History Unit 8 Assignment: Timeline Activity

In this assignment, you will construct a timeline using the timeline template, placing the cultures covered in this week’s reading in the appropriate place on a chronological timeline and global map.

ART102 – Art History II

Timeline Activity

Due Date: Points: 100 Overview: In this assignment, you will construct a timeline, placing the cultures covered in this week’s reading in the appropriate place on a chronological timeline and global map. Instructions: You will use the Timeline template throughout the course. You will submit your progress at the end of each unit. There are several steps to completing this assignment:

• Select an appropriate piece of art to represent each of this week’s civilizations. • Place images representing Native American Cultures (1300 – 1980), Oceania

through 1980, and Africa (1800 – 1980) art in the appropriate places on the timeline and add corresponding dates for each culture.

• On the slide devoted to each culture: o Drag the star to the corresponding part of the world map. o Provide three sentences in your own words describing three ‘big-picture’

ideas, or significant traits of Native American Cultures (1300 – 1980), Oceania through 1980, and Africa (1800 – 1980) art.

Note: The work from this week’s reading is from two different continents. Place the star on your map on the place of origin of the particular piece(s) you’ve selected. Requirements:

• Use the Timeline template. • Choose an appropriate picture that represents Native American Cultures (1300 –

1980), Oceania through 1980, and Africa (1800 – 1980) art. • Write three complete sentences in your own words describing three ‘big-picture’

ideas of Native American Cultures (1300 – 1980), Oceania through 1980, and Africa (1800 – 1980) art.

Be sure to read the criteria below by which your work will be evaluated before you write and again after you write.

ART102–Art History II TimelineActivity

Evaluation Rubric for Timeline Assignment

CRITERIA Deficient Needs Improvement

Proficient Exemplary

0 points 1 – 9 points 10 points Picture Depicting Cultures

No pictures were provided.

Inaccurate or inappropriate choice of pictures to represent cultures.

Accurate and appropriate choice of pictures to represent cultures.

Dates for the Cultures

Doesn’t move the stars or has the incorrect locations and has many errors for the dates on the timeline and slides specific for cultures.

Moves the stars to locations on the map and may have an error for the dates on the timeline and slides specific for cultures.

Moves the stars to the correct locations on the map and has accurate dates on the timeline and slides specific for cultures.

0 – 19 points 20 – 35 points 36 – 53 points 54 – 60 points Big-Picture Ideas/Traits

Doesn’t provide any big-picture ideas or provides inaccurate big- picture ideas/traits of the cultures.

Provides some accurate big- picture idea/trait that represents the cultures. May be missing key ideas/traits of the cultures.

Provides almost all accurate big- picture ideas/traits that represent the cultures. May be missing key ideas/traits of the cultures.

Provides all necessary accurate and well-written big-picture ideas/traits that represent the cultures.

0 points 5 points 10 points Written Length

Doesn’t have any writing on the slides.

More or less than three sentences or incomplete sentences per culture.

Writes three sentences per culture.

0 – 5 points 6 – 7 points 8 – 9 points 10 points Clear and Professional Writing

Errors impede professional presentation.

Significant errors that do not impede professional presentation.

Few errors that do not impede professional presentation.

Writing and format are clear, professional, and error-free.

Overview:
Instructions:
Requirements:

Chapter 36

NATIVE AMERICAN CULTURES, 1300 TO 1980

Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.

Learning Objectives

Describe the extent of Aztec power in the period before the Spanish conquest.

List the chief subjects of Aztec art.

Analyze what the architecture and reliefs of Tenochtitlán reveal about Aztec society.

Explain the close relationship between Inka engineering and Inka art, architecture, and urban planning.

Compare preconquest Maya books with the later Native American decoration of ledger books.

Recall major monuments of Southwest Native American societies.

Describe the role played by masks in the arts of nations of the Northwest.

Explain how the design and decoration of totem poles relate to their function in Haida culture.

Debate the impact of US government actions on the arts and cultures of Plains societies.

MAP 36.1

36.1 Mixteca-Puebla and Aztec sites in Mesoamerica.

MAP 36.2

36.2 Inka sites in Andean South America.

MAP 36.3

36.3 Later Native American sites in North America.

Figure 36.1

36.1 The founding of Tenochtitlán, folio 2 recto of the Codex Mendoza, from Mexico City, Mexico, Aztec, ca. 1540–1542. Ink and colors on paper, 1' 7/8"  8 5/8". Bodleian Library, Oxford University, Oxford.

Figure 36.2

36.2 Mictlantecuhtli and Quetzalcoatl, folio 56 of the Borgia Codex, from Puebla or Tlaxcala, Mexico, Mixteca-Puebla, ca. 1400–1500. Mineral and vegetable pigments on deerskin, 1' 1 1/4"  1' 1 1/2". Biblioteca Apostolica Vaticana, Rome.

Figure 36.3

36.3 Reconstruction drawing with cutaway view of various rebuildings of the Great Temple, Tenochtitlán, Mexico City, Mexico, Aztec, ca. 1400–1500. C  Coyolxauhqui disk (fig. 36.4).

Figure 36.4

36.4 Coyolxauhqui, from the Great Temple (fig. 36.3) of Tenochtitlán, Mexico City, Mexico, Aztec, ca. 1469. Stone, diameter 10' 10". Museo del Templo Mayor, Mexico City.

Figure 36.5

36.5 Tlaltecuhtli, from the Great Temple of Tenochtitlán, Mexico City, Mexico, Aztec, 1502. Andesite, painted with mineral colors, 13' 9"  11' 10 1/2". Museo del Templo Mayor, Mexico City.

Figure 36.6

36.6 Coatlicue, from Tenochtitlán, Mexico City, Mexico, Aztec, ca. 1487–1520. Andesite, 11' 6" high. Museo Nacional de Antropología, Mexico City.

Figure 36.7

36.7 Inka man working with a khipu, illustration in the Codex Murúa, 1615–1616. Ink and colors on vellum, 1' 11 1/4"  1' 3 1/4". J. Paul Getty Museum, Los Angeles.

Figure 36.8

36.8 Machu Picchu (looking northwest), Peru, Inka, 15th century.

Figure 36.9

36.9 Remains of the Temple of the Sun (surmounted by the 16th-century church of Santo Domingo), Cuzco, Peru, Inka, 15th century. Left: general view of the exterior (looking north); right: detail of the interior masonry.

Figure 36.9A

36.9A Llama, alpaca, and woman, from near Lake Titicaca, Bolivia, Inka, ca. 1475–1532. Silver with gold and cinnabar, 9 1/2" high. American Museum of Natural History, New York.

Figure 36.10

36.10 Detail of a kiva mural from Kuaua Pueblo (Coronado State Monument), New Mexico, Ancestral Puebloan, late 15th to early 16th century. Interior of the kiva, 18'  18'. Museum of New Mexico, Santa Fe.

Figure 36.11

36.11 Photograph taken on January 9, 1948, in Mesa Verde National Park (fig. 18.37) of a Navajo mother weaving a blanket on a loom while her daughters assist her by preparing wool for the loom.

Figure 36.12

36.12 Otto Pentewa, Katsina figurine, New Oraibi, Arizona, Hopi, carved before 1959. Cottonwood root and feathers, 1' high. Arizona State Museum, University of Arizona, Tucson.

Figure 36.13

36.13 María Montoya Martínez and Julian Martínez, jar with feathers and avanyus, San Ildefonso Pueblo, New Mexico, ca. 1934–1943. Black-on-black earthenware, 1' 2 1/4"  1' 6 5/8". Museum of Fine Arts, Houston (gift of Miss Ima Hogg).

Figure 36.14

36.14 Eagle transformation mask, closed (top) and open (bottom) views, Alert Bay, Canada, Kwakwaka’wakw, late 19th century. Wood, feathers, and string, 1' 10"  11". American Museum of Natural History, New York.

Figure 36.15

36.15 War helmet mask, Canada, Tlingit, collected 1888–1893. Wood, 1' high. American Museum of Natural History, New York.

Figure 36.16

36.16 Bill Reid (Haida), assisted by Doug Cranmer (Namgis), re-creation of a 19th-century Haida village with totem poles, Queen Charlotte Island, Canada, 1962.

Figure 36.16A

36.16A Bill Reid, The Raven and the First Men, Haida, 1978–1980. Yellow cedar, 10' 1/8" high. Museum of Anthropology, University of British Columbia, Vancouver.

Figure 36.17

36.17 Chilkat blanket with stylized animal motifs, Canada, Tlingit, early 20th century. Cedar bark and mountain goat wool, 6'  2' 11". Southwest Museum of the American Indian, Los Angeles.

Figure 36.18

36.18 North Wind mask, Alaska, Yupik Eskimo, early 20th century. Wood and feathers, 3' 9" high. Metropolitan Museum of Art, New York (Michael C. Rockefeller Memorial Collection, gift of Nelson Rockefeller).

Figure 36.18A

36.18A Buffalo-hide robe with battle scene, Mandan, from the upper Missouri River, North Dakota, ca. 1800. Buffalo hide with deerskin fringe, porcupine quills, and mineral pigments, 8' 6"  7' 10". Peabody Museum of Archaeology, Harvard University, Cambridge.

Figure 36.19

36.19 Karl Bodmer, Hidatsa Warrior Pehriska-Ruhpa (Two Ravens), 1833. Engraving by Paul Legrand after the original watercolor in the Joslyn Art Museum, Omaha, 1' 3 7/8"  11 1/2". Engraving: Buffalo Bill Historical Center, Cody.

Figure 36.20

36.20 Honoring song at painted tipi, in Julian Scott Ledger, Kiowa, 1880. Pencil, ink, and colored pencil, 7 1/2"  1'. Charles and Valerie Diker Collection.

Discussion Questions

Why did the Spanish destroy so much of the native arts of the Americas?

How did Inka architects strategically use their landscape and local materials?

How did Aztec religion shape its society’s art and architecture?

Contrast the main features of Native American Art of the Pacific Northwest with that of the Navajo.

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Chapter 37

OCEANIA BEFORE 1980

Learning Objectives

Describe the relationship of Dreamings and the X-ray style in Australian art.

Explain where one would find a bisj pole as well as the pole’s purpose.

List the central architectural features of an Iatmul village.

Analyze the role of ancestors in the art and architecture of Oceania.

Interpret the form and function of the Dilukai figures.

Describe the likely purpose of the colossal monolithic sculptures on Rapa Nui (Easter Island).

List the uses of barkcloth in the art of Oceania.

Explain the purposes of tattooing in Polynesia.

Discuss the arts produced for the Hawaiian kings.

MAP 37.1

37.1 Oceania.

Figure 37.1

37.1 Raharuhi Rukupo and others, interior of the Te Hau-ki-Turanga wharenui (meeting house), Poverty Bay, New Zealand, Polynesia, 1842–1845. Reconstructed in Te Papa Tongarewa, Museum of New Zealand, Wellington.

Figure 37.1a

37.1a Maori meeting houses symbolically represent an ancestor’s body. Carved wood freestanding pou tokomanawa support the ridge beam, and poupou relief panels represent ancestors in frontal positions.

Figure 37.1b

37.1b The lead sculptor, Raharuhi Rukupo, who was also chief of the Rongowhakaata clan, included his self-portrait at the entrance to the wharenui. His face and body are covered with elaborate Maori moko tattoos.

Figure 37.1c

37.1c Some of the ancestor figures are female, and the stitched lattice tukutuku panels are the work of female fabric artists, but women were not permitted to enter the Maori men’s community house.

Figure 37.1A

37.1A Composite animal-human figurine (Ambum Stone), from Ambum Valley, Papua New Guinea, Melanesia, ca. 1500 bce. Graywacke, 7 7/8" high. National Gallery of Australia, Canberra.

Figure 37.2

37.2 Auuenau (male ancestor figure), from East Alligator Rivers, Northern Territory, Australia, ca. 1913. Ocher on bark, 4' 10 5/8"  1' 1". Museum Victoria, Melbourne.

Figure 37.3

37.3 Asmat bisj poles, from Omadesep village, Faretsj River, Papua province, Melanesia, mid-20th century. Mangrove wood, paint, and fiber, 18' high. Metropolitan Museum of Art, New York (Michael C. Rockefeller Collection, bequest of Nelson A. Rockefeller, 1979).

Figure 37.4

37.4 Iatmul ceremonial men’s house, East Sepik, Papua New Guinea, Melanesia, mid- to late 20th century.

Figure 37.5

37.5 Elema hevehe masks retreating into the men’s house, Orokolo Bay, Papua New Guinea, Melanesia, early to mid-20th century.

Figure 37.5A

37.5A Abelam korambo (tamberan), Maprik, Sepik River, Papua New Guinea, Melanesia, photographed in 1974.

Figure 37.6

37.6 Abelam yam mask, Papua New Guinea, Melanesia, 20th century. Painted cane, 1' 6 9/16" high. Cleveland Museum of Art, Cleveland (gift of Nathaniel Sloane in memory of Rose White).

Figure 37.7

37.7 Uli statue, from New Ireland, Papua New Guinea, 18th or early 19th century. Wood, ocher, and charcoal, 4' 11 1/8" high. Musée du quai Branly, Paris.

Figure 37.8

37.8 Tatanua helmet mask, from New Ireland, Papua New Guinea, Melanesia, 1884–1895. Wood, paint, opercula shells, lime plaster, plant fiber, bark, bark cloth, rattan, and cord, 1' 3 1/4" high. Museum of Fine Arts, Houston.

Figure 37.9

37.9 Canoe prow and splashboard, from Trobriand Islands, Papua New Guinea, Melanesia, 19th to 20th centuries. Painted wood, 1' 3 1/2" high, 1' 11" long. Musée du quai Branly, Paris.

Figure 37.10

37.10 Canoe prow ornament, from Chuuk, Caroline Islands, Micronesia, late 19th century. Painted wood, birds 11"  10 5/8". British Museum, London.

Figure 37.11

37.11 Model of a men’s ceremonial house (bai) at 75 percent scale, from Belau (Palau), Micronesia, 20th century. Ethnologisches Museum, Staatliche Museen zu Berlin, Berlin.

Figure 37.12

37.12 Dilukai, from Belau (Palau), Micronesia, late 19th or early 20th century. Wood, paint, and kaolin, 2' 1 5/8" high. Metropolitan Museum of Art, New York (Michael C. Rockefeller Collection, bequest of Nelson A. Rockefeller, 1979).

Figure 37.13

37.13 Row of moai on a stone platform, Ahu Tongariki, Rapa Nui (Easter Island), Polynesia, ca. 1200–1500. Volcanic tuff and red scoria.

Figure 37.14

37.14 Mele Sitani, ngatu with manulua designs, Tonga, Polynesia, 1967. Barkcloth.

Figure 37.15

37.15 Tattooed warrior with war club, Nukahiva, Marquesas Islands, Polynesia, early 19th century. Color engraving in Carl Bertuch, Bilderbuch für Kinder (Weimar, 1813).

Figure 37.16

37.16 Hair ornaments, from the Marquesas Islands, Polynesia, early to mid-19th century. Bone, 1 1/2" high (left), 1 2/5" high (right). University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia.

Figure 37.17

37.17 A’a, from Rurutu, Austral Islands, Polynesia, ca. 1800. Wood, 3' 8" high. British Museum, London.

Figure 37.18

37.18 Staff god (Tangaroa?), from Rarotonga, Cook Islands, Polynesia, ca. 1900. Wood, 2' 4 1/2" high. Cambridge University Museum of Archaeology and Anthropology, Cambridge.

Figure 37.19

37.19 Kuka’ilimoku, from Hawaii, Polynesia, ca. 1790–1810. Wood, 4' 3 1/4" high. British Museum, London.

Figure 37.20

37.20 Head of Lono, from Hawaii, Polynesia, ca. 1775–1780. Feathers over wickerwork, human hair, dogs’ teeth, and pearl shells, 2' 3/4" high. British Museum, London.

Figure 37.21

37.21 Feather cloak of Kamehameha III, from Hawaii, Polynesia, ca. 1824–1843. Feathers and fiber netting, 4' 8 1/3"  8'. Bishop Pauahi Museum, Honolulu.

Figure 37.21A

37.21A Te Whare Runanga (view of interior), Waitangi, Bay of Islands, New Zealand, Polynesia, 1934–1940.

Discussion Questions

How are bisj poles implicated in violence within Asmat society? What are examples of art from other societies that celebrate war or violence?

Why do some of the Oceanic cultures create small and fragile works of art, while others create monumental and permanent works?

What are some of the different reasons there has been a revival of cultural heritage practices and indigenous art forms among various peoples of Oceania?

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Chapter 38

AFRICA, 1800 TO 1980

Learning Objectives

Compare two examples of traditional African arts that survived into the 19th century.

Explain the hierarchy of importance of African royal arts.

Understand and describe the importance of Akati Akpele Kendo.

Describe the power figure in Kongo art.

Analyze the technique and purpose of combining metal with woodcarving.

Explain the importance of the ancestral altar of King Eweka II of Benin.

Debate the assertion: “In Africa, art is nearly always an active agent in the lives of its peoples.”

Discuss an example of “coded information” included in African costume and jewelry, as well as other forms of body adornment such as elaborate coiffures and body painting.

MAP 38.1

MAP 38.1 Africa in the early 21st century.

Figure 38.1

38.1 Ancestral screen (nduen fobara), Kalabari Ijaw, Nigeria, late 19th century. Wood, fiber, and cloth, 3' 9 1/2" high. British Museum, London.

Figure 38.2

38.2 Reliquary guardian figure (bieri), Fang, Gabon, late 19th century. Wood, 1' 8 3/8" high. Philadelphia Museum of Art, Philadelphia.

Figure 38.3

38.3 Reliquary guardian figure (mbulu ngulu), Kota, Gabon, early 20th century. Wood, copper, iron, and brass, 2' 2" high. Museum of Fine Arts, Boston (gift of Geneviève McMillan in memory of Reba Stewart).

Figure 38.4

38.4 Royal ancestral altar of King Eweka II, in the palace in Benin City, Nigeria, photographed in 1970. Clay, copper alloy, wood, and ivory. Photo: National Museum of African Art, Washington, D.C.

Figure 38.5

38.5 Power figure (nkisi n’kondi), Kongo, from Shiloango River area, Democratic Republic of Congo, ca. 1875–1900. Wood, nails, blades, medicinal materials, and cowrie shell, 3' 10 3/4" high. Detroit Institute of Arts, Detroit.

Figure 38.6

38.6 Seated couple, Dogon, Mali, ca. 1800–1850. Wood, 2' 4" high. Metropolitan Museum of Art, New York (gift of Lester Wunderman).

Figure 38.7

38.7 Male and female figures, probably spirits (asye usu), Baule, Côte d’Ivoire, late 19th or early 20th century. Wood, beads, and kaolin, man 1' 9 3/4" high, woman 1' 8 5/8" high. Metropolitan Museum of Art, New York (Michael C. Rockefeller Memorial Collection, gift of Nelson A. Rockefeller).

Figure 38.8

38.8 Osei Bonsu, akua’ba (“Akua’s child”), Asante, Ghana, ca. 1960. Wood and glass beads, 1' 2 1/2" high. National Museum of African Art, Washington, D.C. (gift of Herbert C. Madison).

Figure 38.9

38.9 Osei Bonsu, two men sitting at a table of food (linguist’s staff), Asante, Ghana, mid-20th century. Wood and gold leaf, section shown 10" high. Collection of the paramount chief of Offinso, Asante.

Figure 38.10

38.10 Large ceremonial spoon or ladle, Dan, from Liberia or western Côte d’Ivoire, late 19th or early 20th century. Wood and plant fiber, 1' 6 1/2" high. Museum of Fine Arts, Houston (Brown Foundation purchase).

Figure 38.11

38.11 Throne and footstool of King Nsangu, Bamum, Cameroon, ca. 1870. Wood, textile, glass beads, and cowrie shells, 5' 9" high. Museum für Völkerkunde, Staatliche Museen zu Berlin, Berlin.

Figure 38.12

38.12 Olowe of Ise, doors from the shrine of the king’s head in the royal palace, Ikere, Yoruba, Nigeria, 1910–1914. Painted wood, 6' high. British Museum, London.

Figure 38.12A

38.12A Olowe of Ise, veranda post, from Akure, Yoruba, Nigeria, 1920s. Wood and pigment, 14' 6" high. Denver Art Museum, Denver.

Figure 38.12B

38.12B Stock raid with cattle, horses, and encampment, rock painting, San, from Bamboo Mountain, South Africa, mid-19th century. Natal Museum, Pietermaritzburg.

Figure 38.12C

38.12C Magical “rain animal,” rock painting, San, from Bamboo Mountain, South Africa, mid-19th century. Natal Museum, Pietermaritzburg.

Figure 38.13

38.13 Chibinda Ilunga, Chokwe, from Angola or Democratic Republic of Congo, late 19th to 20th century. Wood and human hair, 1' 4" high. Kimbell Art Museum, Fort Worth.

Figure 38.14

38.14 Akati Akpele Kendo, warrior figure (Gu?), from the palace of King Glele, Abomey, Fon, Republic of Benin, 1858–1859. Iron, 5' 5" high. Musée du quai Branly, Paris.

Figure 38.15

38.15 Yombe mother and child (pfemba), Kongo, Democratic Republic of Congo, late 19th century. Wood, glass, glass beads, brass tacks, and pigment, 10 1/8" high. National Museum of African Art, Washington, D.C.

Figure 38.15A

38.15A Ala and Amadioha, painted clay sculptures in an mbari ritual house, Igbo, Umugote Orishaeze, Nigeria, photographed in 1966.

Figure 38.16

38.16 Ancient Mother figure, Senufo, Côte d’Ivoire, early 20th century. Wood, 2' 11" high. National Museum of African Art, Washington, D.C. (gift of the Walt Disney Company).

Figure 38.17

38.17 Senufo masqueraders, Côte d’Ivoire.

Figure 38.18

38.18 “Beautiful Lady” dance mask, Senufo, Côte d’Ivoire, late 20th century. Wood. Private collection.

Figure 38.19

38.19 Satimbe masquerader, Dogon, Mali, mid- to late 20th century.

Figure 38.20

38.20 Bwoom masquerader, Kuba, Democratic Republic of Congo, photographed ca. 1950.

Figure 38.21

38.21 Ngady Amwaash mask, Kuba, Democratic Republic of Congo, late 19th or early 20th century. Peabody Museum of Archaeology and Ethnology, Harvard University, Cambridge.

Figure 38.22

38.22 Ci Wara headdress, Bamana, from the Bamako region of Mali, late 19th or early 20th century. Wood, metal bands, and thread, 2' 11" high. Metropolitan Museum of Art, New York (Michael C. Rockefeller Collection, gift of Nelson A. Rockefeller).

Figure 38.23

38.23 D’mba mask, Baga, Guinea, late 19th or early 20th century. Wood and brass, 4' 4" high. Yale University Art Gallery, New Haven (Charles B. Benenson Collection).

Figure 38.24

38.24 Female Sowie mask, Mende, Sierra Leone, mid-to late 20th century. Painted wood, 1' 2 1/2" high. Fowler Museum of Cultural History, University of California, Los Angeles (gift of the Wellcome Trust).

Figure 38.25

38.25 Kuba king Kot a-Mbweeky III during a display for photographer and filmmaker Eliot Elisofon in 1970, Mushenge, Democratic Republic of Congo.

Figure 38.26

38.26 Two Asante noblemen wearing kente cloth robes, Kumasi, Ghana, photographed in January 1972.

Figure 38.27

38.27 Samburu men and women preparing to dance, Samburu National Reserve, Kenya.

Discussion Questions

Compare the design and function of ceremonial masks from a culture in Africa with those from the Elema society of New Guinea and the Native Americans of the Pacific Northwest.

How did the throne and palace feature in traditional African cultures?

How did gender roles play out in the use and creation of art in different African cultures?

Why are so few individual African artists known by name? Why is this now changing?

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Art History II Timeline

You will use this template throughout the course, make sure to save your progress and you will upload your work at the end of each unit.

‹#› | School of Arts & Sciences

Late Medieval and Early Renaissance Northern Europe

1395

The Renaissance and Mannerism in Cinquecento, Italy

1500-1599

Baroque in Italy and Spain

1600-1750

The Renaissance in Quattrocento, Italy

1400-1500

High Renaissance and Mannerism in Northern Europe and Spain

1400-1600

B aroque in Northern Europe

1580-1700

Timeline

‹#› | School of Arts & Sciences

Rococo to Neoclassicism

1700s

Impressionism, Post- Impressionism, Symbolism: Europe and America

1870-1900

Modernism in U.S. and Mexico After1900

1900-1945

Contermporary Art Worldwide

1980 to date

Romanticism, Realism, Photography: Europe and America

1800-1870

Modernism in Europe After 1900

1900-1945

Modernism and Postmodernism in Europe and America After 1945

1945-1980

Timeline

‹#› | School of Arts & Sciences

South and Southeast Asia

1200-1980

Japan After 1333

1333-1980

Oceania Before 1980

YYYY

China and Korea

1279-1980

Native American Cultures After 1300

YYYY

Timeline

Africa After 1800

YYYY

‹#› | School of Arts & Sciences

Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua.

Ut enim ad minim veniam.

c. 1395 – 1500

Back to the Timeline

Late Medieval and Early Renaissance Northern Europe

‹#› | School of Arts & Sciences

There was a renewed interest in classical Greek Mythology as evidenced by depictions of Greek gods such as Venus

There was a focus on beauty. Human form was depicted proportionally and accurately.

There was a focus on painting nature or including aspects of nature into paintings.

c. 1400 – 1500

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The Renaissance in Quattrocento, Italy

‹#› | School of Arts & Sciences

It was characterized by a celebration of ideal natural beauty, perfect proportions and a sense of harmony in the art works as is shown in artworks of the artists Michelangelo and Raphael.

There was an incorporation of religious themes in the artworks as is seen in artworks such as Michelangelo’s Madonna on the Rocks where he depicts the nativity, a religiously important scene in Christianity.

There was an increased use techniques aimed at creating a 3-D impression of paintings using lines, perspective and light.

c. 1500 – 1599

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The Renaissance and Mannerism in Cinquecento, Italy

‹#› | School of Arts & Sciences

The artworks incorporated religious themes and symbolism inspired by the cultures of the region.

It was characterized by a love for nature and the realistic, evidenced by the focus on landscape and nature paintings.

The artwork became more emotionally charged

c. 1400 – 1600

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High Renaissance and Mannerism in Northern Europe and Spain

‹#› | School of Arts & Sciences

Paintings were characterized by the use of light and emotive depictions in paintings while architectural pieces were characterized by the appearances of being grand and being illusionistic.

There was a strong influence of the catholic church on art and architecture of the time.

It was characterized by use of realism and intense forms of beauty in art and architecture.

c. 1600 – 1750

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The Baroque in Italy and Spain

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The main sponsors of art were protestants hence the focus on individual piety and not long health religious narratives.

It was also characterized by a focus on secular subjects as some of the sponsors were the wealthy people not religious institutions.

The artwork focused on the real world and included portraits, and depictions of the landscape.

c. 1580 – 1700

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The Baroque in Northern Europe

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There was a shift from a focus of order and balance in art to a preference for light hearted, asymmetrical and aesthetics in art.

The art was keen on depicting private scenes of daily human interactions unlike neoclassical art which focused on public scenes mostly of historical significance.

Rococo art focused on intricate details of art such as swirling curves which was transitioned to simple artforms in the advent of neoclassism

c. Year – Year

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Rococo to Neoclassicism: The 18th Century in Europe and America

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There was a focus on capturing the political and social changes of the time such as the industrial revolution in the art produced.

Art was increasingly accepted as a tool to change the world through its message.

There was a shift in focus from the imagination to creation of art that is more ideal and real

c. Year – Year

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Romanticism, Realism, Photography: Europe and America

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.There was an increased use of loose brush strokes and lighting techniques in paintings.

There was an emphasis on expression of emotion through the use of color and form.

There was a focus on evoking a deeper meaning of art through symbolism

c. 1870 – 1900

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Impressionism, Post-Impressionism, Symbolism: Europe and America

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There was a shift from the tradition with more artists experimenting with techniques such as fragmentation and abstraction.

They tended to focus on inner expression more so expression the subconscious human condition.

There was a complete revolution of the perception of art with changes in what was considered beauty and also on the importance of art.

c. 1900 – 1945

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Modernism in Europe

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There was a general rejection of the influences of European art on American art.

Art was used a tool to shape cultural as well as natural identity.

There was experimentation with forms such as geometric abstraction and cubism

c. 1900– 1945

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Modernism in the United States and Mexico

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There was an emphasis on innovation and experimentation with new artistic techniques.

Post modernism seemed to embrace diversity fragmentation and ironical depictions.

As modernism was focused on creation of order, post modernism seemed more focused on ideas of chaos and plurality.

c. 1945 – 1980

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Modernism and Postmodernism in Europe and America

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It is characterized by the use of varied mediums and technologies that blurs the difference between artforms while pushing the limits of technology

It often engages social and political issues that are pressing.

It is dynamic and often complex

c. 1980 – to date

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Contemporary Art Worldwide

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The art was characterized by the inclusion of religious and cultural beliefs into art.

The art had both indigenous and foreign influences.

Art was used a medium for expressing political power, social hierarchy and even religious beliefs.

c. 1200 – 1980

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South and Southeast Asia

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The artistic themes, styles and medium used were influenced by Confucian, Buddhist and Daoist philosophies.

The art focused on the preservation of cultural identity of the people

The art had both Chinese and Korean influences though the influence of China was more dominant.

c. 1279 – 1980

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China and Korea

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The art was greatly influenced by ideas of Zen Buddhism and aesthetics which led to the creation of art that embraced simplicity, naturalism and an appreciation for the imperfect.

The art reflected the complex social and political landscape of the time and therefore ranged from courtly presentations to the more programmatic warrior like architecture of castles.

Artistic methods and innovation were influenced by China which was a major power in the region.

c. 1333 – 1980

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Japan After 1333

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c. Year – Year

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Native American Cultures After 1300

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c. Year – Year

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Oceania Before 1980

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