe, America boasted higher mountains, deeper valleys, vaster forests, and much greater expanses of wilderness. However, as the second generation painters moved westward in search of the most imposing American landscapes, their work contributed to the myth that America had been an unpeopled "virgin wilderness" before the coming of European settlers, either ignoring its indigenous population or treating it as part of the landscape itself. This may, unfortunately, have been one reason their work was immensely popular in the cities of the United States in the 19th century. This canvas, painted when the American buffalo was approaching extinction (there are estimated to have been only about 325 living outside of zoos by the mid-1880s), looks back nostalgically to a time when buffalo were hunted by Native Americans on horseback, with spears, and the vast herds sustained Native populations on the Great Plains. When Bierstadt painted the work, white hunters with rifles had slaughtered the great herds, partly for hides but largely to simplify the building of railroads and farmsteads. In looking back, Bierstadt both laments the imminent closing of the frontier, and consigns both the buffalo and the Native Americans who hunted it to an unrecoverable past (Plains Native Americans had long since adopted the use of firearms by 1880).<br/><br/> <ul><li><a href="https://www.nga.gov/collection/art-object-page.124525.html" target="_blank">Museum site with more information.</a></li></ul><br/><br/><br/><br/>Albert BierstadtThis large-scale oil-on-canvas painting measures around six by ten feet. In the middleground of the landscape, a figure, wearing a feathered headdress, rides in on a horse. The rider pulls the reigns on the horse back as he raises a spear at a buffalo who is impaled with arrows and is charging at him. Further in the background of the landscape, other figures ride in on horseback and buffalos roam freely. In the foreground, a group of buffalo lie on the ground injured with skulls around them.A male wearing a headdress on a horse raises his spear at a buffalo that is charging at him.New York, United StatesNational Gallery of Art, Washington D.C., United StatesPublic Domain Wikimedia Commonshttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj63.jpghttps://drive.google.com/uc?export=download&id=1dip_-2wEE_4POfafFdoPwx6O5coTgc8vhttps://drive.google.com/file/d/1dip_-2wEE_4POfafFdoPwx6O5coTgc8v/view?usp=sharing<a href="https://drive.google.com/file/d/1dip_-2wEE_4POfafFdoPwx6O5coTgc8v/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>Albert Bierstadt (1830-1902) was an American landscape painter, one of the major figures (along with Frederic Church, qv) of the second generation of the Hudson River School, which had been founded earlier in the 19th century by Thomas Cole (qqv). The Hudson River School sought to express the sublimity of the American landscape, its overwhelming majesty in comparison with the smallness of the human figures who traversed it (though who yet rose above it by their power to hold it in their minds - the idea of the sublime postulated by Immanuel Kant in 1790's Critique of the Power of Judgment). In comparison to Europe, America boasted higher mountains, deeper valleys, vaster forests, and much greater expanses of wilderness. However, as the second generation painters moved westward in search of the most imposing American landscapes, their work contributed to the myth that America had been an unpeopled "virgin wilderness" before the coming of European settlers, either ignoring its indigenous population or treating it as part of the landscape itself. This may, unfortunately, have been one reason their work was immensely popular in the cities of the United States in the 19th century. This canvas, painted when the American buffalo was approaching extinction (there are estimated to have been only about 325 living outside of zoos by the mid-1880s), looks back nostalgically to a time when buffalo were hunted by Native Americans on horseback, with spears, and the vast herds sustained Native populations on the Great Plains. When Bierstadt painted the work, white hunters with rifles had slaughtered the great herds, partly for hides but largely to simplify the building of railroads and farmsteads. In looking back, Bierstadt both laments the imminent closing of the frontier, and consigns both the buffalo and the Native Americans who hunted it to an unrecoverable past (Plains Native Americans had long since adopted the use of firearms by 1880).The Americas, North America, United StatesAmerican, Hudson River School, RomanticismPaintingThe Americas, North America, United States, American, Hudson River School, Romanticism, PaintingThe Americas, North America, United States, American, Hudson River School, Romanticism, PaintingPublic Domain Wikimedia Commons<br/>This large-scale oil-on-canvas painting measures around six by ten feet. In the middleground of the landscape, a figure, wearing a feathered headdress, rides in on a horse. The rider pulls the reigns on the horse back as he raises a spear at a buffalo who is impaled with arrows and is charging at him. Further in the background of the landscape, other figures ride in on horseback and buffalos roam freely. In the foreground, a group of buffalo lie on the ground injured with skulls around them.Modernityhttps://www.nga.gov/collection/art-object-page.124525.htmlMuseum site with more information.<ul><li><a href="https://www.nga.gov/collection/art-object-page.124525.html" target="_blank">Museum site with more information.</a></li></ul>Imagelower right: Albert Bierstadtoil on canvas180.3 x 301.63 cm19th Century CE, Hudson River School, Romanticismlandscape, American westernpaintingN/AN/AN/Ahttps://commons.wikimedia.org/wiki/File:The_Last_of_the_Buffalo.jpg63<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000063%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
65
00006414882022-08-01 18:29:29Bihzad: The Seduction of Yusuf, folio 52 verso of the Bustan CE 1488<a href="https://drive.google.com/file/d/1ljQfM71TPEd6_wAYw6xQWWh4Eheffu-Q/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1488<br/>Artist/Agent: Kamāl ud-Dīn Behzād<br/>Place of Origin: Herat, Afghanistan<br/>Current Location: National Library, Cairo, Egypt<br/>Cultural Context: Middle Eastern, Afghanistan, Muslim, Persian<br/>Worktype: Manuscript Illustration<br/><br/>This illustration is from a manuscript titled The Bustan ("The Orchard"), by a Persian poet named Saadi (or Sa'di, 1213-1291 CE), which was a travelogue with commentary on human foibles. Kamāl ud-Dīn Behzād created this version about 150 years after Saadi wrote it. He was a Persian court painter who lived in the Timurid and Safavid periods in Herat, an important international city situated on the fabled Silk Road. "The Seduction of Yusuf" is perhaps his best-known illustration from the manuscript, which makes reference to Quranic and Biblical stories of Yusuf (Joseph) and his encounter with Potiphar's wife. <br/><br/> <ul><li><a href="https://www.metmuseum.org/toah/ht/08/nc.html" target="_blank">A short essay from the MMA's Heilbrunn Timeline called "Central and North Asia, 1400–1600" offers contextual commentary.</a></li></ul><br/><br/><br/><br/>Kamāl ud-Dīn BehzādAn illustrated house with four floors and a balcony shows some exterior surfaces and two exterior turrets, and some views of interior rooms including a staircase. Two human figures in an upper room, one chasing the other, wear robes. A house with four stories shows a staircase and two figures in robes, one chasing the other.Herat, AfghanistanNational Library, Cairo, EgyptArtstor: Department of Art History Digital Collectionshttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj64.jpghttps://drive.google.com/uc?export=download&id=1ljQfM71TPEd6_wAYw6xQWWh4Eheffu-Qhttps://drive.google.com/file/d/1ljQfM71TPEd6_wAYw6xQWWh4Eheffu-Q/view?usp=sharing<a href="https://drive.google.com/file/d/1ljQfM71TPEd6_wAYw6xQWWh4Eheffu-Q/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This illustration is from a manuscript titled The Bustan ("The Orchard"), by a Persian poet named Saadi (or Sa'di, 1213-1291 CE), which was a travelogue with commentary on human foibles. Kamāl ud-Dīn Behzād created this version about 150 years after Saadi wrote it. He was a Persian court painter who lived in the Timurid and Safavid periods in Herat, an important international city situated on the fabled Silk Road. "The Seduction of Yusuf" is perhaps his best-known illustration from the manuscript, which makes reference to Quranic and Biblical stories of Yusuf (Joseph) and his encounter with Potiphar's wife. Middle East, AfghanistanMiddle Eastern, Afghanistan, Muslim, PersianManuscript IllustrationMiddle East, Afghanistan, Middle Eastern, Afghanistan, Muslim, Persian, Manuscript IllustrationMiddle East, Afghanistan, Middle Eastern, Afghanistan, Muslim, Persian, Manuscript IllustrationArtstor: Department of Art History Digital Collections<br/>An illustrated house with four floors and a balcony shows some exterior surfaces and two exterior turrets, and some views of interior rooms including a staircase. Two human figures in an upper room, one chasing the other, wear robes. Crossroadshttps://www.metmuseum.org/toah/ht/08/nc.htmlA short essay from the MMA's Heilbrunn Timeline called "Central and North Asia, 1400–1600" offers contextual commentary.<ul><li><a href="https://www.metmuseum.org/toah/ht/08/nc.html" target="_blank">A short essay from the MMA's Heilbrunn Timeline called "Central and North Asia, 1400–1600" offers contextual commentary.</a></li></ul>ImageN/Aopaque watercolor, ink, and gold on paper30 x 21 cm15th Century CE, PersianMuslim, YusufPersian manuscriptsN/Afrom a Bustan of Sa'diN/Acphttps://library.artstor.org/#/asset/SS33677_33677_150324664<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000064%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
66
00006519552022-08-01 10:32:32Bisj PoleCE 1955-1960<a href="https://drive.google.com/file/d/1ADsjZ7IJHtooWBEPfDtVRExUCaE_ZG5B/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1955-1960<br/>Artist/Agent: Unknown<br/>Place of Origin: Indonesia, Papua Province<br/>Current Location: The Metropolitan Museum of Art, New York, NY USA<br/>Cultural Context: Indonesian, Papuan, Asmat<br/>Worktype: Sculpture<br/><br/>Bisj, or Bis, poles are still used by the Asmat people in Indonesia's West Papua to restore balance after a death, which in their cosmology is never accidental. Carved by specialists (wow-ipits) out of carefully selected Mangrove wood trunks, Bisj poles like these are the focal point of elaborate restorative rituals involving feasts, mock warfare, dancing, and, until the practice was banished in the 1950s, headhunting. Symbolism associated with phallic fertility -- the wing-shape extending from the top -- implies a life force counterbalancing death.<br/><br/> <ul><li><a href="https://www.metmuseum.org/en/art/collection/search/313830" target="_blank">The MMA webpage for their Bisj poles offers more views and information.</a></li></ul><br/><br/><br/><br/>UnknownCarved from a single trunk of a mango tree, the basic form of the bisj pole is an openwork sculptural column with an enlarged wing shape at the top. People and animals each stand on the shoulders of one below.A carved pole showing standing human and animal figures.Indonesia, Papua ProvinceThe Metropolitan Museum of Art, New York, NY USACC BY-SA 3.0 olekinderhookhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj65.jpghttps://drive.google.com/uc?export=download&id=1ADsjZ7IJHtooWBEPfDtVRExUCaE_ZG5Bhttps://drive.google.com/file/d/1ADsjZ7IJHtooWBEPfDtVRExUCaE_ZG5B/view?usp=sharing<a href="https://drive.google.com/file/d/1ADsjZ7IJHtooWBEPfDtVRExUCaE_ZG5B/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>Bisj, or Bis, poles are still used by the Asmat people in Indonesia's West Papua to restore balance after a death, which in their cosmology is never accidental. Carved by specialists (wow-ipits) out of carefully selected Mangrove wood trunks, Bisj poles like these are the focal point of elaborate restorative rituals involving feasts, mock warfare, dancing, and, until the practice was banished in the 1950s, headhunting. Symbolism associated with phallic fertility -- the wing-shape extending from the top -- implies a life force counterbalancing death.Oceania, Papua New GuineaIndonesian, Papuan, AsmatSculptureOceania, Papua New Guinea, Indonesian, Papuan, Asmat, SculptureOceania, Papua New Guinea, Indonesian, Papuan, Asmat, SculptureCC BY-SA 3.0 olekinderhook<br/>Carved from a single trunk of a mango tree, the basic form of the bisj pole is an openwork sculptural column with an enlarged wing shape at the top. People and animals each stand on the shoulders of one below.Modernityhttps://www.metmuseum.org/en/art/collection/search/313830The MMA webpage for their Bisj poles offers more views and information.<ul><li><a href="https://www.metmuseum.org/en/art/collection/search/313830" target="_blank">The MMA webpage for their Bisj poles offers more views and information.</a></li></ul>ImageN/Awood, paint, fiber548.6 x 99.1 x 160 cm20th Century CE, AsmatAsmatN/AN/AN/AN/Ahttps://commons.wikimedia.org/wiki/File:Asmat_bis_poles_from_Indonesian_New_Guinea_-_the_poles_are_named_for_deceased_people_and_the_huge_phalluses_on_top_represent_fertility._-_panoramio.jpg65<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000065%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
67
000066-20,0002022-08-02 14:39:39Bison Licking its FlankBCE 20,000-12,000<a href="https://drive.google.com/file/d/1OVOBFFC5c9_RxaE_X__4p1ZlD4u3kCCT/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 20,000-12,000<br/>Artist/Agent: Unknown<br/>Place of Origin: Abri de la Madeleine near Tursac in Dordogne, France<br/>Current Location: National Museum of Prehistory in Les Eyzies-de-Tayac-Sireuil<br/>Cultural Context: Northern and Western European, French, Pre-Historical, Paleolithic<br/>Worktype: Sculpture<br/><br/>This reindeer antler fragment was probably broken before it was carved. If so, then the shape of the bone fragment — two protrusions that suggested legs, a hump for shoulders, a rounded part implying hindquarters — may have suggested to the carver the position of the head, which is carved in relief to show a bison’s head, shaggy with hair, turned backward upon its flank to bite at an insect. In any case, the attention given to the tongue, the nostril, and the eye show practiced skill, and the way the carver illustrates three-dimensional space in showing two horns in relief shows how early this optical illusion was practiced.<br/><br/> <br/><br/><br/><br/>UnknownA crude antler carving of a bison, turning its head back to lick its back. Fur around the head is suggested by lines carved in the antler. The eye, nose, and tongue are clearly distinguishable.A relief carving of a bison, turning its head back to lick its back.Abri de la Madeleine near Tursac in Dordogne, FranceNational Museum of Prehistory in Les Eyzies-de-Tayac-SireuilCC BY-SA 3.0 Attribution Jochen Jahnkehttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj66.jpghttps://drive.google.com/uc?export=download&id=1OVOBFFC5c9_RxaE_X__4p1ZlD4u3kCCThttps://drive.google.com/file/d/1OVOBFFC5c9_RxaE_X__4p1ZlD4u3kCCT/view?usp=sharing<a href="https://drive.google.com/file/d/1OVOBFFC5c9_RxaE_X__4p1ZlD4u3kCCT/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This reindeer antler fragment was probably broken before it was carved. If so, then the shape of the bone fragment — two protrusions that suggested legs, a hump for shoulders, a rounded part implying hindquarters — may have suggested to the carver the position of the head, which is carved in relief to show a bison’s head, shaggy with hair, turned backward upon its flank to bite at an insect. In any case, the attention given to the tongue, the nostril, and the eye show practiced skill, and the way the carver illustrates three-dimensional space in showing two horns in relief shows how early this optical illusion was practiced.Europe, Northern and Western Europe, FranceNorthern and Western European, French, Pre-Historical, PaleolithicSculptureEurope, Northern and Western Europe, France, Northern and Western European, French, Pre-Historical, Paleolithic, SculptureEurope, Northern and Western Europe, France, Northern and Western European, French, Pre-Historical, Paleolithic, SculptureCC BY-SA 3.0 Attribution Jochen Jahnke<br/>A crude antler carving of a bison, turning its head back to lick its back. Fur around the head is suggested by lines carved in the antler. The eye, nose, and tongue are clearly distinguishable.AntiquityImageN/Areindeer antlerN/APaleolithicbisoncarvedN/Acarved and engraved on a fragment of a spear-throwerN/Awk/cphttps://en.wikipedia.org/wiki/Bison_Licking_Insect_Bite66<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000066%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
68
00006713922022-08-01 19:33:33Black Hat -- Joseon DynastyCE 1392-1897<a href="https://drive.google.com/file/d/1HviylPqtM0OyOL51w9ItO8iFEhbbf7n1/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1392-1897<br/>Artist/Agent: Unknown<br/>Place of Origin: Korea<br/>Current Location: Museum of Anthropology, University of British Columbia, BC, Canada<br/>Cultural Context: East Asian, Korean, Chosun Dynasty<br/>Worktype: Clothing<br/><br/>During the first half of the long-lasting Joseon (Chosŏn) period in Korea, only the men of the “yangban” class wore these black hats (흑립), signifying they had passed the gwageo (kwago) examinations. Commoners wore similar-shaped hats made of split bamboo. <br/><br/> <br/><br/><br/><br/>UnknownThis tall black hat with a broad circular brim is made of woven horsehairTall black hat with a broad circular brim made of woven horsehairKoreaMuseum of Anthropology, University of British Columbia, BC, CanadaArtStor Courtesy UBC Museum of Anthropology, Vancouver, Canada, Derek Tanhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj67.jpghttps://drive.google.com/uc?export=download&id=1HviylPqtM0OyOL51w9ItO8iFEhbbf7n1https://drive.google.com/file/d/1HviylPqtM0OyOL51w9ItO8iFEhbbf7n1/view?usp=sharing<a href="https://drive.google.com/file/d/1HviylPqtM0OyOL51w9ItO8iFEhbbf7n1/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>During the first half of the long-lasting Joseon (Chosŏn) period in Korea, only the men of the “yangban” class wore these black hats (흑립), signifying they had passed the gwageo (kwago) examinations. Commoners wore similar-shaped hats made of split bamboo. Asia, East Asia, KoreaEast Asian, Korean, Chosun DynastyClothingAsia, East Asia, Korea, East Asian, Korean, Chosun Dynasty, ClothingAsia, East Asia, Korea, East Asian, Korean, Chosun Dynasty, ClothingArtStor Courtesy UBC Museum of Anthropology, Vancouver, Canada, Derek Tan<br/>This tall black hat with a broad circular brim is made of woven horsehairCrossroadsImageN/Ahorse hair, silk fibre, dye, bamboo grass, lacquer18 cm x 34 cm14th-19th Century CE, Chosun DynastyChosun Dynasty, hatN/AN/AN/AN/AAM/cphttp://library.artstor.org/#/asset/AWSS35953_35953_32998201;requestId=6252c7b801e18bf03ce39926ec8c87b867<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000067%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
69
00006817942022-08-01 14:19:19Blake: “Holy Thursday” from Songs of ExperienceCE 1794<a href="https://drive.google.com/file/d/12-2f9Wwfe9-XM17wda0JNKu5qSoZ5wKO/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1794<br/>Artist/Agent: William Blake<br/>Place of Origin: London, England<br/>Current Location: Yale Center for British Art, New Haven, CT, USA<br/>Cultural Context: Northern and Western European, British, Romanticism<br/>Worktype: Manuscript, Prints<br/><br/>This relief etching with watercolor was printed on cream wove paper. "Holy Thursday" was a plate from one of Blake’s most famous works, Songs of Experience. Its muted tones and bleak imagery are a protest against the physical and emotional suffering caused by the poverty and hunger Blake saw daily in London. Look at the companion plate, "Holy Thursday" from Songs of Innocence, which describes a procession held on Maundy Thursday when London’s orphans were marched to St. Paul’s Cathedral to sing. Here Blake addresses the sad reality of the hardship faced by London’s poor over and against the religious pomp whose function was in part to disguise the brutal hardships faced by so many of Blake’s fellow Londoners.<br/><br/> <ul><li><a href="https://collections.britishart.yale.edu/vufind/Record/1667386#_blank" target="_blank">The Yale Center for British Art webpage offers more information.</a></li><li><a href="https://drive.google.com/file/d/18IPdEfJOTkrUMlFxGlrfqIUtLPE1BX5b/view?usp=sharing" target="_blank">Holy Thursday plate from Blake's Songs of Innocence</a></li></ul><br/><br/><br/><br/>William BlakeThis printed and hand-colored page from Songs of Innocence and Experience presents Blake’s poem “Holy Thursday” below an image of a woman dressed in a white gown looking down at a dead baby lying on the ground. Leafless limbs of a tree spread out against a reddish orange sky, and the thick trunk of the tree on the right side of the sheet of paper leads the eye to more images of mothers and suffering and/or dying children. To the right of the second verse of the poem stands a small woman, head buried in hands, and in the bottom right corner we see another infant, this one foreshortened and on his back with head near the viewer, arms outstretched on either side of his head, and knees bent awkwardly. Vines snake though the poetry, contrasting with the dismal scenes depicted.A woman stands next to a tree trunk looking at a child on the ground nearby.London, EnglandYale Center for British Art, New Haven, CT, USAPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj68.jpghttps://drive.google.com/uc?export=download&id=12-2f9Wwfe9-XM17wda0JNKu5qSoZ5wKOhttps://drive.google.com/file/d/12-2f9Wwfe9-XM17wda0JNKu5qSoZ5wKO/view?usp=sharing<a href="https://drive.google.com/file/d/12-2f9Wwfe9-XM17wda0JNKu5qSoZ5wKO/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This relief etching with watercolor was printed on cream wove paper. "Holy Thursday" was a plate from one of Blake’s most famous works, Songs of Experience. Its muted tones and bleak imagery are a protest against the physical and emotional suffering caused by the poverty and hunger Blake saw daily in London. Look at the companion plate, "Holy Thursday" from Songs of Innocence, which describes a procession held on Maundy Thursday when London’s orphans were marched to St. Paul’s Cathedral to sing. Here Blake addresses the sad reality of the hardship faced by London’s poor over and against the religious pomp whose function was in part to disguise the brutal hardships faced by so many of Blake’s fellow Londoners.Europe, Northern and Western Europe, United KingdomNorthern and Western European, British, RomanticismManuscript, PrintsEurope, Northern and Western Europe, United Kingdom, Northern and Western European, British, Romanticism, Manuscript, PrintsEurope, Northern and Western Europe, United Kingdom, Northern and Western European, British, Romanticism, Manuscript, PrintsPublic Domain<br/>This printed and hand-colored page from Songs of Innocence and Experience presents Blake’s poem “Holy Thursday” below an image of a woman dressed in a white gown looking down at a dead baby lying on the ground. Leafless limbs of a tree spread out against a reddish orange sky, and the thick trunk of the tree on the right side of the sheet of paper leads the eye to more images of mothers and suffering and/or dying children. To the right of the second verse of the poem stands a small woman, head buried in hands, and in the bottom right corner we see another infant, this one foreshortened and on his back with head near the viewer, arms outstretched on either side of his head, and knees bent awkwardly. Vines snake though the poetry, contrasting with the dismal scenes depicted.Modernityhttps://collections.britishart.yale.edu/vufind/Record/1667386#_blankThe Yale Center for British Art webpage offers more information.https://drive.google.com/file/d/18IPdEfJOTkrUMlFxGlrfqIUtLPE1BX5b/view?usp=sharingHoly Thursday plate from Blake's Songs of Innocence<ul><li><a href="https://collections.britishart.yale.edu/vufind/Record/1667386#_blank" target="_blank">The Yale Center for British Art webpage offers more information.</a></li><li><a href="https://drive.google.com/file/d/18IPdEfJOTkrUMlFxGlrfqIUtLPE1BX5b/view?usp=sharing" target="_blank">Holy Thursday plate from Blake's Songs of Innocence</a></li></ul>ImageInscribed in graphite, upper center: "24"; in graphite, lower center: "38"color-printed relief etching with watercolor on moderately thick, slightly textured, cream wove paperSheet: 18.4 x 12.1 cm; Plate: 11.4 x 7.3 cm18th Century CE, Romanticismtrees, poetryrelief-etchingN/AN/AN/Ahttps://collections.britishart.yale.edu/vufind/Record/1667386#_blank68<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000068%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
70
00006917942022-08-01 14:20:20Blake: Ancient of DaysCE 1794<a href="https://drive.google.com/file/d/1P3MPmBrHuVPgd9WSdINf0eKGqRierXuM/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1794<br/>Artist/Agent: William Blake<br/>Place of Origin: London, England<br/>Current Location: Fitzwilliam Museum, Cambridge University, Cambridge, England<br/>Cultural Context: Northern and Western European, British, Romanticism<br/>Worktype: Prints<br/><br/>This hand-colored printed engraving is one of thirteen known versions of this image of Urizen; this one is used as the frontispiece to Blake’s poem Europe a Prophecy. Blake created this mythological figure whom he claimed to have seen in a vision: Urizen as an old man holding architectural tools or nets, suggestive of his ability to both create and constrain the universe. In Blake’s complex (and changing) mythological system, Urizen came to represent forces of reason against which the imagination must struggle to free itself. Here Urizen seems to be separating light and darkness, alluding to the creation of the universe in the Bible's first chapter, Genesis. Blake’s interest in the primacy of the imagination over what he saw as the limitations of strict rationality represented by Urizen paved the way for the English Romantics’ celebration of imaginative vision.<br/><br/> <ul><li><a href="http://www.blakearchive.org/work/europe" target="_blank">The William Blake Archive offers a blog post about Blake's Europe a Prophecy.</a></li></ul><br/><br/><br/><br/>William BlakeA nude, muscular man colored in tones of grayish-brown crouches, left knee up and the right down, within a sun-like disk surrounded by dark and ominous clouds; his long hair is swept to the left side of the image as if by a forceful primordial wind. His right arm, vertically bisecting the image, leads the viewer’s eye from the central circle of yellowish orange to the huge open arms of the compass held in his right hand that dominates the darkness below.A bearded man crouches in a sun disk surrounded by clouds, reaching down with a compass.London, EnglandFitzwilliam Museum, Cambridge University, Cambridge, EnglandPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj69.jpghttps://drive.google.com/uc?export=download&id=1P3MPmBrHuVPgd9WSdINf0eKGqRierXuMhttps://drive.google.com/file/d/1P3MPmBrHuVPgd9WSdINf0eKGqRierXuM/view?usp=sharing<a href="https://drive.google.com/file/d/1P3MPmBrHuVPgd9WSdINf0eKGqRierXuM/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This hand-colored printed engraving is one of thirteen known versions of this image of Urizen; this one is used as the frontispiece to Blake’s poem Europe a Prophecy. Blake created this mythological figure whom he claimed to have seen in a vision: Urizen as an old man holding architectural tools or nets, suggestive of his ability to both create and constrain the universe. In Blake’s complex (and changing) mythological system, Urizen came to represent forces of reason against which the imagination must struggle to free itself. Here Urizen seems to be separating light and darkness, alluding to the creation of the universe in the Bible's first chapter, Genesis. Blake’s interest in the primacy of the imagination over what he saw as the limitations of strict rationality represented by Urizen paved the way for the English Romantics’ celebration of imaginative vision.Europe, Northern and Western Europe, United KingdomNorthern and Western European, British, RomanticismPrintsEurope, Northern and Western Europe, United Kingdom, Northern and Western European, British, Romanticism, PrintsEurope, Northern and Western Europe, United Kingdom, Northern and Western European, British, Romanticism, PrintsPublic Domain<br/>A nude, muscular man colored in tones of grayish-brown crouches, left knee up and the right down, within a sun-like disk surrounded by dark and ominous clouds; his long hair is swept to the left side of the image as if by a forceful primordial wind. His right arm, vertically bisecting the image, leads the viewer’s eye from the central circle of yellowish orange to the huge open arms of the compass held in his right hand that dominates the darkness below.Modernityhttp://www.blakearchive.org/work/europeThe William Blake Archive offers a blog post about Blake's Europe a Prophecy.<ul><li><a href="http://www.blakearchive.org/work/europe" target="_blank">The William Blake Archive offers a blog post about Blake's Europe a Prophecy.</a></li></ul>ImageAnnotated in pen in a near-contemporary hand, possibly of George Cumberland, with verses from Milton: "In his hand, he took... thy just circumference, O World! Milton"paper30.8 cm x 24.8 cm18th Century CE, RomanticismUrizen, poetryrelief-etchingN/AN/AN/Ahttps://commons.wikimedia.org/wiki/File:Europe_a_Prophecy_copy_K_plate_01.jpg69<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000069%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
71
00007017942022-08-01 14:21:21Blake: First Book of UrizenCE 1794<a href="https://drive.google.com/file/d/1SCqkb3WuBoV6-IeRxsgJuJ7XJyvNpaV9/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1794<br/>Artist/Agent: William Blake<br/>Place of Origin: London, England<br/>Current Location: Yale Center for British Art, New Haven, CT, USA<br/>Cultural Context: Northern and Western European, British, Romanticism<br/>Worktype: Prints<br/><br/>This is the title page of one of William Blake’s most significant so-called prophetic books. The figure, Urizen, is one of Blake’s mythological creations; he is associated with religious dogma (which Blake detested) and oppression caused by the constraints of conventional thinking. This is an example of the artist’s illuminated printing, which he accomplished by applying colored ink to his copperplates before he printed the pages of his book. The text itself is an example of Blake’s early Romantic voice.<br/><br/> <ul><li><a href="https://collections.britishart.yale.edu/vufind/Record/1667300" target="_blank">The Yale Center for British Art webpage for this work offers more information.</a></li></ul><br/><br/><br/><br/>William BlakeThis color-printed relief etching on moderately thick, slightly textured, cream wove paper shows the title of Blake’s text enclosed by the brown bending limbs of a tree whose brown trunk is on the left of the image. Below the title is an old bearded man, knees drawn so high up against his face that his right foot peeks out through his beard. His eyes are closed, and he is writing with both hands, which are extended to his sides. The figure is rendered in grays and cream colors, and behind him is what looks like a grey stone tablet or grave marker, while under him is an object that looks like an open book. Publication information appears below the figure.Under a leafless tree a man with a white beard squats, writing with both hands on either side of him.London, EnglandYale Center for British Art, New Haven, CT, USAPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj70.jpghttps://drive.google.com/uc?export=download&id=1SCqkb3WuBoV6-IeRxsgJuJ7XJyvNpaV9https://drive.google.com/file/d/1SCqkb3WuBoV6-IeRxsgJuJ7XJyvNpaV9/view?usp=sharing<a href="https://drive.google.com/file/d/1SCqkb3WuBoV6-IeRxsgJuJ7XJyvNpaV9/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This is the title page of one of William Blake’s most significant so-called prophetic books. The figure, Urizen, is one of Blake’s mythological creations; he is associated with religious dogma (which Blake detested) and oppression caused by the constraints of conventional thinking. This is an example of the artist’s illuminated printing, which he accomplished by applying colored ink to his copperplates before he printed the pages of his book. The text itself is an example of Blake’s early Romantic voice.Europe, Northern and Western Europe, United KingdomNorthern and Western European, British, RomanticismPrintsEurope, Northern and Western Europe, United Kingdom, Northern and Western European, British, Romanticism, PrintsEurope, Northern and Western Europe, United Kingdom, Northern and Western European, British, Romanticism, PrintsPublic Domain<br/>This color-printed relief etching on moderately thick, slightly textured, cream wove paper shows the title of Blake’s text enclosed by the brown bending limbs of a tree whose brown trunk is on the left of the image. Below the title is an old bearded man, knees drawn so high up against his face that his right foot peeks out through his beard. His eyes are closed, and he is writing with both hands, which are extended to his sides. The figure is rendered in grays and cream colors, and behind him is what looks like a grey stone tablet or grave marker, while under him is an object that looks like an open book. Publication information appears below the figure.Modernityhttps://collections.britishart.yale.edu/vufind/Record/1667300The Yale Center for British Art webpage for this work offers more information.<ul><li><a href="https://collections.britishart.yale.edu/vufind/Record/1667300" target="_blank">The Yale Center for British Art webpage for this work offers more information.</a></li></ul>Imagelettered within image with series title; lettered below with publication line, "Lambeth. Printed by Will Blake 1794."color-printed relief etching in orange-brown with watercolor on moderately thick, slightly textured, cream wove paperSheet: 30.2 cm x 24.4 cm; Plate: 15.2 cm x 10.5 cm18th Century CE, RomanticismUrizen, literary themerelief-etchingN/AN/AN/Ahttp://collections.britishart.yale.edu/vufind/Record/166730070<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000070%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
72
00007118052022-08-01 14:06:06Blake: The Great Red Dragon and the Woman Clothed in SunCE 1805<a href="https://drive.google.com/file/d/19gc_e8H2StNAyCF8KgKdIq2h-yzWkvR6/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1805<br/>Artist/Agent: William Blake<br/>Place of Origin: London, England<br/>Current Location: Brooklyn Museum, New York, USA<br/>Cultural Context: Northern and Western European, British, Romanticism<br/>Worktype: Prints, Painting<br/><br/>William Blake's visions display mythical worlds where power gets displayed in animal, nature, and human imagery. Here he has imagined a scene from The Book of Revelations -- the last book of the New Testament where Christians are warned of apocalypse for those who lack faith.<br/><br/> <ul><li><a href="https://www.nga.gov/collection/highlights/blake-great-red-dragon-woman-clothed-with-sun.html" target="_blank">The National Gallery of Art (USA) webpage for this print offers more information.</a></li></ul><br/><br/><br/><br/>William BlakeA watercolor on paper illustration shows the back of a standing figure with human legs, a serpent's tail, two fan-shaped wings, and a head with curled horns and a crown. In front of him, a woman clothed in swirling yellow fabrics lies on the ground with her arms upraised, a fan of yellow hair surrounding her head. She is looking with an alarmed expression up at the dragon who stands above her.A dragon with human legs, a tail, and widespread wings stands over a woman wrapped in yellow.London, EnglandBrooklyn Museum, New York, USACC BY-SA 3.0 © 2004–2015 the Brooklyn Museumhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj71.jpghttps://drive.google.com/uc?export=download&id=19gc_e8H2StNAyCF8KgKdIq2h-yzWkvR6https://drive.google.com/file/d/19gc_e8H2StNAyCF8KgKdIq2h-yzWkvR6/view?usp=sharing<a href="https://drive.google.com/file/d/19gc_e8H2StNAyCF8KgKdIq2h-yzWkvR6/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>William Blake's visions display mythical worlds where power gets displayed in animal, nature, and human imagery. Here he has imagined a scene from The Book of Revelations -- the last book of the New Testament where Christians are warned of apocalypse for those who lack faith.Europe, Northern and Western Europe, United KingdomNorthern and Western European, British, RomanticismPrints, PaintingEurope, Northern and Western Europe, United Kingdom, Northern and Western European, British, Romanticism, Prints, PaintingEurope, Northern and Western Europe, United Kingdom, Northern and Western European, British, Romanticism, Prints, PaintingCC BY-SA 3.0 © 2004–2015 the Brooklyn Museum<br/>A watercolor on paper illustration shows the back of a standing figure with human legs, a serpent's tail, two fan-shaped wings, and a head with curled horns and a crown. In front of him, a woman clothed in swirling yellow fabrics lies on the ground with her arms upraised, a fan of yellow hair surrounding her head. She is looking with an alarmed expression up at the dragon who stands above her.Modernityhttps://www.nga.gov/collection/highlights/blake-great-red-dragon-woman-clothed-with-sun.htmlThe National Gallery of Art (USA) webpage for this print offers more information.<ul><li><a href="https://www.nga.gov/collection/highlights/blake-great-red-dragon-woman-clothed-with-sun.html" target="_blank">The National Gallery of Art (USA) webpage for this print offers more information.</a></li></ul>ImageSigned bottom right: Monogram "WB inv"
Inscribed above the image: "A Woman clothed with the sun, & the moon under her feet, and/upon her head a crown of twelve stars; and behold a great red dragon also."
Inscribed below the image at right: "Revns:ch:12th: v 4th:"
Inscribed below the image: "And the tail of the great red dragon drew the third part of the stars of/heaven, and did cast them to the earth. And the dragon stood before the/woman which was ready to be delivered for to devour her child as soon as it was born."		black ink and watercolor over traces of graphite and incised lines on wove paperImage: 43.7 x 34.8 cm; Sheet (with inlay): 55.1 x 43.3 cm18th Century CE, RomanticismEngland, dragon, poetryrelief-etchingN/AN/AN/Ahttps://en.wikipedia.org/wiki/The_Great_Red_Dragon_Paintings#/media/File:The_Great_Red_Dragon_and_the_Woman_Clothed_with_the_Sun.jpg71<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000071%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
73
00007211002022-08-01 20:57:57Bodhisattva Guanyin Seated on PotalakaCE 1100<a href="https://drive.google.com/file/d/1GdLyFynJXXx-ybTLgDfIbOpmHC_-K5aA/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1100<br/>Artist/Agent: Unknown<br/>Place of Origin: China<br/>Current Location: The Nelson-Atkins Museum of Art, Kansas City, Kansas, USA<br/>Cultural Context: East Asian, Chinese, Liao or Jin Dynasty, Buddhist<br/>Worktype: Sculpture<br/><br/>A bodhisattva in Mahayana Buddhism is an enlightened being who has achieved nirvana but chooses remain earthbound to help suffering people. By the 11th-12th centuries in China, representations of Buddhist enlightened beings had become humanized, and evidence on this one can be seen in its relaxed pose (called Maharajalela), and in its facial expression which in spite of the imposing regal finery -- the jewels, the crown -- invites approach. A "Potalaka" is the word for the rocky island in the South China Sea that is purportedly the home of this deity. <br/><br/> <ul><li><a href="https://art.nelson-atkins.org/objects/597/guanyin-of-the-southern-sea" target="_blank">The Nelson-Atkins Museum webpage for this sculpture offers more information.</a></li></ul><br/><br/><br/><br/>UnknownA carved and painted wooden human figure sits on a rock in a relaxed pose, with one leg bent and propped up on the seat level, resting an extended arm on its knee, while leaning on the other arm. The figure is dressed in a draped garment and wears jewelry and a cone-shaped crown. A human figure carved in wood and painted sits on a rock, wearing a loose garment, jewelry, and a crown.ChinaThe Nelson-Atkins Museum of Art, Kansas City, Kansas, USACC BY-SA 2.0 Rebecca Arnetthttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj72.jpghttps://drive.google.com/uc?export=download&id=1GdLyFynJXXx-ybTLgDfIbOpmHC_-K5aAhttps://drive.google.com/file/d/1GdLyFynJXXx-ybTLgDfIbOpmHC_-K5aA/view?usp=sharing<a href="https://drive.google.com/file/d/1GdLyFynJXXx-ybTLgDfIbOpmHC_-K5aA/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>A bodhisattva in Mahayana Buddhism is an enlightened being who has achieved nirvana but chooses remain earthbound to help suffering people. By the 11th-12th centuries in China, representations of Buddhist enlightened beings had become humanized, and evidence on this one can be seen in its relaxed pose (called Maharajalela), and in its facial expression which in spite of the imposing regal finery -- the jewels, the crown -- invites approach. A "Potalaka" is the word for the rocky island in the South China Sea that is purportedly the home of this deity. Asia, East Asia, ChinaEast Asian, Chinese, Liao or Jin Dynasty, BuddhistSculptureAsia, East Asia, China, East Asian, Chinese, Liao or Jin Dynasty, Buddhist, SculptureAsia, East Asia, China, East Asian, Chinese, Liao or Jin Dynasty, Buddhist, SculptureCC BY-SA 2.0 Rebecca Arnett<br/>A carved and painted wooden human figure sits on a rock in a relaxed pose, with one leg bent and propped up on the seat level, resting an extended arm on its knee, while leaning on the other arm. The figure is dressed in a draped garment and wears jewelry and a cone-shaped crown. Crossroadshttps://art.nelson-atkins.org/objects/597/guanyin-of-the-southern-seaThe Nelson-Atkins Museum webpage for this sculpture offers more information.<ul><li><a href="https://art.nelson-atkins.org/objects/597/guanyin-of-the-southern-sea" target="_blank">The Nelson-Atkins Museum webpage for this sculpture offers more information.</a></li></ul>ImageN/Awood with multiple layers of paint241.3 x 167.64 x 110.49 cm12th Century CE, Liao or Jin DynastyGuanyin BodhisattvaN/AN/AN/AN/Acphttps://commons.wikimedia.org/wiki/File:Liao_Dynasty_Avalokitesvara_Statue_Clear.jpeg72<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000072%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
74
00007310902022-08-01 21:09:09Bodhisattva in The Abeyadana TempleCE 1090<a href="https://drive.google.com/file/d/1Qu__Hh3uSKxqJJYjND3u-ESikqF4w3Hy/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1090<br/>Artist/Agent: Unknown<br/>Place of Origin: Bagan, Mayanmar<br/>Current Location: Bagan, Mayanmar<br/>Cultural Context: Southeast Asian, Myanmar, Burmese Hindu, Burmese Buddhist<br/>Worktype: Painting<br/><br/>This mural is an example of several in the Abeyadana Temple that represent divinities of the Mahayana Buddha. However, the essential Theravada texts remains prominent in the painting cycles. Thus, the paintings in the Abeyadana Temple reflect the co-existence of Mahayana and Theravada Buddhism in Pagan. Hindu icons are also present in the form of Brahmas, Bodhisattvas, Shiva, Vishnu, Indra, Rama, etc.<br/><br/> <ul><li><a href="https://www.soas.ac.uk/saaap/news/file126604.pdf" target="_blank">Essay by Win Myat Aung (University of London) "How did the ideals of State Buddhism inspire the creation of Art?"</a></li></ul><br/><br/>[leaflet-map lat=21.1492010911754 lng=94.8576984975171 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Bagan, Mayanmar [/leaflet-marker]<br/><br/>UnknownThis watercolor wall painting in the Abeyadana Temple depicts a bodhisattva in an exaggerated contrapposto pose, holding a sword and wearing a kilt, a short-sleeved cropped shirt, and a helmet-shaped crown. The figure is yellow against a black and red ground. Growing at the feet and along the sides of the figure are lotus motifs.A bodhisattva holds a sword, wearing a kilt, a short-sleeved cropped shirt, and a helmet-shaped crown. TGrowing at the feet and along the sides of the figure are lotus motifs.Bagan, MayanmarBagan, MayanmarCC BY-SA 4.0 Michael Gunther https://globalimages.liberalstudies.hosting.nyu.edu/images/obj73.jpghttps://drive.google.com/uc?export=download&id=1Qu__Hh3uSKxqJJYjND3u-ESikqF4w3Hyhttps://drive.google.com/file/d/1Qu__Hh3uSKxqJJYjND3u-ESikqF4w3Hy/view?usp=sharing<a href="https://drive.google.com/file/d/1Qu__Hh3uSKxqJJYjND3u-ESikqF4w3Hy/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This mural is an example of several in the Abeyadana Temple that represent divinities of the Mahayana Buddha. However, the essential Theravada texts remains prominent in the painting cycles. Thus, the paintings in the Abeyadana Temple reflect the co-existence of Mahayana and Theravada Buddhism in Pagan. Hindu icons are also present in the form of Brahmas, Bodhisattvas, Shiva, Vishnu, Indra, Rama, etc.Asia, Southeast Asia, MyanmarSoutheast Asian, Myanmar, Burmese Hindu, Burmese BuddhistPaintingAsia, Southeast Asia, Myanmar, Southeast Asian, Myanmar, Burmese Hindu, Burmese Buddhist, PaintingAsia, Southeast Asia, Myanmar, Southeast Asian, Myanmar, Burmese Hindu, Burmese Buddhist, PaintingCC BY-SA 4.0 Michael Gunther <br/>This watercolor wall painting in the Abeyadana Temple depicts a bodhisattva in an exaggerated contrapposto pose, holding a sword and wearing a kilt, a short-sleeved cropped shirt, and a helmet-shaped crown. The figure is yellow against a black and red ground. Growing at the feet and along the sides of the figure are lotus motifs.Crossroadshttps://www.soas.ac.uk/saaap/news/file126604.pdfEssay by Win Myat Aung (University of London) "How did the ideals of State Buddhism inspire the creation of Art?" <ul><li><a href="https://www.soas.ac.uk/saaap/news/file126604.pdf" target="_blank">Essay by Win Myat Aung (University of London) "How did the ideals of State Buddhism inspire the creation of Art?"</a></li></ul>ImageN/AfrescoN/A11th Century CEGautama BuddhaN/AN/AN/AN/ARSamet/cphttps://en.wikipedia.org/wiki/Abeyadana_temple#/media/File:Bodhisattva_painting_in_Abeyadana_temple,_Pagan_0128.jpg21.1492010994.857698521.1492010994.8576985[leaflet-map lat=21.1492010911754 lng=94.8576984975171 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Bagan, Mayanmar [/leaflet-marker]Yes73<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000073%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
75
0000744002022-08-01 22:46:46Bodhisattva Padmapani, detail of a wall paintingCE 400-450<a href="https://drive.google.com/file/d/1QhBeTCbrlVZFEQX4RGP3lczoHtnFL8JU/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 400-450<br/>Artist/Agent: Unknown<br/>Place of Origin: Ajanta, cave 1<br/>Current Location: Ajanta, India<br/>Cultural Context: South Asian, Indian, Indian Buddhist<br/>Worktype: Painting<br/><br/>This fresco portrait of Bodhisattva Padmapani is an example of a fifth century BCE artist’s work at Ajanta, in India. It is one of hundreds of frescoed paintings and rock-cut carvings of Buddha and his Jakarta stories in the cave-temples there. The position of this portrait is worth studying because of its location in cave 1; worshipers would see first this form in the entrance, then the rock-cut Buddha figure at the back of the cave.<br/><br/> <ul><li><a href="https://www.khanacademy.org/humanities/art-asia/south-asia/buddhist-art2/a/the-caves-of-ajanta" target="_blank">Short essay introducing the Caves at Ajanta and the portrait of the Bodhisattva Padmapani from Khan Academy. </a></li></ul><br/><br/>[leaflet-map lat=20.5527416809016 lng=75.7022421551786 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Ajanta, cave 1 [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1657568340118!6m8!1m7!1shVq99O4kJX0AAAQWjKM6aw!2m2!1d20.55259236259959!2d75.70235631924402!3f57.1881505178586!4f15.375333854085639!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>UnknownA fresco painting shows a life-sized rendering of the torso and head of a Bodhisattva, shirtless, wrapped in garments at the hip, gazing to the left, holding a lotus blossom in the right hand. Two locks of dark curly hair drape on the shoulders. On the head sits a magnificent cone-shaped crown. The eyes are lowered. Surrounding the figure are crowds of musicians, monkeys, and devotees of both elite and non-elite social status.A frescoed painting shows a life-sized rendering of the torso and head of a figure wearing jewels and a crown.Ajanta, cave 1Ajanta, IndiaPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj74.jpghttps://drive.google.com/uc?export=download&id=1QhBeTCbrlVZFEQX4RGP3lczoHtnFL8JUhttps://drive.google.com/file/d/1QhBeTCbrlVZFEQX4RGP3lczoHtnFL8JU/view?usp=sharing<a href="https://drive.google.com/file/d/1QhBeTCbrlVZFEQX4RGP3lczoHtnFL8JU/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This fresco portrait of Bodhisattva Padmapani is an example of a fifth century BCE artist’s work at Ajanta, in India. It is one of hundreds of frescoed paintings and rock-cut carvings of Buddha and his Jakarta stories in the cave-temples there. The position of this portrait is worth studying because of its location in cave 1; worshipers would see first this form in the entrance, then the rock-cut Buddha figure at the back of the cave.Asia, South Asia, IndiaSouth Asian, Indian, Indian BuddhistPaintingAsia, South Asia, India, South Asian, Indian, Indian Buddhist, PaintingAsia, South Asia, India, South Asian, Indian, Indian Buddhist, PaintingPublic Domain<br/>A fresco painting shows a life-sized rendering of the torso and head of a Bodhisattva, shirtless, wrapped in garments at the hip, gazing to the left, holding a lotus blossom in the right hand. Two locks of dark curly hair drape on the shoulders. On the head sits a magnificent cone-shaped crown. The eyes are lowered. Surrounding the figure are crowds of musicians, monkeys, and devotees of both elite and non-elite social status.Antiquityhttps://www.khanacademy.org/humanities/art-asia/south-asia/buddhist-art2/a/the-caves-of-ajantaShort essay introducing the Caves at Ajanta and the portrait of the Bodhisattva Padmapani from Khan Academy. <ul><li><a href="https://www.khanacademy.org/humanities/art-asia/south-asia/buddhist-art2/a/the-caves-of-ajanta" target="_blank">Short essay introducing the Caves at Ajanta and the portrait of the Bodhisattva Padmapani from Khan Academy. </a></li></ul>ImageN/AfrescoHeight: 1.2 m5th Century CEBodhisattva PadmapanipaintingN/AN/AN/Acphttps://commons.wikimedia.org/wiki/File:Bodhisattva_Padmapani,_cave_1,_Ajanta,_India.jpg20.5527416875.7022421620.5527416875.70224216<iframe src="https://www.google.com/maps/embed?pb=!4v1657568340118!6m8!1m7!1shVq99O4kJX0AAAQWjKM6aw!2m2!1d20.55259236259959!2d75.70235631924402!3f57.1881505178586!4f15.375333854085639!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>[leaflet-map lat=20.5527416809016 lng=75.7022421551786 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Ajanta, cave 1 [/leaflet-marker]Yes74<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000074%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
76
00007518332022-08-01 13:35:35Bodmer: Portrait of Péhriska-RúhpaCE 1833<a href="https://drive.google.com/file/d/1A8B2Zos5-B6sxRmIsRxR8OS9PL7EGfBV/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1833<br/>Artist/Agent: Karl Bodmer<br/>Place of Origin: Fort McKenzie, Upper Missouri River, North America<br/>Current Location: Library of Congress, Washington DC USA<br/>Cultural Context: American, Hidatsa<br/>Worktype: Painting<br/><br/>Two Ravens is the translation of Péhriska-Rúhpa from Hidatsa to English. He was a leader of the Dog Society when Karl Bodmer painted this portrait at Fort Clark in March 1834. Notice the attention to detail given to the quillwork on the leggings, or the elaborate feathers in the crown and on the rattle stick in his hand. Bodmer individualized the face, too, giving the mouth and the eyes intensity and character. Bodmer was a Swiss-German artist who was hired by Prince Maximilian of Wied-Neuwied, a German aristocrat and explorer. Starting in St. Louis in 1833, they traveled by steamship up the Missouri River to present-day Montana. Bodmer painted portraits and village scenes along the way. Most illustrations of Native Americans prior to photography were made by Europeans from memory, but Bodmer painted from living subjects on the spot. As a result, Bodmer's paintings are considered accurate visual accounts, especially of designs recorded upon clothing and regalia.<br/><br/> <br/><br/><br/><br/>Karl BodmerThis is a hand-colored engraving of a painting that depicts a dancing man, who wears a crown of feathers and a turkey tail. Around his neck are beads and a long-stemmed war whistle. With a rattle-stick in one hand, and a bow-and-arrows in the other, his leggings and moccasins show elaborate quillwork and fringe. His face is painted.A Native American man dances in an elaborate headdress and leggings.Fort McKenzie, Upper Missouri River, North AmericaLibrary of Congress, Washington DC USAPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj75.jpghttps://drive.google.com/uc?export=download&id=1A8B2Zos5-B6sxRmIsRxR8OS9PL7EGfBVhttps://drive.google.com/file/d/1A8B2Zos5-B6sxRmIsRxR8OS9PL7EGfBV/view?usp=sharing<a href="https://drive.google.com/file/d/1A8B2Zos5-B6sxRmIsRxR8OS9PL7EGfBV/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>Two Ravens is the translation of Péhriska-Rúhpa from Hidatsa to English. He was a leader of the Dog Society when Karl Bodmer painted this portrait at Fort Clark in March 1834. Notice the attention to detail given to the quillwork on the leggings, or the elaborate feathers in the crown and on the rattle stick in his hand. Bodmer individualized the face, too, giving the mouth and the eyes intensity and character. Bodmer was a Swiss-German artist who was hired by Prince Maximilian of Wied-Neuwied, a German aristocrat and explorer. Starting in St. Louis in 1833, they traveled by steamship up the Missouri River to present-day Montana. Bodmer painted portraits and village scenes along the way. Most illustrations of Native Americans prior to photography were made by Europeans from memory, but Bodmer painted from living subjects on the spot. As a result, Bodmer's paintings are considered accurate visual accounts, especially of designs recorded upon clothing and regalia.The Americas, North America, United StatesAmerican, HidatsaPaintingThe Americas, North America, United States, American, Hidatsa, PaintingThe Americas, North America, United States, American, Hidatsa, PaintingPublic Domain<br/>This is a hand-colored engraving of a painting that depicts a dancing man, who wears a crown of feathers and a turkey tail. Around his neck are beads and a long-stemmed war whistle. With a rattle-stick in one hand, and a bow-and-arrows in the other, his leggings and moccasins show elaborate quillwork and fringe. His face is painted.ModernityImageN/Ahand-colored aquatint engraving53.4 x 38.5 cm19th Century CEPéhriska-Rúhpaetching, aquatintN/AN/AN/An/ahttps://upload.wikimedia.org/wikipedia/commons/8/85/Moenitarri_warrior_in_the_costume_of_the_dog_danse_0056v.jpg75<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000075%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
77
0000767902022-08-01 21:47:47Bonampak Mural showing ritual bloodlettingCE 790<a href="https://drive.google.com/file/d/157r_f87MKTMWEAGpZyfH5iJ3dM8_SK65/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 790<br/>Artist/Agent: Unknown<br/>Place of Origin: Bonampak, Chiapas, Mexico<br/>Current Location: Bonampak, Chiapas, Mexico<br/>Cultural Context: North American, Mexican, Mesoamerican, Mayan<br/>Worktype: Painting<br/><br/>The walls and ceiling of this room are covered in frescoed murals showing costumed leaders and stripped captives in dramatic situations. The one pictured here shows a table laden with food, and four figures involved in ritual blood-letting. <br/><br/> <ul><li><a href="http://peabody.yale.edu/exhibits/maya-murals-bonampak" target="_blank">Short essay from Yale U Peabody Museum of Natural History on the Bonampak site and murals.</a></li></ul><br/><br/>[leaflet-map lat=16.7039423216634 lng=-91.0646411780157 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Bonampak, Chiapas, Mexico [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1657908590168!6m8!1m7!1sCAoSLEFGMVFpcE9YRHpqR195X0gzbWduNVMySS1Wdlhyay14NzZJWk5PeGhjRXI0!2m2!1d16.7035843!2d-91.0651609!3f275.5077005533608!4f31.770946223940584!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>UnknownA frescoed wall painting in room 3 of the Mayan Temple at Bonampak shows 3 seated female figures of equal size, piercing their tongues with stingray spines in a bloodletting ritual. In front of them, a kneeling male offers supplies. On the ceiling above, surrounded by yellow, another supernatural entity appears to spew blood. Three seated female figures show pierced tongues with stingray spines, while male kneeling figures offer supplies Bonampak, Chiapas, MexicoBonampak, Chiapas, MexicoPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj76.jpghttps://drive.google.com/uc?export=download&id=157r_f87MKTMWEAGpZyfH5iJ3dM8_SK65https://drive.google.com/file/d/157r_f87MKTMWEAGpZyfH5iJ3dM8_SK65/view?usp=sharing<a href="https://drive.google.com/file/d/157r_f87MKTMWEAGpZyfH5iJ3dM8_SK65/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>The walls and ceiling of this room are covered in frescoed murals showing costumed leaders and stripped captives in dramatic situations. The one pictured here shows a table laden with food, and four figures involved in ritual blood-letting. The Americas, North America, MexicoNorth American, Mexican, Mesoamerican, MayanPaintingThe Americas, North America, Mexico, North American, Mexican, Mesoamerican, Mayan, PaintingThe Americas, North America, Mexico, North American, Mexican, Mesoamerican, Mayan, PaintingPublic Domain<br/>A frescoed wall painting in room 3 of the Mayan Temple at Bonampak shows 3 seated female figures of equal size, piercing their tongues with stingray spines in a bloodletting ritual. In front of them, a kneeling male offers supplies. On the ceiling above, surrounded by yellow, another supernatural entity appears to spew blood. Crossroadshttp://peabody.yale.edu/exhibits/maya-murals-bonampakShort essay from Yale U Peabody Museum of Natural History on the Bonampak site and murals.<ul><li><a href="http://peabody.yale.edu/exhibits/maya-murals-bonampak" target="_blank">Short essay from Yale U Peabody Museum of Natural History on the Bonampak site and murals.</a></li></ul>ImageN/AfrescoN/A8th Century CEMayapaintingN/AN/AN/Acphttps://commons.wikimedia.org/wiki/File:Bonampakmural3.jpg16.70394232-91.0646411816.70394232-91.06464118<iframe src="https://www.google.com/maps/embed?pb=!4v1657908590168!6m8!1m7!1sCAoSLEFGMVFpcE9YRHpqR195X0gzbWduNVMySS1Wdlhyay14NzZJWk5PeGhjRXI0!2m2!1d16.7035843!2d-91.0651609!3f275.5077005533608!4f31.770946223940584!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>[leaflet-map lat=16.7039423216634 lng=-91.0646411780157 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Bonampak, Chiapas, Mexico [/leaflet-marker]Yes76<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000076%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
78
00007718492022-08-01 13:18:18Bonheur: Ploughing in the NivernaisCE 1849<a href="https://drive.google.com/file/d/13JxITE1TWE5o7tIidbG4yBUC62_uQ_fT/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1849<br/>Artist/Agent: Rosa Bonheur<br/>Place of Origin: Paris, France<br/>Current Location: Musée d’Orsay, Paris, France<br/>Cultural Context: Northern and Western European, French, Realism, Social Realism<br/>Worktype: Painting<br/><br/>Working animals and the land itself dominate this large oil-on-canvas scene; the humans are smaller and their importance is diminished by shaded faces and positions behind and to the side of the teams of oxen. Bonheur painted this in 1849, and it was immediately celebrated for its realism. With hardly a hint of city life anywhere on the canvas, and its strong diagonal lines of ploughed dirt and straining animals, the force of this image is in its celebration of agriculture.<br/><br/> <ul><li><a href="https://www.musee-orsay.fr/en/collections/works-in-focus/painting/commentaire_id/ploughing-in-nevers-2040.html?tx_commentaire_pi1%5BpidLi%5D=509&tx_commentaire_pi1%5Bfrom%5D=841&cHash=60f905d6af" target="_blank">The Musée d'Orsay webpage for this painting offers more information.</a></li></ul><br/><br/><br/><br/>Rosa BonheurA dozen oxen -- two teams of six pulling plows -- begin the first ploughing of soil in early autumn to allow for aeration of the soil during the winter. Farmers wearing hats guide the oxen from behind plows using reins, or with sticks from the sides.Oxen begin the first ploughing in autumn as farmers guide them through the field.Paris, FranceMusée d’Orsay, Paris, FrancePublic Domain, CC 1.0https://globalimages.liberalstudies.hosting.nyu.edu/images/obj77.jpghttps://drive.google.com/uc?export=download&id=13JxITE1TWE5o7tIidbG4yBUC62_uQ_fThttps://drive.google.com/file/d/13JxITE1TWE5o7tIidbG4yBUC62_uQ_fT/view?usp=sharing<a href="https://drive.google.com/file/d/13JxITE1TWE5o7tIidbG4yBUC62_uQ_fT/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>Working animals and the land itself dominate this large oil-on-canvas scene; the humans are smaller and their importance is diminished by shaded faces and positions behind and to the side of the teams of oxen. Bonheur painted this in 1849, and it was immediately celebrated for its realism. With hardly a hint of city life anywhere on the canvas, and its strong diagonal lines of ploughed dirt and straining animals, the force of this image is in its celebration of agriculture.Europe, Northern and Western Europe, FranceNorthern and Western European, French, Realism, Social RealismPaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Realism, Social Realism, PaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Realism, Social Realism, PaintingPublic Domain, CC 1.0<br/>A dozen oxen -- two teams of six pulling plows -- begin the first ploughing of soil in early autumn to allow for aeration of the soil during the winter. Farmers wearing hats guide the oxen from behind plows using reins, or with sticks from the sides.Modernityhttps://www.musee-orsay.fr/en/collections/works-in-focus/painting/commentaire_id/ploughing-in-nevers-2040.html?tx_commentaire_pi1%5BpidLi%5D=509&tx_commentaire_pi1%5Bfrom%5D=841&cHash=60f905d6afThe Musée d'Orsay webpage for this painting offers more information.<ul><li><a href="https://www.musee-orsay.fr/en/collections/works-in-focus/painting/commentaire_id/ploughing-in-nevers-2040.html?tx_commentaire_pi1%5BpidLi%5D=509&tx_commentaire_pi1%5Bfrom%5D=841&cHash=60f905d6af" target="_blank">The Musée d'Orsay webpage for this painting offers more information.</a></li></ul>ImageN/Aoil on canvas134 x 260 cm19th Century CE, Realism, Social Realismagriculture, genrepaintingN/AN/AN/Ahttps://en.wikipedia.org/wiki/Ploughing_in_the_Nivernais#/media/File:Rosa_Bonheur_-_Ploughing_in_Nevers_-_Google_Art_Project.jpg77<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000077%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
79
00007818522022-08-01 13:12:12Bonheur: The Horse FairCE 1852-1855<a href="https://drive.google.com/file/d/1msyKnvQ-J1Jirz1PJ8i1_L-JnNZ5CNdR/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1852-1855<br/>Artist/Agent: Rosa Bonheur<br/>Place of Origin: Paris, France<br/>Current Location: The Metropolitan Museum of Art, New York, NY USA<br/>Cultural Context: Northern and Western European, French, Realism, Social Realism<br/>Worktype: Painting<br/><br/>From the hoof-print dustups to the dappled musculature of a trotting horse, the masterful technique of rendering animals in motion practiced by Rosa Bonheur is on full display here. Reproductions don't do justice to the monumental size of this painting.<br/><br/> <br/><br/><br/><br/>Rosa BonheurDozens of men are leading and riding horses on the Boulevard de l’Hôpital towards Paris’ horse market near the Salpêtrière. Trees and a dome-shaped building are in the background.Men are leading and riding horses for a market in an open street.Paris, FranceThe Metropolitan Museum of Art, New York, NY USACC 1.0 Universal Public Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj78.jpghttps://drive.google.com/uc?export=download&id=1msyKnvQ-J1Jirz1PJ8i1_L-JnNZ5CNdRhttps://drive.google.com/file/d/1msyKnvQ-J1Jirz1PJ8i1_L-JnNZ5CNdR/view?usp=sharing<a href="https://drive.google.com/file/d/1msyKnvQ-J1Jirz1PJ8i1_L-JnNZ5CNdR/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>From the hoof-print dustups to the dappled musculature of a trotting horse, the masterful technique of rendering animals in motion practiced by Rosa Bonheur is on full display here. Reproductions don't do justice to the monumental size of this painting.Europe, Northern and Western Europe, FranceNorthern and Western European, French, Realism, Social RealismPaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Realism, Social Realism, PaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Realism, Social Realism, PaintingCC 1.0 Universal Public Domain<br/>Dozens of men are leading and riding horses on the Boulevard de l’Hôpital towards Paris’ horse market near the Salpêtrière. Trees and a dome-shaped building are in the background.ModernityImageSigned and dated (lower right): Rosa Bonheur 1853.5oil on canvas245 x 507 cm19th Century CE, Realism, Social Realismhorse, genrepaintingN/AN/AN/Ahttps://www.metmuseum.org/en/art/collection/search/43570278<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000078%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
80
0000798002022-08-01 21:39:39Book of KellsCE 800<a href="https://drive.google.com/file/d/1X7wXZjn8SaOtoVFobcvepQbTALHpM-pq/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 800<br/>Artist/Agent: Abbey of Kells<br/>Place of Origin: Britain OR Ireland<br/>Current Location: Trinity College, Dublin, Ireland<br/>Cultural Context: Northern and Western European, British, Christendom, Insular<br/>Worktype: Manuscript<br/><br/>The Book of Kells is an example of a medieval illuminated manuscript that records the Gospel in Latin. It is well known for its lavish decoration. The page shown renders Christ sitting on a throne, holding a book, surrounded by complex frames and arches, replete with abstract decoration and images of plant, animal and human ornamentation. In addition to the cross above his head, clues to the identity of the figure include the peacocks (resurrection and immortality), the vine (Eucharist), the color of the vestments, and the four angel-like figures in the two panels flanking the knees.<br/><br/> <ul><li><a href="https://www.tcd.ie/library/research-collections/manuscripts.php" target="_blank">To view the full manuscript, please visit the Trinity College of Dublin webpage.</a></li></ul><br/><br/><br/><br/>Abbey of KellsAn illustration in the book of the enthroned Christ with the Four evangelists at his feet.An illustration in the book of the enthroned Christ with the Four evangelists at his feet.Britain OR IrelandTrinity College, Dublin, IrelandPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj79.jpghttps://drive.google.com/uc?export=download&id=1X7wXZjn8SaOtoVFobcvepQbTALHpM-pqhttps://drive.google.com/file/d/1X7wXZjn8SaOtoVFobcvepQbTALHpM-pq/view?usp=sharing<a href="https://drive.google.com/file/d/1X7wXZjn8SaOtoVFobcvepQbTALHpM-pq/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>The Book of Kells is an example of a medieval illuminated manuscript that records the Gospel in Latin. It is well known for its lavish decoration. The page shown renders Christ sitting on a throne, holding a book, surrounded by complex frames and arches, replete with abstract decoration and images of plant, animal and human ornamentation. In addition to the cross above his head, clues to the identity of the figure include the peacocks (resurrection and immortality), the vine (Eucharist), the color of the vestments, and the four angel-like figures in the two panels flanking the knees.Europe, Northern and Western Europe, United KingdomNorthern and Western European, British, Christendom, InsularManuscriptEurope, Northern and Western Europe, United Kingdom, Northern and Western European, British, Christendom, Insular, ManuscriptEurope, Northern and Western Europe, United Kingdom, Northern and Western European, British, Christendom, Insular, ManuscriptPublic Domain<br/>An illustration in the book of the enthroned Christ with the Four evangelists at his feet.Crossroadshttps://www.tcd.ie/library/research-collections/manuscripts.phpTo view the full manuscript, please visit the Trinity College of Dublin webpage.<ul><li><a href="https://www.tcd.ie/library/research-collections/manuscripts.php" target="_blank">To view the full manuscript, please visit the Trinity College of Dublin webpage.</a></li></ul>ImageN/Avellum330 x 255 cm9th Century CE, Insulargospel bookN/AN/AN/AN/Apl/cphttps://en.wikipedia.org/wiki/Book_of_Kells#/media/File:KellsFol032vChristEnthroned.jpg79<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000079%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
81
0000807002022-08-01 22:03:03Borobudur PanelCE 700-800<a href="https://drive.google.com/file/d/1aBrdyEQi_lxBXsqi-gyfESySK1V6wkPB/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 700-800<br/>Artist/Agent: Unknown<br/>Place of Origin: Mapelang, Central Java, Indonesia<br/>Current Location: Mapelang, Central Java, Indonesia<br/>Cultural Context: Southeast Asian, Indonesian, Buddhist, Shailendra dynasty<br/>Worktype: Sculpture<br/><br/>This relief panel is one of 1,460 similar panels that illustrate the Lalitavistara, Jataka, and other Buddhist texts in the Borobudur Temple. The Lalitavistara Sutra is a Mahayana Buddhist text that tells of the lives of Queen Maya and King Suddhodhana, parents of the prince who would become Buddha. Here, they are shown at their palace in Kapilavastu in the garden pavilion.<br/><br/> <ul><li><a href="https://whc.unesco.org/en/list/592" target="_blank">UNESCO World Heritage Site.</a></li><li><a href="https://www.khanacademy.org/humanities/ap-art-history/south-east-se-asia/indonesia-art/a/borobudur" target="_blank">A short essay by Robert E. Gordon gives an overview of the Borobudur Temple.</a></li></ul><br/><br/>[leaflet-map lat=-7.60767772801298 lng=110.203821222425 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Mapelang, Central Java, Indonesia [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1646866797691!6m8!1m7!1sw9Lx6K1Hhf424VjmeZJRSw!2m2!1d-7.607613921616726!2d110.2038855954449!3f265.92565120281614!4f-7.484504205845937!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy"></iframe>UnknownThis rectangular panel shows in stone carved relief a seated pair in the center, raised on a canopied pedestal. Both wear crowns. Nine seated figures in a row line up under umbrella-shaped trees. This rectangular panel shows in stone carved relief a seated pair in the center, raised on a canopied pedestal. Both wear crowns. Nine seated figures in a row line up under umbrella-shaped trees.Mapelang, Central Java, IndonesiaMapelang, Central Java, IndonesiaCC BY-SA 3.0 Gunawan Kartapranatahttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj80.jpghttps://drive.google.com/uc?export=download&id=1aBrdyEQi_lxBXsqi-gyfESySK1V6wkPBhttps://drive.google.com/file/d/1aBrdyEQi_lxBXsqi-gyfESySK1V6wkPB/view?usp=sharing<a href="https://drive.google.com/file/d/1aBrdyEQi_lxBXsqi-gyfESySK1V6wkPB/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This relief panel is one of 1,460 similar panels that illustrate the Lalitavistara, Jataka, and other Buddhist texts in the Borobudur Temple. The Lalitavistara Sutra is a Mahayana Buddhist text that tells of the lives of Queen Maya and King Suddhodhana, parents of the prince who would become Buddha. Here, they are shown at their palace in Kapilavastu in the garden pavilion.Asia, Southeast Asia, IndonesiaSoutheast Asian, Indonesian, Buddhist, Shailendra dynastySculptureAsia, Southeast Asia, Indonesia, Southeast Asian, Indonesian, Buddhist, Shailendra dynasty, SculptureAsia, Southeast Asia, Indonesia, Southeast Asian, Indonesian, Buddhist, Shailendra dynasty, SculptureCC BY-SA 3.0 Gunawan Kartapranata<br/>This rectangular panel shows in stone carved relief a seated pair in the center, raised on a canopied pedestal. Both wear crowns. Nine seated figures in a row line up under umbrella-shaped trees. Crossroadshttps://whc.unesco.org/en/list/592UNESCO World Heritage Site.https://www.khanacademy.org/humanities/ap-art-history/south-east-se-asia/indonesia-art/a/borobudurA short essay by Robert E. Gordon gives an overview of the Borobudur Temple.<ul><li><a href="https://whc.unesco.org/en/list/592" target="_blank">UNESCO World Heritage Site.</a></li><li><a href="https://www.khanacademy.org/humanities/ap-art-history/south-east-se-asia/indonesia-art/a/borobudur" target="_blank">A short essay by Robert E. Gordon gives an overview of the Borobudur Temple.</a></li></ul>ImageN/Agray volcanic stoneN/A8th-9th Century CE, Shailendra dynastyShailendra dynasty, rulersbas-relief carvingN/AN/AN/ARSamet/cphttps://en.wikipedia.org/wiki/Borobudur#/media/File:Sailendra_King_and_Queen,_Borobudur.jpg-7.607677728110.2038212-7.607677728110.2038212<iframe src="https://www.google.com/maps/embed?pb=!4v1646866797691!6m8!1m7!1sw9Lx6K1Hhf424VjmeZJRSw!2m2!1d-7.607613921616726!2d110.2038855954449!3f265.92565120281614!4f-7.484504205845937!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy"></iframe>[leaflet-map lat=-7.60767772801298 lng=110.203821222425 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Mapelang, Central Java, Indonesia [/leaflet-marker]Yes80<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000080%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
82
0000818002022-08-01 21:40:40Borobudur: Buddhist TempleCE 800<a href="https://drive.google.com/file/d/1nSLV2MDzf9g85zuneWcs-_bWI13OftRE/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 800<br/>Artist/Agent: Gunadharma<br/>Place of Origin: Java, Indonesia<br/>Current Location: Java, Indonesia<br/>Cultural Context: Southeast Asian, Indonesian, Buddhist, Shailendra dynasty<br/>Worktype: Architecture<br/><br/>To walk the spiraling ambulatory on the largest Buddhist temple in the world is to actualize a spiritual path. The open-air passageways, similar to a Stupa's ambulatory, slowly rise to the topmost point (axis mundi). Accompanying any ambulator is a pictorial program of 1460 individual relief sculptures illustrating the Dharma, the Jātaka stories, and the sutras of enlightenment. It was abandoned with the arrival of Islam to the island and was “rediscovered” in the early 19th century. It is now Indonesia’s most visited tourist site. <br/><br/> <ul><li><a href="https://www.khanacademy.org/humanities/ap-art-history/south-east-se-asia/indonesia-art/a/borobudur" target="_blank">Robert E. Gordon has written a short analysis of the Borobudur temple's iconography for the Khan Academy.</a></li></ul><br/><br/>[leaflet-map lat=-7.60597014349454 lng=110.202780739489 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Java, Indonesia [/leaflet-marker]<br/><br/><iframe src="https://www.google.com/maps/embed?pb=!4v1659381098356!6m8!1m7!1sCAoSLEFGMVFpcE1TLUlLbEVpcUlmODR5RUxrUTZMTGlfeVIzVUFZWEZrVFBLOW84!2m2!1d-7.6078738!2d110.2037513!3f105.8387943672073!4f16.825181365662772!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>GunadharmaA large stone building is festooned with arched niches that line several layers of stacked platforms. A dome shape is visible at the top.A step pyramid.Java, IndonesiaJava, IndonesiaCC BY-SA 3.0 By 22Kartika https://globalimages.liberalstudies.hosting.nyu.edu/images/obj81.jpghttps://drive.google.com/uc?export=download&id=1nSLV2MDzf9g85zuneWcs-_bWI13OftREhttps://drive.google.com/file/d/1nSLV2MDzf9g85zuneWcs-_bWI13OftRE/view?usp=sharing<a href="https://drive.google.com/file/d/1nSLV2MDzf9g85zuneWcs-_bWI13OftRE/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>To walk the spiraling ambulatory on the largest Buddhist temple in the world is to actualize a spiritual path. The open-air passageways, similar to a Stupa's ambulatory, slowly rise to the topmost point (axis mundi). Accompanying any ambulator is a pictorial program of 1460 individual relief sculptures illustrating the Dharma, the Jātaka stories, and the sutras of enlightenment. It was abandoned with the arrival of Islam to the island and was “rediscovered” in the early 19th century. It is now Indonesia’s most visited tourist site. Asia, Southeast Asia, IndonesiaSoutheast Asian, Indonesian, Buddhist, Shailendra dynastyArchitectureAsia, Southeast Asia, Indonesia, Southeast Asian, Indonesian, Buddhist, Shailendra dynasty, ArchitectureAsia, Southeast Asia, Indonesia, Southeast Asian, Indonesian, Buddhist, Shailendra dynasty, ArchitectureCC BY-SA 3.0 By 22Kartika <br/>A large stone building is festooned with arched niches that line several layers of stacked platforms. A dome shape is visible at the top.Crossroadshttps://www.khanacademy.org/humanities/ap-art-history/south-east-se-asia/indonesia-art/a/borobudurRobert E. Gordon has written a short analysis of the Borobudur temple's iconography for the Khan Academy.<ul><li><a href="https://www.khanacademy.org/humanities/ap-art-history/south-east-se-asia/indonesia-art/a/borobudur" target="_blank">Robert E. Gordon has written a short analysis of the Borobudur temple's iconography for the Khan Academy.</a></li></ul>ImageN/Agray volcanic stone56,600 cubic metres9th Century CE, Shailendra dynastyShailendra dynasty, BuddhismN/AN/AN/AN/AWK/cphttps://en.wikipedia.org/wiki/Borobudur#/media/File:Borobudur_Temple.jpg-7.605970143110.2027807-7.605970143110.2027807<iframe src="https://www.google.com/maps/embed?pb=!4v1659381098356!6m8!1m7!1sCAoSLEFGMVFpcE1TLUlLbEVpcUlmODR5RUxrUTZMTGlfeVIzVUFZWEZrVFBLOW84!2m2!1d-7.6078738!2d110.2037513!3f105.8387943672073!4f16.825181365662772!5f0.7820865974627469" width="800" height="600" style="border:0;" allowfullscreen="" loading="lazy" referrerpolicy="no-referrer-when-downgrade"></iframe>[leaflet-map lat=-7.60597014349454 lng=110.202780739489 zoomcontrol zoom=5 height=500 width=800] [leaflet-marker] Location: Java, Indonesia [/leaflet-marker]Yes81<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000081%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
83
00008214802022-08-01 18:36:36Bosch: The Garden of Earthly DelightsCE 1480-1516<a href="https://drive.google.com/file/d/10PfuGslEz58Q5yihSYLj6gBZwddmBnv8/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1480-1516<br/>Artist/Agent: Hieronymus Bosch<br/>Place of Origin: s-Hertogenbosch, Netherlands<br/>Current Location: Museo del Prado, Madrid, Spain<br/>Cultural Context: Northern and Western European, Netherlandish, Northern Renaissance<br/>Worktype: Painting<br/><br/>The three panels of this oilpaint triptych are usually interpreted to show a sequence from innocence in the Garden of Eden to debauched indulgence in earthly pleasure to punishment in hell, but some see ominous imagery in the first panel and a primitive sensual utopia in the center panel. There is a great deal of ambiguous symbolism which has been interpreted in various ways. When the shutters are closed, the outer panels show a gray [grisaille] image of the globe with a tiny figure representing God in the upper left corner, presumably illustrating the Creation. This may represent the first stage of a narrative sequence from creation to the interior depiction of the Garden of Eden.<br/><br/> <ul><li><a href="https://drive.google.com/file/d/1eSsmBti3MROoa8BS2lLtCtPtzPos-Lhh/view?usp=sharing" target="_blank">Exterior Panels view (Public Domain Blankfaze)</a></li><li><a href="https://tuinderlusten-jheronimusbosch.ntr.nl/en" target="_blank">Excellent interactive website with clickable details and text/audio commentary.</a></li></ul><br/><br/><br/><br/>Hieronymus BoschThee panels show three landscapes, populated with people and animals. On the right and in the center, the fields are green, and there are ponds in them. On the right, the landscape is darker, and monsters and musical instruments appear in it.Three panels show on the left the Garden of Eden, in the center many nude people riding animals and frolicking with fruit, and on the right hell, with monsters and torture.s-Hertogenbosch, NetherlandsMuseo del Prado, Madrid, SpainPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj82.jpghttps://drive.google.com/uc?export=download&id=10PfuGslEz58Q5yihSYLj6gBZwddmBnv8https://drive.google.com/file/d/10PfuGslEz58Q5yihSYLj6gBZwddmBnv8/view?usp=sharing<a href="https://drive.google.com/file/d/10PfuGslEz58Q5yihSYLj6gBZwddmBnv8/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>The three panels of this oilpaint triptych are usually interpreted to show a sequence from innocence in the Garden of Eden to debauched indulgence in earthly pleasure to punishment in hell, but some see ominous imagery in the first panel and a primitive sensual utopia in the center panel. There is a great deal of ambiguous symbolism which has been interpreted in various ways. When the shutters are closed, the outer panels show a gray [grisaille] image of the globe with a tiny figure representing God in the upper left corner, presumably illustrating the Creation. This may represent the first stage of a narrative sequence from creation to the interior depiction of the Garden of Eden.Europe, Northern and Western Europe, NetherlandsNorthern and Western European, Netherlandish, Northern RenaissancePaintingEurope, Northern and Western Europe, Netherlands, Northern and Western European, Netherlandish, Northern Renaissance, PaintingEurope, Northern and Western Europe, Netherlands, Northern and Western European, Netherlandish, Northern Renaissance, PaintingPublic Domain<br/>Thee panels show three landscapes, populated with people and animals. On the right and in the center, the fields are green, and there are ponds in them. On the right, the landscape is darker, and monsters and musical instruments appear in it.Crossroadshttps://drive.google.com/file/d/1eSsmBti3MROoa8BS2lLtCtPtzPos-Lhh/view?usp=sharingExterior Panels view (Public Domain Blankfaze)https://tuinderlusten-jheronimusbosch.ntr.nl/enExcellent interactive website with clickable details and text/audio commentary.<ul><li><a href="https://drive.google.com/file/d/1eSsmBti3MROoa8BS2lLtCtPtzPos-Lhh/view?usp=sharing" target="_blank">Exterior Panels view (Public Domain Blankfaze)</a></li><li><a href="https://tuinderlusten-jheronimusbosch.ntr.nl/en" target="_blank">Excellent interactive website with clickable details and text/audio commentary.</a></li></ul>Imageouter panel: quote from Psalm 33, "For he spake and it was done; he commanded, and it stood fast (Ipse dīxit, et facta sunt: ipse mandāvit, et creāta sunt)"oil on panel220 x 389 cm15th-16th Century CE, Northern RenaissanceChristianity, EdengrisailleN/AN/AN/AHMhttps://www.museodelprado.es/en/the-collection/art-work/the-garden-of-earthly-delights-triptych/02388242-6d6a-4e9e-a992-e1311eab360982<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000082%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
84
00008315302022-08-01 17:41:41Boston Hunting CarpetCE 1530<a href="https://drive.google.com/file/d/1SGvRdpxlqCFHNcYFWgdJT4ZF9cZzgwY2/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1530<br/>Artist/Agent: Aqa Mirak and Sultan Muhammad<br/>Place of Origin: Iran<br/>Current Location: Museum of Fine Arts Boston, Boston, MA, USA<br/>Cultural Context: Middle Eastern, Iranian, Muslim, Persian, Safavid<br/>Worktype: Textile - Carpet<br/><br/>A superb luxury carpet made for the Safavid ruler Shah Tahmasp (r. 1524–1576 CE), the Hunting Carpet shows its Chinese influences with the dragon-phoenix medallion at the center. The human figures arranged around the red border are relaxing after the hunt.<br/><br/> <ul><li><a href="https://www.jstor.org/stable/pdf/4171550.pdf" target="_blank">Additional Resource</a></li></ul><br/><br/><br/><br/>Aqa Mirak and Sultan MuhammadA red border with seated and standing male figures surrounds a golden carpet with hunting scenes, and a central medallion depicting combat between a dragon and a phoenix.A red border with seated and standing male figures surrounds a golden carpet with hunting scenes, and a central medallion depicting combat between a dragon and a phoenix.IranMuseum of Fine Arts Boston, Boston, MA, USAArtStor Image © Museum of Fine Arts, Bostonhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj83.jpghttps://drive.google.com/uc?export=download&id=1SGvRdpxlqCFHNcYFWgdJT4ZF9cZzgwY2https://drive.google.com/file/d/1SGvRdpxlqCFHNcYFWgdJT4ZF9cZzgwY2/view?usp=sharing<a href="https://drive.google.com/file/d/1SGvRdpxlqCFHNcYFWgdJT4ZF9cZzgwY2/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>A superb luxury carpet made for the Safavid ruler Shah Tahmasp (r. 1524–1576 CE), the Hunting Carpet shows its Chinese influences with the dragon-phoenix medallion at the center. The human figures arranged around the red border are relaxing after the hunt.Middle East, IranMiddle Eastern, Iranian, Muslim, Persian, SafavidTextile - CarpetMiddle East, Iran, Middle Eastern, Iranian, Muslim, Persian, Safavid, Textile - CarpetMiddle East, Iran, Middle Eastern, Iranian, Muslim, Persian, Safavid, Textile - CarpetArtStor Image © Museum of Fine Arts, Boston<br/>A red border with seated and standing male figures surrounds a golden carpet with hunting scenes, and a central medallion depicting combat between a dragon and a phoenix.Crossroadshttps://www.jstor.org/stable/pdf/4171550.pdfAdditional Resource<ul><li><a href="https://www.jstor.org/stable/pdf/4171550.pdf" target="_blank">Additional Resource</a></li></ul>ImageN/Asilk warp and weft with silk knotted pile, with supplementary metal-wrapped patterning wefts480 x 225 cm16th Century CE, SafavidSafavid, allover patternwovenN/AN/AN/ADLhttps://library.artstor.org/#/asset/AMBOSTONIG_10313625951;prevRouteTS=1565010732201;iap=true83<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000083%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
85
00008414832022-08-01 18:32:32Botticelli: Birth of VenusCE 1483-1485<a href="https://drive.google.com/file/d/1zTzWizOR3Ow3DSJFLFmpAJbQSu7dQAzB/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1483-1485<br/>Artist/Agent: Sandro Botticelli<br/>Place of Origin: Florence, Italy<br/>Current Location: Uffizi Gallery, Florence, Italy<br/>Cultural Context: Southern European, Italian, Italian Renaissance<br/>Worktype: Painting<br/><br/>While Sandro Botticelli (c 1445-1510) is known today primarily for his treatment of subjects from Classical mythology, he more typically painted religious works, as well as portraits. Something of an outlier among Italian artists of his era, Botticelli showed only a fitful interest in the Renaissance innovations of single-point perspective and anatomical correctness in depicting figures, at times working in an idiom that seemed to maintain and extend the values of late Gothic style. As a result, his reputation declined soon after his death; he was not again considered a major artist by European critics until his work was reevaluated in the late 19th century, when the dominance of Renaissance principles of representation had substantially weakened. His now very famous painting known as the Birth of Venus in oil and tempera shows the newly-created goddess (born from sea-foam where the genitals of the castrated Uranus fell) standing naked as she rides a shell to the shore. The painting shows Botticelli’s willingness to forgo correct anatomy to achieve the design he wanted, as witnessed by the left shoulder and arm of Venus and the entangled legs of Zephyrus and the nymph who accompanies him. The figures all occupy the same plane in the foreground of the painting, and the waves on the sea are decorative rather than naturalistic. Venus appears at once innocent of and aware of her nudity, as a personification of spring rushes to cover her, making the viewer all the more aware of her nudity.<br/><br/> <ul><li><a href="https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/renaissance-art-europe-ap/v/botticelli-birth-of-venus" target="_blank">Short video from Khan Academy, "A celebration of beauty and love: Botticelli's Birth of Venus" </a></li><li><a href="https://www.uffizi.it/en/artworks/birth-of-venus" target="_blank">Le Gallerie degli Uffizi online gallery</a></li><li><a href="https://artsandculture.google.com/asset/the-birth-of-venus/MQEeq50LABEBVg" target="_blank">Short visual essay by Google Arts and Culture on Botticelli's Birth of Venus.</a></li></ul><br/><br/><br/><br/>Sandro BotticelliThis painting shows Venus, nude, emerging full-grown from the sea on a clam shell; a personification of spring approaches her with a robe while the West Wind (Zephyrus) and a nymph blow flowers in her path.Painting showing Venus emerging from the sea, attended by mythological figures.Florence, ItalyUffizi Gallery, Florence, ItalyPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj84.jpghttps://drive.google.com/uc?export=download&id=1zTzWizOR3Ow3DSJFLFmpAJbQSu7dQAzBhttps://drive.google.com/file/d/1zTzWizOR3Ow3DSJFLFmpAJbQSu7dQAzB/view?usp=sharing<a href="https://drive.google.com/file/d/1zTzWizOR3Ow3DSJFLFmpAJbQSu7dQAzB/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>While Sandro Botticelli (c 1445-1510) is known today primarily for his treatment of subjects from Classical mythology, he more typically painted religious works, as well as portraits. Something of an outlier among Italian artists of his era, Botticelli showed only a fitful interest in the Renaissance innovations of single-point perspective and anatomical correctness in depicting figures, at times working in an idiom that seemed to maintain and extend the values of late Gothic style. As a result, his reputation declined soon after his death; he was not again considered a major artist by European critics until his work was reevaluated in the late 19th century, when the dominance of Renaissance principles of representation had substantially weakened. His now very famous painting known as the Birth of Venus in oil and tempera shows the newly-created goddess (born from sea-foam where the genitals of the castrated Uranus fell) standing naked as she rides a shell to the shore. The painting shows Botticelli’s willingness to forgo correct anatomy to achieve the design he wanted, as witnessed by the left shoulder and arm of Venus and the entangled legs of Zephyrus and the nymph who accompanies him. The figures all occupy the same plane in the foreground of the painting, and the waves on the sea are decorative rather than naturalistic. Venus appears at once innocent of and aware of her nudity, as a personification of spring rushes to cover her, making the viewer all the more aware of her nudity.Europe, Southern Europe, ItalySouthern European, Italian, Italian RenaissancePaintingEurope, Southern Europe, Italy, Southern European, Italian, Italian Renaissance, PaintingEurope, Southern Europe, Italy, Southern European, Italian, Italian Renaissance, PaintingPublic Domain<br/>This painting shows Venus, nude, emerging full-grown from the sea on a clam shell; a personification of spring approaches her with a robe while the West Wind (Zephyrus) and a nymph blow flowers in her path.Crossroadshttps://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/renaissance-art-europe-ap/v/botticelli-birth-of-venusShort video from Khan Academy, "A celebration of beauty and love: Botticelli's Birth of Venus" https://www.uffizi.it/en/artworks/birth-of-venusLe Gallerie degli Uffizi online galleryhttps://artsandculture.google.com/asset/the-birth-of-venus/MQEeq50LABEBVgShort visual essay by Google Arts and Culture on Botticelli's Birth of Venus.<ul><li><a href="https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/renaissance-art-europe-ap/v/botticelli-birth-of-venus" target="_blank">Short video from Khan Academy, "A celebration of beauty and love: Botticelli's Birth of Venus" </a></li><li><a href="https://www.uffizi.it/en/artworks/birth-of-venus" target="_blank">Le Gallerie degli Uffizi online gallery</a></li><li><a href="https://artsandculture.google.com/asset/the-birth-of-venus/MQEeq50LABEBVg" target="_blank">Short visual essay by Google Arts and Culture on Botticelli's Birth of Venus.</a></li></ul>ImageN/Atempera on canvas172.5 x 279 cm15th Century CE, Italian RenaissanceVenus, AphroditeN/AN/AN/AN/Arshttps://commons.wikimedia.org/wiki/File:Botticelli_Venus.jpg84<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000084%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
86
00008514972022-08-01 18:13:13Botticelli: Judith and HolofernesCE 1497-1500<a href="https://drive.google.com/file/d/1WNgmUCudw2RO6DHlFFMdPABxK7lSWbuL/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1497-1500<br/>Artist/Agent: Sandro Botticelli<br/>Place of Origin: Florence, Italy<br/>Current Location: Rijksmuseum, Amsterdam, Netherlands<br/>Cultural Context: Southern European, Italian, Italian Renaissance<br/>Worktype: Painting<br/><br/>While Sandro Botticelli (c 1445-1510) is known today primarily for his treatment of subjects from Classical mythology, he more typically painted religious works, as well as portraits. Something of an outlier among Italian artists of his era, Botticelli showed only a fitful interest in the Renaissance innovations of single-point perspective and anatomical correctness in depicting figures, at times working in an idiom that seemed to maintain and extend the values of late Gothic style. As a result, his reputation declined soon after his death; he was not again considered a major artist by European critics until his work was reevaluated in the late 19th century, when the dominance of Renaissance principles of representation had substantially weakened. This late work, using oil, tempera, and gilding on wood, is one of many examples, from early modern Europe, of the subject of Judith with the head of Holofernes. Judith is a Hebrew widow who seduces the Assyrian tyrant Holofernes, gets him drunk, and then beheads him in his tent while he is passed out. Botticelli's depiction shows the disregard for anatomy that marked much of his work, both in regard to the proportions between parts of the body and the distribution of a figure's weight. He nevertheless paints a dark, grim depiction of the event (the work has been damaged, with the face of Judith's accompanying servant having been obliterated).<br/><br/> <br/><br/><br/><br/>Sandro BotticelliTempera and oil painting of the Biblical hero Judith holding aloft the head of the tyrant Holofernes, a sword in her right handTempera and oil painting of the Biblical hero Judith holding aloft the head of Holofernes, a sword in her right hand.Florence, ItalyRijksmuseum, Amsterdam, NetherlandsPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj85.jpghttps://drive.google.com/uc?export=download&id=1WNgmUCudw2RO6DHlFFMdPABxK7lSWbuLhttps://drive.google.com/file/d/1WNgmUCudw2RO6DHlFFMdPABxK7lSWbuL/view?usp=sharing<a href="https://drive.google.com/file/d/1WNgmUCudw2RO6DHlFFMdPABxK7lSWbuL/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>While Sandro Botticelli (c 1445-1510) is known today primarily for his treatment of subjects from Classical mythology, he more typically painted religious works, as well as portraits. Something of an outlier among Italian artists of his era, Botticelli showed only a fitful interest in the Renaissance innovations of single-point perspective and anatomical correctness in depicting figures, at times working in an idiom that seemed to maintain and extend the values of late Gothic style. As a result, his reputation declined soon after his death; he was not again considered a major artist by European critics until his work was reevaluated in the late 19th century, when the dominance of Renaissance principles of representation had substantially weakened. This late work, using oil, tempera, and gilding on wood, is one of many examples, from early modern Europe, of the subject of Judith with the head of Holofernes. Judith is a Hebrew widow who seduces the Assyrian tyrant Holofernes, gets him drunk, and then beheads him in his tent while he is passed out. Botticelli's depiction shows the disregard for anatomy that marked much of his work, both in regard to the proportions between parts of the body and the distribution of a figure's weight. He nevertheless paints a dark, grim depiction of the event (the work has been damaged, with the face of Judith's accompanying servant having been obliterated).Europe, Southern Europe, ItalySouthern European, Italian, Italian RenaissancePaintingEurope, Southern Europe, Italy, Southern European, Italian, Italian Renaissance, PaintingEurope, Southern Europe, Italy, Southern European, Italian, Italian Renaissance, PaintingPublic Domain<br/>Tempera and oil painting of the Biblical hero Judith holding aloft the head of the tyrant Holofernes, a sword in her right handCrossroadsImageN/Atempura and oil on panel36.5 x 20 cm15th Century CE, Italian RenaissanceJudithgilding, paintingN/AN/AN/Arshttps://www.rijksmuseum.nl/en/search/objects?q=botticelli&p=1&ps=12&st=Objects&ii=1#/SK-A-3381,185<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000085%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
87
00008614822022-08-01 18:33:33Botticelli: La Primavera (Spring)CE 1482-1485<a href="https://drive.google.com/file/d/1cq7B3Vk9uDFJEXbFnHpHhSjSNQR-4PwT/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1482-1485<br/>Artist/Agent: Sandro Botticelli<br/>Place of Origin: Florence, Italy<br/>Current Location: Uffizi Gallery, Florence, Italy<br/>Cultural Context: Southern European, Italian, Italian Renaissance<br/>Worktype: Painting<br/><br/>While Sandro Botticelli (c 1445-1510) is known today primarily for his treatment of subjects from Classical mythology, he more typically painted religious works, as well as portraits. Something of an outlier among Italian artists of his era, Botticelli showed only a fitful interest in the Renaissance innovations of single-point perspective and anatomical correctness in depicting figures, at times working in an idiom that seemed to maintain and extend the values of late Gothic style. As a result, his reputation declined soon after his death; he was not again considered a major artist by European critics until his work was reevaluated in the late 19th century, when the dominance of Renaissance principles of representation had substantially weakened. Painted in tempera during the same period as The Birth of Venus (qv) though otherwise unrelated, the painting shows Venus surrounded by, from left to right, the god Mercury, the Three Graces (goddesses of the adornments of life -- charm, creativity, beauty, and the like), Flora (goddess of flowers and spring), and the personification of the West Wind, Zephyrus, approaching the nymph Chloris. In fact, Flora is the transformed Chloris after her abduction by, and then marriage to, Zephyrus. The semi-circular shape behind the head of Venus (at the top of which flies a blind-folded cupid) resembles the Virgin Mary's nimbus, as does the posture of Venus. This seemingly sacrilegious identification is likely a symbolic manifestation of Renaissance Neoplatonism, which envisioned love as the motive force in rising to spiritual enlightenment. <br/><br/> <ul><li><a href="https://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/painting-in-florence/v/botticelli-la-primavera-spring-1481-1482
" target="_blank">Short video offers commentary on this painting.</a></li><li><a href="https://www.uffizi.it/en/artworks/botticelli-spring" target="_blank">More information at Le Gallerie degli Ufizi</a></li></ul><br/><br/><br/><br/>		Sandro BotticelliThis painting shows Venus at the center of a group of mythological figures in a lush, spring landscape.Painting showing Venus at the center of a group of mythological figures in a lush, spring landscape.Florence, ItalyUffizi Gallery, Florence, ItalyPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj86.jpghttps://drive.google.com/uc?export=download&id=1cq7B3Vk9uDFJEXbFnHpHhSjSNQR-4PwThttps://drive.google.com/file/d/1cq7B3Vk9uDFJEXbFnHpHhSjSNQR-4PwT/view?usp=sharing<a href="https://drive.google.com/file/d/1cq7B3Vk9uDFJEXbFnHpHhSjSNQR-4PwT/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>While Sandro Botticelli (c 1445-1510) is known today primarily for his treatment of subjects from Classical mythology, he more typically painted religious works, as well as portraits. Something of an outlier among Italian artists of his era, Botticelli showed only a fitful interest in the Renaissance innovations of single-point perspective and anatomical correctness in depicting figures, at times working in an idiom that seemed to maintain and extend the values of late Gothic style. As a result, his reputation declined soon after his death; he was not again considered a major artist by European critics until his work was reevaluated in the late 19th century, when the dominance of Renaissance principles of representation had substantially weakened. Painted in tempera during the same period as The Birth of Venus (qv) though otherwise unrelated, the painting shows Venus surrounded by, from left to right, the god Mercury, the Three Graces (goddesses of the adornments of life -- charm, creativity, beauty, and the like), Flora (goddess of flowers and spring), and the personification of the West Wind, Zephyrus, approaching the nymph Chloris. In fact, Flora is the transformed Chloris after her abduction by, and then marriage to, Zephyrus. The semi-circular shape behind the head of Venus (at the top of which flies a blind-folded cupid) resembles the Virgin Mary's nimbus, as does the posture of Venus. This seemingly sacrilegious identification is likely a symbolic manifestation of Renaissance Neoplatonism, which envisioned love as the motive force in rising to spiritual enlightenment. Europe, Southern Europe, ItalySouthern European, Italian, Italian RenaissancePaintingEurope, Southern Europe, Italy, Southern European, Italian, Italian Renaissance, PaintingEurope, Southern Europe, Italy, Southern European, Italian, Italian Renaissance, PaintingPublic Domain<br/>This painting shows Venus at the center of a group of mythological figures in a lush, spring landscape.Crossroadshttps://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/painting-in-florence/v/botticelli-la-primavera-spring-1481-1482
Short video offers commentary on this painting.https://www.uffizi.it/en/artworks/botticelli-springMore information at Le Gallerie degli Ufizi<ul><li><a href="https://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/painting-in-florence/v/botticelli-la-primavera-spring-1481-1482
" target="_blank">Short video offers commentary on this painting.</a></li><li><a href="https://www.uffizi.it/en/artworks/botticelli-spring" target="_blank">More information at Le Gallerie degli Ufizi</a></li></ul>		ImageN/Atempera on panel203 x 314 cm15th Century CE, Italian RenaissanceFlora, Venus, Cupid, MercuryN/AN/AN/AN/Arshttps://commons.wikimedia.org/wiki/File:Botticelli-primavera.jpg86<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000086%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
88
00008714952022-08-01 18:14:14Botticelli: Portrait of Dante AlighieriCE 1495<a href="https://drive.google.com/file/d/1ht90SbZ5IBl8XJ-iwt_2pn77I_aF51J-/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1495<br/>Artist/Agent: Sandro Botticelli<br/>Place of Origin: Florence, Italy<br/>Current Location: Bodmer Library, Cologny, Switzerland<br/>Cultural Context: Southern European, Italian, Italian Renaissance<br/>Worktype: Painting<br/><br/>While Sandro Botticelli (c 1445-1510) is known today primarily for his treatment of subjects from Classical mythology, he more typically painted religious works, as well as portraits. Something of an outlier among Italian artists of his era, Botticelli showed only a fitful interest in the Renaissance innovations of single-point perspective and anatomical correctness in depicting figures, at times working in an idiom that seemed to maintain and extend the values of late Gothic style. As a result, his reputation declined soon after his death; he was not again considered a major artist by European critics until his work was reevaluated in the late 19th century, when the dominance of Renaissance principles of representation had substantially weakened. His portrait in tempera of Dante is iconographic; the poet had died in 1321, but the standard elements for representing him would soon become fixed and find their way into Botticelli’s painting -- the pronounced nose, somewhat sunken eyes, and crowning wreath of laurel leaves, symbol of poetic achievement. Botticelli had attempted to illustrate a manuscript of Dante's Commedia with 92 images (many incomplete drawings) in the 1480s.<br/><br/> <br/><br/><br/><br/>Sandro BotticelliThis profile portrait (drawn from sources, not life) is of the poet Dante Alighieri.Profile portrait (drawn from sources, not life) of the poet Dante Alighieri.Florence, ItalyBodmer Library, Cologny, SwitzerlandPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj87.jpghttps://drive.google.com/uc?export=download&id=1ht90SbZ5IBl8XJ-iwt_2pn77I_aF51J-https://drive.google.com/file/d/1ht90SbZ5IBl8XJ-iwt_2pn77I_aF51J-/view?usp=sharing<a href="https://drive.google.com/file/d/1ht90SbZ5IBl8XJ-iwt_2pn77I_aF51J-/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>While Sandro Botticelli (c 1445-1510) is known today primarily for his treatment of subjects from Classical mythology, he more typically painted religious works, as well as portraits. Something of an outlier among Italian artists of his era, Botticelli showed only a fitful interest in the Renaissance innovations of single-point perspective and anatomical correctness in depicting figures, at times working in an idiom that seemed to maintain and extend the values of late Gothic style. As a result, his reputation declined soon after his death; he was not again considered a major artist by European critics until his work was reevaluated in the late 19th century, when the dominance of Renaissance principles of representation had substantially weakened. His portrait in tempera of Dante is iconographic; the poet had died in 1321, but the standard elements for representing him would soon become fixed and find their way into Botticelli’s painting -- the pronounced nose, somewhat sunken eyes, and crowning wreath of laurel leaves, symbol of poetic achievement. Botticelli had attempted to illustrate a manuscript of Dante's Commedia with 92 images (many incomplete drawings) in the 1480s.Europe, Southern Europe, ItalySouthern European, Italian, Italian RenaissancePaintingEurope, Southern Europe, Italy, Southern European, Italian, Italian Renaissance, PaintingEurope, Southern Europe, Italy, Southern European, Italian, Italian Renaissance, PaintingPublic Domain<br/>This profile portrait (drawn from sources, not life) is of the poet Dante Alighieri.CrossroadsImageN/Atempera on canvas55 x 47.5 cm15th Century CE, Italian RenaissanceDante AlighieriN/AN/AN/AN/Arshttps://commons.wikimedia.org/wiki/File:Portrait_de_Dante.jpg87<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000087%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
89
00008814852022-08-01 18:31:31Botticelli: The AnnunciationCE 1485-1492<a href="https://drive.google.com/file/d/1NUQqgVD3C65XaQ2UE9jIBg8HToM1bXfb/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1485-1492<br/>Artist/Agent: Sandro Botticelli<br/>Place of Origin: Florence, Italy<br/>Current Location: The Metropolitan Museum of Art, New York, NY, USA<br/>Cultural Context: Southern European, Italian, Italian Renaissance<br/>Worktype: Painting<br/><br/>While Sandro Botticelli (c 1445-1510) is known today primarily for his treatment of subjects from Classical mythology, he more typically painted religious works, as well as portraits. Something of an outlier among Italian artists of his era, Botticelli showed only a fitful interest in the Renaissance innovations of single-point perspective and anatomical correctness in depicting figures, at times working in an idiom that seemed to maintain and extend the values of late Gothic style. As a result, his reputation declined soon after his death; he was not again considered a major artist by European critics until his work was reevaluated in the late 19th century, when the dominance of Renaissance principles of representation had substantially weakened. Botticelli may have become a follower of the extremist religious reformer Savonarola in his later years, but in any case painted a large number of religious commissions, as did all Italian Renaissance artists. In this version of the Annunciation -- the moment when the Angel Gabriel informs the Virgin Mary that she is to become pregnant (by immaculate i.e., sexless conception) with the Christ child -- Gabriel bows humbly before Mary, not even penetrating her bed chamber, but remaining in an arcade outside. He holds white lilies, a flower associated with Mary's purity. Mary's humility is shown by her kneeling on the floor, rather than sitting on the bench behind her, and she is, characteristically, reading a book. The golden rays issuing through the window on the left represent the impregnation by the Holy Spirit without the loss of virginity, just as the sun's rays pass through a window without breaking it.<br/><br/> <ul><li><a href="https://www.metmuseum.org/art/collection/search/459016" target="_blank">MMA webpage for this painting offers more information.</a></li></ul><br/><br/><br/><br/>Sandro BotticelliThis tempera painting is of the Angel Gabriel announcing to Mary that she will bear the Christ child; both are shown in an architectural setting.Tempera painting of the Angel Gabriel announcing to Mary that she will bear the Christ child.Florence, ItalyThe Metropolitan Museum of Art, New York, NY, USACC 1.0 Universal Public Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj88.jpghttps://drive.google.com/uc?export=download&id=1NUQqgVD3C65XaQ2UE9jIBg8HToM1bXfbhttps://drive.google.com/file/d/1NUQqgVD3C65XaQ2UE9jIBg8HToM1bXfb/view?usp=sharing<a href="https://drive.google.com/file/d/1NUQqgVD3C65XaQ2UE9jIBg8HToM1bXfb/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>While Sandro Botticelli (c 1445-1510) is known today primarily for his treatment of subjects from Classical mythology, he more typically painted religious works, as well as portraits. Something of an outlier among Italian artists of his era, Botticelli showed only a fitful interest in the Renaissance innovations of single-point perspective and anatomical correctness in depicting figures, at times working in an idiom that seemed to maintain and extend the values of late Gothic style. As a result, his reputation declined soon after his death; he was not again considered a major artist by European critics until his work was reevaluated in the late 19th century, when the dominance of Renaissance principles of representation had substantially weakened. Botticelli may have become a follower of the extremist religious reformer Savonarola in his later years, but in any case painted a large number of religious commissions, as did all Italian Renaissance artists. In this version of the Annunciation -- the moment when the Angel Gabriel informs the Virgin Mary that she is to become pregnant (by immaculate i.e., sexless conception) with the Christ child -- Gabriel bows humbly before Mary, not even penetrating her bed chamber, but remaining in an arcade outside. He holds white lilies, a flower associated with Mary's purity. Mary's humility is shown by her kneeling on the floor, rather than sitting on the bench behind her, and she is, characteristically, reading a book. The golden rays issuing through the window on the left represent the impregnation by the Holy Spirit without the loss of virginity, just as the sun's rays pass through a window without breaking it.Europe, Southern Europe, ItalySouthern European, Italian, Italian RenaissancePaintingEurope, Southern Europe, Italy, Southern European, Italian, Italian Renaissance, PaintingEurope, Southern Europe, Italy, Southern European, Italian, Italian Renaissance, PaintingCC 1.0 Universal Public Domain<br/>This tempera painting is of the Angel Gabriel announcing to Mary that she will bear the Christ child; both are shown in an architectural setting.Crossroadshttps://www.metmuseum.org/art/collection/search/459016MMA webpage for this painting offers more information.<ul><li><a href="https://www.metmuseum.org/art/collection/search/459016" target="_blank">MMA webpage for this painting offers more information.</a></li></ul>ImageN/Atempera and gold on wood19 x 31 cm15th Century CE, Italian RenaissanceAnnunciation, Gabriel, St MaryN/AN/AN/AN/Arshttps://www.metmuseum.org/art/collection/search/45901688<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000088%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
90
00008914822022-08-01 18:34:34Botticelli: Venus and MarsCE 1482-1484<a href="https://drive.google.com/file/d/12TQtKtFuq7jm1_i6_pcWSZwFyshaCTqI/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1482-1484<br/>Artist/Agent: Sandro Botticelli<br/>Place of Origin: Florence, Italy<br/>Current Location: Uffizi Gallery, Florence, Italy<br/>Cultural Context: Southern European, Italian, Italian Renaissance<br/>Worktype: Painting<br/><br/>While Sandro Botticelli (c 1445-1510) is known today primarily for his treatment of subjects from Classical mythology, he more typically painted religious works, as well as portraits. Something of an outlier among Italian artists of his era, Botticelli showed only a fitful interest in the Renaissance innovations of single-point perspective and anatomical correctness in depicting figures, at times working in an idiom that seemed to maintain and extend the values of late Gothic style. As a result, his reputation declined soon after his death; he was not again considered a major artist by European critics until his work was reevaluated in the late 19th century, when the dominance of Renaissance principles of representation had substantially weakened. This painting of Venus and Mars characteristically plants all the figures in a single plane in the foreground of the work; Botticelli was never much interested in developing the sense of a three-dimensional space in which the action unfolded. Shown presumably after a session of love-making during their affair (in Greco-Roman mythology, they are eventually discovered and literally caught in the act by Vulcan), the female goddess of love, Venus, remains wide awake, while the god of war, Mars, lies fast in an exhausted sleep. Satyrs steal his arms, betokening the triumph of love over war.<br/><br/> <ul><li><a href="https://www.nationalgallery.org.uk/paintings/sandro-botticelli-venus-and-mars" target="_blank">The National Gallery of Art (DC) offers more information and other paintings by Botticelli</a></li></ul><br/><br/><br/><br/>Sandro BotticelliThis painting shows the satyr companions of Venus bearing away the arms of Mars, fast asleep after a session of love-makingPainting showing the satyr companions of Venus bearing away the arms of Mars, fast asleep after a session of love-making.Florence, ItalyUffizi Gallery, Florence, ItalyPublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj89.jpghttps://drive.google.com/uc?export=download&id=12TQtKtFuq7jm1_i6_pcWSZwFyshaCTqIhttps://drive.google.com/file/d/12TQtKtFuq7jm1_i6_pcWSZwFyshaCTqI/view?usp=sharing<a href="https://drive.google.com/file/d/12TQtKtFuq7jm1_i6_pcWSZwFyshaCTqI/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>While Sandro Botticelli (c 1445-1510) is known today primarily for his treatment of subjects from Classical mythology, he more typically painted religious works, as well as portraits. Something of an outlier among Italian artists of his era, Botticelli showed only a fitful interest in the Renaissance innovations of single-point perspective and anatomical correctness in depicting figures, at times working in an idiom that seemed to maintain and extend the values of late Gothic style. As a result, his reputation declined soon after his death; he was not again considered a major artist by European critics until his work was reevaluated in the late 19th century, when the dominance of Renaissance principles of representation had substantially weakened. This painting of Venus and Mars characteristically plants all the figures in a single plane in the foreground of the work; Botticelli was never much interested in developing the sense of a three-dimensional space in which the action unfolded. Shown presumably after a session of love-making during their affair (in Greco-Roman mythology, they are eventually discovered and literally caught in the act by Vulcan), the female goddess of love, Venus, remains wide awake, while the god of war, Mars, lies fast in an exhausted sleep. Satyrs steal his arms, betokening the triumph of love over war.Europe, Southern Europe, ItalySouthern European, Italian, Italian RenaissancePaintingEurope, Southern Europe, Italy, Southern European, Italian, Italian Renaissance, PaintingEurope, Southern Europe, Italy, Southern European, Italian, Italian Renaissance, PaintingPublic Domain<br/>This painting shows the satyr companions of Venus bearing away the arms of Mars, fast asleep after a session of love-makingCrossroadshttps://www.nationalgallery.org.uk/paintings/sandro-botticelli-venus-and-marsThe National Gallery of Art (DC) offers more information and other paintings by Botticelli<ul><li><a href="https://www.nationalgallery.org.uk/paintings/sandro-botticelli-venus-and-mars" target="_blank">The National Gallery of Art (DC) offers more information and other paintings by Botticelli</a></li></ul>ImageN/Atempera and oil on poplar69 x 173.5 cm15th Century CE, Italian RenaissanceVenus, MarsN/AN/AN/AN/Arshttps://commons.wikimedia.org/wiki/File:Venus_and_Mars.jpg89<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000089%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
91
00009017472022-08-01 15:24:24Boucher: Rape of EuropaCE 1747<a href="https://drive.google.com/file/d/1zcfkYd5CpymIVqWSa6rxWDM1PB_iwWEf/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1747<br/>Artist/Agent: François Boucher<br/>Place of Origin: Paris, France<br/>Current Location: Louvre Museum, Paris, France<br/>Cultural Context: Northern and Western European, French, Rococo<br/>Worktype: Painting<br/><br/>François Boucher (1703-1770) was, along with Jean-Antoine Watteau and Jean-Honoré Fragonard, one of the leading artists of the Rococo movement in the fine and decorative arts. One of the earliest major works of Boucher's career was this version of The Rape of Europa, painted between 1732 and 1734. The subject much engaged Boucher, who returned to it several times over the course of his career. Since Boucher rarely paid much attention to the male figure, the theme allowed him to paint a sexually charged moment without actually including any men. One might compare this Rococo treatment of a tale that, in Ovid's Metamorphoses, involves a literally brutal rape, with the earlier treatment of the theme by Titian (qv). In particular, the posture of Europa and the expression of the bull in Boucher's version prettify the scene, making it appear to be a harmless and gentle moment of contact where Europa is in full control.<br/><br/> <br/><br/><br/><br/>François BoucherThis oil-on-canvas painting is also often called "The Abduction of Europa". A woman, Europa, sits atop a bull while many figures lie around her. Cherubs fly around the scene in the air. Boucher depicts a mythological scene from Ovid's "Metamorphoses" where Jupiter/Zeus, who disguised himself as a bull, attempts to abduct Europa. This however is a flowery portrayal of a rather violent myth.A woman sits atop a bull on the edge of a flowery shore.Paris, FranceLouvre Museum, Paris, FrancePublic Domainhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj90.jpghttps://drive.google.com/uc?export=download&id=1zcfkYd5CpymIVqWSa6rxWDM1PB_iwWEfhttps://drive.google.com/file/d/1zcfkYd5CpymIVqWSa6rxWDM1PB_iwWEf/view?usp=sharing<a href="https://drive.google.com/file/d/1zcfkYd5CpymIVqWSa6rxWDM1PB_iwWEf/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>François Boucher (1703-1770) was, along with Jean-Antoine Watteau and Jean-Honoré Fragonard, one of the leading artists of the Rococo movement in the fine and decorative arts. One of the earliest major works of Boucher's career was this version of The Rape of Europa, painted between 1732 and 1734. The subject much engaged Boucher, who returned to it several times over the course of his career. Since Boucher rarely paid much attention to the male figure, the theme allowed him to paint a sexually charged moment without actually including any men. One might compare this Rococo treatment of a tale that, in Ovid's Metamorphoses, involves a literally brutal rape, with the earlier treatment of the theme by Titian (qv). In particular, the posture of Europa and the expression of the bull in Boucher's version prettify the scene, making it appear to be a harmless and gentle moment of contact where Europa is in full control.Europe, Northern and Western Europe, FranceNorthern and Western European, French, RococoPaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Rococo, PaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Rococo, PaintingPublic Domain<br/>This oil-on-canvas painting is also often called "The Abduction of Europa". A woman, Europa, sits atop a bull while many figures lie around her. Cherubs fly around the scene in the air. Boucher depicts a mythological scene from Ovid's "Metamorphoses" where Jupiter/Zeus, who disguised himself as a bull, attempts to abduct Europa. This however is a flowery portrayal of a rather violent myth.ModernityImageN/Aoil on canvas160.5 x 193.5 cm18th Century CE, RococoJupiterN/AN/AN/AN/Ahttps://commons.wikimedia.org/wiki/File:Fran%C3%A7ois_Boucher_-_The_Rape_of_Europa,_1747.jpg90<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000090%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
92
00009117602022-08-01 15:10:10Boucher: The Arts and Sciences: Architecture and ChemistryCE 1760<a href="https://drive.google.com/file/d/11wZN78_uu-Fk3j8Xhx88UxTMhEgqrYTG/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1760<br/>Artist/Agent: François Boucher<br/>Place of Origin: Paris, France<br/>Current Location: The Frick Collection, New York, NY, USA<br/>Cultural Context: Northern and Western European, French, Rococo<br/>Worktype: Painting<br/><br/>Artworks depicting children mimicking "adult" activities were extremely popular in France in the eighteenth century. This work was a part of a 8-panel series showing children doing various activities ranging from singing, to astronomy, to fishing.<br/><br/> <ul><li><a href="https://collections.frick.org/objects/details/50/the-arts-and-sciences-architecture-and-chemistry#showAudios" target="_blank">Museum site with audio guides and transcripts on the work.</a></li></ul><br/><br/><br/><br/>François BoucherThis is an oil-on-canvas painting with two separate scenes. The top register of this work depicts a young child outdoors drafting or drawing an architectural plan. The lower register depicts another young child indoors where its science experiment has gone wrong and is lit on fire. Flowery embellishments and a small landscape separate the two registers.A child at a table draws in a drafting book while another raises its arms.Paris, FranceThe Frick Collection, New York, NY, USAPublic Domain Wikimedia Commonshttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj91.jpghttps://drive.google.com/uc?export=download&id=11wZN78_uu-Fk3j8Xhx88UxTMhEgqrYTGhttps://drive.google.com/file/d/11wZN78_uu-Fk3j8Xhx88UxTMhEgqrYTG/view?usp=sharing<a href="https://drive.google.com/file/d/11wZN78_uu-Fk3j8Xhx88UxTMhEgqrYTG/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>Artworks depicting children mimicking "adult" activities were extremely popular in France in the eighteenth century. This work was a part of a 8-panel series showing children doing various activities ranging from singing, to astronomy, to fishing.Europe, Northern and Western Europe, FranceNorthern and Western European, French, RococoPaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Rococo, PaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Rococo, PaintingPublic Domain Wikimedia Commons<br/>This is an oil-on-canvas painting with two separate scenes. The top register of this work depicts a young child outdoors drafting or drawing an architectural plan. The lower register depicts another young child indoors where its science experiment has gone wrong and is lit on fire. Flowery embellishments and a small landscape separate the two registers.Modernityhttps://collections.frick.org/objects/details/50/the-arts-and-sciences-architecture-and-chemistry#showAudiosMuseum site with audio guides and transcripts on the work.<ul><li><a href="https://collections.frick.org/objects/details/50/the-arts-and-sciences-architecture-and-chemistry#showAudios" target="_blank">Museum site with audio guides and transcripts on the work.</a></li></ul>ImageN/Aoil on canvas217.2 x 77.5 cm18th Century CE, Rococopersonifications, childrenN/AN/AN/AN/Ahttps://commons.wikimedia.org/wiki/File:Boucher_and_Workshop_-_The_Arts_and_Sciences_Architecture_and_Chemistry,_ca._1760.jpg91<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000091%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
93
00009217602022-08-01 15:11:11Boucher: The Arts and Sciences: Comedy and TragedyCE 1760<a href="https://drive.google.com/file/d/14QjBA-BwdKtVXrG4lAoQcwQqjPwQ1lw-/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1760<br/>Artist/Agent: François Boucher<br/>Place of Origin: Paris, France<br/>Current Location: The Frick Collection, New York, NY, USA<br/>Cultural Context: Northern and Western European, French, Rococo<br/>Worktype: Painting<br/><br/>Artworks depicting children mimicking "adult" activities were extremely popular in France in the eighteenth century. This work was a part of a 8-panel series showing children doing various activities ranging from singing, to astronomy, to fishing.<br/><br/> <ul><li><a href="https://collections.frick.org/objects/51/the-arts-and-sciences-comedy-and-tragedy#showAudios" target="_blank">Museum site with audio guides and transcripts on the work.</a></li></ul><br/><br/><br/><br/>François BoucherThis oil-on-canvas painting shows two separate scenes. The top register of this work is the title's Comedy scene, depicting a young child sitting outside holding a mirror and a theatrical mask. The lower register is the title's Tragedy scene, showing another young child with a mythical creature at her side. Floral embellishments and a small landscape separate the two registers.A child sits holding a mirror, mask, and books while another falls with a dragon-creature.Paris, FranceThe Frick Collection, New York, NY, USAPublic Domain Wikimedia Commonshttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj92.jpghttps://drive.google.com/uc?export=download&id=14QjBA-BwdKtVXrG4lAoQcwQqjPwQ1lw-https://drive.google.com/file/d/14QjBA-BwdKtVXrG4lAoQcwQqjPwQ1lw-/view?usp=sharing<a href="https://drive.google.com/file/d/14QjBA-BwdKtVXrG4lAoQcwQqjPwQ1lw-/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>Artworks depicting children mimicking "adult" activities were extremely popular in France in the eighteenth century. This work was a part of a 8-panel series showing children doing various activities ranging from singing, to astronomy, to fishing.Europe, Northern and Western Europe, FranceNorthern and Western European, French, RococoPaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Rococo, PaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Rococo, PaintingPublic Domain Wikimedia Commons<br/>This oil-on-canvas painting shows two separate scenes. The top register of this work is the title's Comedy scene, depicting a young child sitting outside holding a mirror and a theatrical mask. The lower register is the title's Tragedy scene, showing another young child with a mythical creature at her side. Floral embellishments and a small landscape separate the two registers.Modernityhttps://collections.frick.org/objects/51/the-arts-and-sciences-comedy-and-tragedy#showAudiosMuseum site with audio guides and transcripts on the work.<ul><li><a href="https://collections.frick.org/objects/51/the-arts-and-sciences-comedy-and-tragedy#showAudios" target="_blank">Museum site with audio guides and transcripts on the work.</a></li></ul>ImageN/Aoil on canvas217.2 x 77.5 cm18th Century CE, Rococopersonifications, childrenN/AN/AN/AN/Ahttps://commons.wikimedia.org/wiki/File:Boucher_and_Workshop_-_The_Arts_and_Sciences_Comedy_and_Tragedy,_ca._1760.jpg92<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000092%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
94
00009317552022-08-01 15:13:13Boucher: The Four Seasons: AutumnCE 1755<a href="https://drive.google.com/file/d/16ue7qk479dUetKgnnUDvm8wkPHptF4A9/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1755<br/>Artist/Agent: François Boucher<br/>Place of Origin: Paris, France<br/>Current Location: The Frick Collection, New York, NY, USA<br/>Cultural Context: Northern and Western European, French, Rococo<br/>Worktype: Painting<br/><br/>This work is a part of a series of four paintings, showing the four various seasons. It was commissioned by Madame de Pompadour, one of Boucher's biggest patrons and the mistress of Louis XV, for one of her many residences.<br/><br/> <ul><li><a href="https://collections.frick.org/objects/55/the-four-seasons-autumn?ctx=a15aaef8-0592-43c3-b1fe-9d6f45931885&idx=0&kiosk=-1#showAudios" target="_blank">Museum site with audio guides and transcripts on the work.</a></li><li><a href="https://jamanetwork.com/journals/jamafacialplasticsurgery/fullarticle/1105710" target="_blank">Essay on Boucher's life, his work, and French Rococo art of the time.</a></li></ul><br/><br/><br/><br/>François BoucherThis oil-on-canvas painting depicts the season of Autumn. A woman sits perched on a tree in an area of the forest. Her hat sits perfectly on her head as a man leans over her to hand her grapes. Their lavish clothes are indicative of the fashion of the time.A woman sits on a tree while a man offers bunch of grapes. A basket of fruit sits on the ground.Paris, FranceThe Frick Collection, New York, NY, USAPublic Domain Wikimedia Commonshttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj93.jpghttps://drive.google.com/uc?export=download&id=16ue7qk479dUetKgnnUDvm8wkPHptF4A9https://drive.google.com/file/d/16ue7qk479dUetKgnnUDvm8wkPHptF4A9/view?usp=sharing<a href="https://drive.google.com/file/d/16ue7qk479dUetKgnnUDvm8wkPHptF4A9/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This work is a part of a series of four paintings, showing the four various seasons. It was commissioned by Madame de Pompadour, one of Boucher's biggest patrons and the mistress of Louis XV, for one of her many residences.Europe, Northern and Western Europe, FranceNorthern and Western European, French, RococoPaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Rococo, PaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Rococo, PaintingPublic Domain Wikimedia Commons<br/>This oil-on-canvas painting depicts the season of Autumn. A woman sits perched on a tree in an area of the forest. Her hat sits perfectly on her head as a man leans over her to hand her grapes. Their lavish clothes are indicative of the fashion of the time.Modernityhttps://collections.frick.org/objects/55/the-four-seasons-autumn?ctx=a15aaef8-0592-43c3-b1fe-9d6f45931885&idx=0&kiosk=-1#showAudiosMuseum site with audio guides and transcripts on the work.https://jamanetwork.com/journals/jamafacialplasticsurgery/fullarticle/1105710Essay on Boucher's life, his work, and French Rococo art of the time.<ul><li><a href="https://collections.frick.org/objects/55/the-four-seasons-autumn?ctx=a15aaef8-0592-43c3-b1fe-9d6f45931885&idx=0&kiosk=-1#showAudios" target="_blank">Museum site with audio guides and transcripts on the work.</a></li><li><a href="https://jamanetwork.com/journals/jamafacialplasticsurgery/fullarticle/1105710" target="_blank">Essay on Boucher's life, his work, and French Rococo art of the time.</a></li></ul>ImageN/Aoil on canvas56.5 x 73 cm18th Century CE, RococoRococo, seasonsN/AN/AN/AN/Ahttps://commons.wikimedia.org/wiki/File:The_Four_Seasons,_Autumn_-_Boucher_1755.jpg93<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000093%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
95
00009417552022-08-01 15:14:14Boucher: The Four Seasons: SpringCE 1755<a href="https://drive.google.com/file/d/1jCyns47NMA28W8_J5EyzGr2wQEhqUkHh/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1755<br/>Artist/Agent: François Boucher<br/>Place of Origin: Paris, France<br/>Current Location: The Frick Collection, New York, NY, USA<br/>Cultural Context: Northern and Western European, French, Rococo<br/>Worktype: Painting<br/><br/>This work is a part of a series of four paintings, showing the four various seasons. It was commissioned by Madame de Pompadour, one of Boucher's biggest patrons and the mistress of Louis XV, for one of her many residences.<br/><br/> <ul><li><a href="https://collections.frick.org/objects/56/the-four-seasons-spring?ctx=a15aaef8-0592-43c3-b1fe-9d6f45931885&idx=2&kiosk=-1#showAudios" target="_blank">Museum site with audio guides and transcripts on the work.</a></li><li><a href="https://jamanetwork.com/journals/jamafacialplasticsurgery/fullarticle/1105710" target="_blank">Essay on Boucher's life, his work, and French Rococo art of the time.</a></li></ul><br/><br/><br/><br/>François BoucherThis oil-on-canvas painting depicts the season of Spring. A male youth places flowers into a young girl's hair. They are dressed elegantly and sit in a lush secluded garden overlooking a small residence.A young man puts flowers into the hair of a young woman. A goat stands next to them.Paris, FranceThe Frick Collection, New York, NY, USAPublic Domain Wikimedia Commonshttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj94.jpghttps://drive.google.com/uc?export=download&id=1jCyns47NMA28W8_J5EyzGr2wQEhqUkHhhttps://drive.google.com/file/d/1jCyns47NMA28W8_J5EyzGr2wQEhqUkHh/view?usp=sharing<a href="https://drive.google.com/file/d/1jCyns47NMA28W8_J5EyzGr2wQEhqUkHh/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This work is a part of a series of four paintings, showing the four various seasons. It was commissioned by Madame de Pompadour, one of Boucher's biggest patrons and the mistress of Louis XV, for one of her many residences.Europe, Northern and Western Europe, FranceNorthern and Western European, French, RococoPaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Rococo, PaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Rococo, PaintingPublic Domain Wikimedia Commons<br/>This oil-on-canvas painting depicts the season of Spring. A male youth places flowers into a young girl's hair. They are dressed elegantly and sit in a lush secluded garden overlooking a small residence.Modernityhttps://collections.frick.org/objects/56/the-four-seasons-spring?ctx=a15aaef8-0592-43c3-b1fe-9d6f45931885&idx=2&kiosk=-1#showAudiosMuseum site with audio guides and transcripts on the work.https://jamanetwork.com/journals/jamafacialplasticsurgery/fullarticle/1105710Essay on Boucher's life, his work, and French Rococo art of the time.<ul><li><a href="https://collections.frick.org/objects/56/the-four-seasons-spring?ctx=a15aaef8-0592-43c3-b1fe-9d6f45931885&idx=2&kiosk=-1#showAudios" target="_blank">Museum site with audio guides and transcripts on the work.</a></li><li><a href="https://jamanetwork.com/journals/jamafacialplasticsurgery/fullarticle/1105710" target="_blank">Essay on Boucher's life, his work, and French Rococo art of the time.</a></li></ul>ImageN/Aoil on canvas54.3 x 72.7 cm18th Century CE, RococoRococo, seasonsN/AN/AN/AN/Ahttps://commons.wikimedia.org/wiki/File:The_Four_Seasons,_Spring_-_Boucher_1755.jpg94<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000094%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
96
00009517552022-08-01 15:15:15Boucher: The Four Seasons: SummerCE 1755<a href="https://drive.google.com/file/d/1zCbBlmpS6IoG3yB2AQVYn4Fe0rJ2iSB5/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1755<br/>Artist/Agent: François Boucher<br/>Place of Origin: Paris, France<br/>Current Location: The Frick Collection, New York, NY, USA<br/>Cultural Context: Northern and Western European, French, Rococo<br/>Worktype: Painting<br/><br/>This work is a part of a series of four paintings, showing the four various seasons. It was commissioned by Madame de Pompadour, one of Boucher's biggest patrons and the mistress of Louis XV, for one of her many residences.<br/><br/> <ul><li><a href="https://collections.frick.org/objects/57/the-four-seasons-summer?ctx=a15aaef8-0592-43c3-b1fe-9d6f45931885&idx=3&kiosk=-1#showAudios" target="_blank">Museum site with audio guides and transcripts on the work.</a></li><li><a href="https://jamanetwork.com/journals/jamafacialplasticsurgery/fullarticle/1105710" target="_blank">Essay on Boucher's life, his work, and French Rococo art of the time.</a></li></ul><br/><br/><br/><br/>François BoucherThis oil-on-canvas painting depicts the season of Summer. Here, three figures bathe nude near a stone fountain. They wrap themselves lightly with luxurious fabrics and sit in the center of a lush forest area.Three nude figures lay at the base of a stone fountain.Paris, FranceThe Frick Collection, New York, NY, USAPublic Domain Wikimedia Commonshttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj95.jpghttps://drive.google.com/uc?export=download&id=1zCbBlmpS6IoG3yB2AQVYn4Fe0rJ2iSB5https://drive.google.com/file/d/1zCbBlmpS6IoG3yB2AQVYn4Fe0rJ2iSB5/view?usp=sharing<a href="https://drive.google.com/file/d/1zCbBlmpS6IoG3yB2AQVYn4Fe0rJ2iSB5/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This work is a part of a series of four paintings, showing the four various seasons. It was commissioned by Madame de Pompadour, one of Boucher's biggest patrons and the mistress of Louis XV, for one of her many residences.Europe, Northern and Western Europe, FranceNorthern and Western European, French, RococoPaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Rococo, PaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Rococo, PaintingPublic Domain Wikimedia Commons<br/>This oil-on-canvas painting depicts the season of Summer. Here, three figures bathe nude near a stone fountain. They wrap themselves lightly with luxurious fabrics and sit in the center of a lush forest area.Modernityhttps://collections.frick.org/objects/57/the-four-seasons-summer?ctx=a15aaef8-0592-43c3-b1fe-9d6f45931885&idx=3&kiosk=-1#showAudiosMuseum site with audio guides and transcripts on the work.https://jamanetwork.com/journals/jamafacialplasticsurgery/fullarticle/1105710Essay on Boucher's life, his work, and French Rococo art of the time.<ul><li><a href="https://collections.frick.org/objects/57/the-four-seasons-summer?ctx=a15aaef8-0592-43c3-b1fe-9d6f45931885&idx=3&kiosk=-1#showAudios" target="_blank">Museum site with audio guides and transcripts on the work.</a></li><li><a href="https://jamanetwork.com/journals/jamafacialplasticsurgery/fullarticle/1105710" target="_blank">Essay on Boucher's life, his work, and French Rococo art of the time.</a></li></ul>ImageN/Aoil on canvas57.2 x 72.7 cm18th Century CE, RococoRococo, seasonsN/AN/AN/AN/Ahttps://commons.wikimedia.org/wiki/File:The_Four_Seasons,_Summer_-_Boucher_1755.jpg95<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000095%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
97
00009617552022-08-01 15:16:16Boucher: The Four Seasons: WinterCE 1755<a href="https://drive.google.com/file/d/1EF3g4fMToM-ivVZ0satQS48hK63abHlp/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1755<br/>Artist/Agent: François Boucher<br/>Place of Origin: Paris, France<br/>Current Location: The Frick Collection, New York, NY, USA<br/>Cultural Context: Northern and Western European, French, Rococo<br/>Worktype: Painting<br/><br/>This work is a part of a series of four paintings, showing the four various seasons. It was commissioned by Madame de Pompadour, one of Boucher's biggest patrons and the mistress of Louis XV, for one of her many residences.<br/><br/> <ul><li><a href="https://collections.frick.org/objects/58/the-four-seasons-winter?ctx=a15aaef8-0592-43c3-b1fe-9d6f45931885&idx=1&kiosk=-1#showAudios" target="_blank">Museum site with audio guides and transcripts on the work.</a></li><li><a href="https://jamanetwork.com/journals/jamafacialplasticsurgery/fullarticle/1105710" target="_blank">Essay on Boucher's life, his work, and French Rococo art of the time.</a></li></ul><br/><br/><br/><br/>François BoucherThis oil-on-canvas painting depicts the season of Winter. A man pushes a woman through the snow in an elaborate sleigh. They are both dressed in luxurious clothing. However, the womans chest is exposed as she stares at the viewer with a smirk. The dark, quiet, snowy landscape is very different from Boucher's usual lush and playful scenery.A woman sits in a sleigh while a man pushes her from behind through the snow.Paris, FranceThe Frick Collection, New York, NY, USAPublic Domain Wikimedia Commonshttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj96.jpghttps://drive.google.com/uc?export=download&id=1EF3g4fMToM-ivVZ0satQS48hK63abHlphttps://drive.google.com/file/d/1EF3g4fMToM-ivVZ0satQS48hK63abHlp/view?usp=sharing<a href="https://drive.google.com/file/d/1EF3g4fMToM-ivVZ0satQS48hK63abHlp/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>This work is a part of a series of four paintings, showing the four various seasons. It was commissioned by Madame de Pompadour, one of Boucher's biggest patrons and the mistress of Louis XV, for one of her many residences.Europe, Northern and Western Europe, FranceNorthern and Western European, French, RococoPaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Rococo, PaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Rococo, PaintingPublic Domain Wikimedia Commons<br/>This oil-on-canvas painting depicts the season of Winter. A man pushes a woman through the snow in an elaborate sleigh. They are both dressed in luxurious clothing. However, the womans chest is exposed as she stares at the viewer with a smirk. The dark, quiet, snowy landscape is very different from Boucher's usual lush and playful scenery.Modernityhttps://collections.frick.org/objects/58/the-four-seasons-winter?ctx=a15aaef8-0592-43c3-b1fe-9d6f45931885&idx=1&kiosk=-1#showAudiosMuseum site with audio guides and transcripts on the work.https://jamanetwork.com/journals/jamafacialplasticsurgery/fullarticle/1105710Essay on Boucher's life, his work, and French Rococo art of the time.<ul><li><a href="https://collections.frick.org/objects/58/the-four-seasons-winter?ctx=a15aaef8-0592-43c3-b1fe-9d6f45931885&idx=1&kiosk=-1#showAudios" target="_blank">Museum site with audio guides and transcripts on the work.</a></li><li><a href="https://jamanetwork.com/journals/jamafacialplasticsurgery/fullarticle/1105710" target="_blank">Essay on Boucher's life, his work, and French Rococo art of the time.</a></li></ul>ImageN/Aoil on canvas56.8 x 73 cm18th Century CE, RococoRococo, seasonsN/AN/AN/AN/Ahttps://commons.wikimedia.org/wiki/File:The_Four_Seasons,_Winter_-_Boucher_1755.jpg96<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000096%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
98
00009717512022-08-01 15:19:19Boucher: The Toilette of VenusCE 1751<a href="https://drive.google.com/file/d/1fvDxdd08TKo_gjBcvL3C89dyGOlvD20c/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1751<br/>Artist/Agent: François Boucher<br/>Place of Origin: Paris, France<br/>Current Location: The Metropolitan Museum of Art, New York, NY, USA<br/>Cultural Context: Northern and Western European, French, Rococo<br/>Worktype: Painting<br/><br/>François Boucher (1703-1770) was, along with Jean-Antoine Watteau and Jean-Honoré Fragonard, one of the leading artists of the Rococo movement in the fine and decorative arts. One might compare Boucher's Venus with the images created by such Renaissance and Baroque artists as Titian and Velazquez (qqv). Indeed, the rounded features and large eyes of the typical Boucher woman bear some resemblance to the faces of children. Among other things, one might locate in Rococo the origins of the "cute"; that is, the valorization of the harmless and vulnerable as a visual ideal.<br/><br/> <ul><li><a href="https://www.metmuseum.org/en/art/collection/search/435739" target="_blank">Museum site with more information.</a></li></ul><br/><br/><br/><br/>François BoucherA painted oil-on-canvas portrayal of the goddess Venus with cupids, also known as cherubs or puti, around her. The decoration is luxurious and elegant with the mixture of fabric, flowers, and pearls throughout.A woman sits in the nude on luxurious fabrics with young cherubs all around her.Paris, FranceThe Metropolitan Museum of Art, New York, NY, USAPublic Domain Metropolitan Museum of Arthttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj97.jpghttps://drive.google.com/uc?export=download&id=1fvDxdd08TKo_gjBcvL3C89dyGOlvD20chttps://drive.google.com/file/d/1fvDxdd08TKo_gjBcvL3C89dyGOlvD20c/view?usp=sharing<a href="https://drive.google.com/file/d/1fvDxdd08TKo_gjBcvL3C89dyGOlvD20c/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>François Boucher (1703-1770) was, along with Jean-Antoine Watteau and Jean-Honoré Fragonard, one of the leading artists of the Rococo movement in the fine and decorative arts. One might compare Boucher's Venus with the images created by such Renaissance and Baroque artists as Titian and Velazquez (qqv). Indeed, the rounded features and large eyes of the typical Boucher woman bear some resemblance to the faces of children. Among other things, one might locate in Rococo the origins of the "cute"; that is, the valorization of the harmless and vulnerable as a visual ideal.Europe, Northern and Western Europe, FranceNorthern and Western European, French, RococoPaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Rococo, PaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Rococo, PaintingPublic Domain Metropolitan Museum of Art<br/>A painted oil-on-canvas portrayal of the goddess Venus with cupids, also known as cherubs or puti, around her. The decoration is luxurious and elegant with the mixture of fabric, flowers, and pearls throughout.Modernityhttps://www.metmuseum.org/en/art/collection/search/435739Museum site with more information.<ul><li><a href="https://www.metmuseum.org/en/art/collection/search/435739" target="_blank">Museum site with more information.</a></li></ul>ImageSigned and dated (lower right): f-Boucher 1751oil on canvas108.3 x 85.1 cm18th Century CE, RococoVenus, cupidN/AN/AN/AN/Ahttps://www.metmuseum.org/en/art/collection/search/43573997<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000097%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
99
00009817652022-08-01 15:07:07Boucher: Virgin and Child with a RoseCE 1765-1770<a href="https://drive.google.com/file/d/1ju8V-qrBPZ24iENwMLTe0pPNezjCQIto/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: CE 1765-1770<br/>Artist/Agent: François Boucher<br/>Place of Origin: Paris, France<br/>Current Location: Fine Arts Museum of San Francisco - Legion of Honor, California, United States<br/>Cultural Context: Northern and Western European, French, Rococo<br/>Worktype: Painting<br/><br/>François Boucher (1703-1770) was, along with Jean-Antoine Watteau and Jean-Honoré Fragonard, one of the leading artists of the Rococo movement in the fine and decorative arts. The Rococo style was not often applied to religious subjects, but this Boucher Virgin and Child shows that the style hardly altered its conventions when it was. To be sure, the Virgin Mary is more decorously covered than the women in most of Boucher's paintings, but her facial features hardly differ, and the Christ child resembles the innumerable putti and children who litter the artist's canvases. Notably, too, the child, who displays no token of his divine identity, does not reach for a ball or globe, as was common in earlier images of the Virgin and Child, but brandishes a flower, one of the artist's favorite decorative elements.<br/><br/> <br/><br/><br/><br/>François BoucherThis oval oil-on-canvas painting is held in a rectangular frame. This work depicts a young woman, presumably the Virgin Mary, holding a child, which is likely a naturalistic representation of Jesus. They are both enwrapped in multitudes of draped fabrics of different colors. The child is holding a rose.A woman holds a child. A child holds a rose up.Paris, FranceFine Arts Museum of San Francisco - Legion of Honor, California, United StatesArtstor: Fine Arts Museums of San Franciscohttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj98.jpghttps://drive.google.com/uc?export=download&id=1ju8V-qrBPZ24iENwMLTe0pPNezjCQItohttps://drive.google.com/file/d/1ju8V-qrBPZ24iENwMLTe0pPNezjCQIto/view?usp=sharing<a href="https://drive.google.com/file/d/1ju8V-qrBPZ24iENwMLTe0pPNezjCQIto/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>François Boucher (1703-1770) was, along with Jean-Antoine Watteau and Jean-Honoré Fragonard, one of the leading artists of the Rococo movement in the fine and decorative arts. The Rococo style was not often applied to religious subjects, but this Boucher Virgin and Child shows that the style hardly altered its conventions when it was. To be sure, the Virgin Mary is more decorously covered than the women in most of Boucher's paintings, but her facial features hardly differ, and the Christ child resembles the innumerable putti and children who litter the artist's canvases. Notably, too, the child, who displays no token of his divine identity, does not reach for a ball or globe, as was common in earlier images of the Virgin and Child, but brandishes a flower, one of the artist's favorite decorative elements.Europe, Northern and Western Europe, FranceNorthern and Western European, French, RococoPaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Rococo, PaintingEurope, Northern and Western Europe, France, Northern and Western European, French, Rococo, PaintingArtstor: Fine Arts Museums of San Francisco<br/>This oval oil-on-canvas painting is held in a rectangular frame. This work depicts a young woman, presumably the Virgin Mary, holding a child, which is likely a naturalistic representation of Jesus. They are both enwrapped in multitudes of draped fabrics of different colors. The child is holding a rose.ModernityImageN/Aoil on canvas43.2 x 34.9 cm18th Century CE, RococoSt Mary, JesusN/AN/AN/AN/Ahttps://library.artstor.org/#/asset/AMICO_SAN_FRANCISCO_10385417498<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000098%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>
100
000099-19792022-08-02 13:37:37Bound Nubian PrisonerBCE 1979-1801 <a href="https://drive.google.com/file/d/1za45cog4vlxXrQPg4t3vHs3oxeZU8_Ms/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br></br>Date: BCE 1979-1801 <br/>Artist/Agent: Unknown<br/>Place of Origin: Egypt, Thebes (possibly)<br/>Current Location: Brooklyn Museum, 3rd Floor<br/>Cultural Context: Ancient Egyptian, Middle Kingdom<br/>Worktype: Sculpture<br/><br/>Egyptian artists of the New Kingdom period spend a lot of time carving figures in stone representations of captured or vanquished enemies, adorning them with characteristic ethnic features, such as this figure’s Nubian wig. <br/><br/> <ul><li><a href="https://www.brooklynmuseum.org/opencollection/objects/3817" target="_blank">Multiple views of this object are available at the Brooklyn Art Museum webiste. </a></li><li><a href="https://www.jstor.org/stable/3880745?seq=1#page_scan_tab_contents" target="_blank">See this article on Victorious Ruler Representation in Egyptian Art by Joachim Śliwa</a></li></ul><br/><br/><br/><br/>UnknownSoft limestone figure of a bound prisoner with an elongated torso. Kneeling, with arms pulled behind his back, the figure looks forward from under a carved rounded wig.Soft Limestone figure of a bound Nubian prisonerEgypt, Thebes (possibly)Brooklyn Museum, 3rd FloorCC BY 3.0 Brooklyn Museumhttps://globalimages.liberalstudies.hosting.nyu.edu/images/obj99.jpghttps://drive.google.com/uc?export=download&id=1za45cog4vlxXrQPg4t3vHs3oxeZU8_Mshttps://drive.google.com/file/d/1za45cog4vlxXrQPg4t3vHs3oxeZU8_Ms/view?usp=sharing<a href="https://drive.google.com/file/d/1za45cog4vlxXrQPg4t3vHs3oxeZU8_Ms/view?usp=sharing" target="_blank">Link to image in Google Drive</a></br>Egyptian artists of the New Kingdom period spend a lot of time carving figures in stone representations of captured or vanquished enemies, adorning them with characteristic ethnic features, such as this figure’s Nubian wig. Africa North of Sahara, Nile River ValleyAncient Egyptian, Middle KingdomSculptureAfrica North of Sahara, Nile River Valley, Ancient Egyptian, Middle Kingdom, SculptureAfrica North of Sahara, Nile River Valley, Ancient Egyptian, Middle Kingdom, SculptureCC BY 3.0 Brooklyn Museum<br/>Soft limestone figure of a bound prisoner with an elongated torso. Kneeling, with arms pulled behind his back, the figure looks forward from under a carved rounded wig.Antiquityhttps://www.brooklynmuseum.org/opencollection/objects/3817Multiple views of this object are available at the Brooklyn Art Museum webiste. https://www.jstor.org/stable/3880745?seq=1#page_scan_tab_contentsSee this article on Victorious Ruler Representation in Egyptian Art by Joachim Śliwa<ul><li><a href="https://www.brooklynmuseum.org/opencollection/objects/3817" target="_blank">Multiple views of this object are available at the Brooklyn Art Museum webiste. </a></li><li><a href="https://www.jstor.org/stable/3880745?seq=1#page_scan_tab_contents" target="_blank">See this article on Victorious Ruler Representation in Egyptian Art by Joachim Śliwa</a></li></ul>ImageN/Alimestone11.3 x 4.5 x 3.5 cm2nd Milliennium BCE, Middle Kingdomnubian, prisonerN/AN/AN/AN/Amt/cphttps://www.brooklynmuseum.org/opencollection/objects/381799<iframe src='https://dss.hosting.nyu.edu/viewpoint/mirador#manifests[]=https%3A%2F%2Faperitiiif-presentation-api-store.s3.us-east-1.amazonaws.com%2Fgig%2F000099%2Fmanifest.json&theme=light&thumbs=off&view=single&workspacecontrols=false' height='400'\>