24Q0016_PWS_TECH_EX_2_SCOPE_AND_SEQUENCE_.xlsx

Unit 1

Developing Understanding: The discipline of art history examines art and the practices of art making, and explores how theories and interpretations of art develop and change over time. Cultural practices, belief systems, and physical setting are important parts of understanding art and art making in Unit 1. The influence of these factors can be seen in early works from throughout the world that share certain features, including a concern with the natural world and humans’ place within it.

The analysis and interpretations of art from this period are especially important, as little-to-no written evidence exists for such early works, and art historians develop theories in collaboration with social and physical scientists to understand art historical developments. Unit 1: pages 35-47 Big Idea 1:

Culture -

- How does the study of art contribute to our greater understanding of cultural practices and belief systems?

- How does art provide clues for understanding a culture and its history when we have nothing else to investigate?

Big Idea 3:

Theories and Interpretations of Art - -In what ways does the study of global prehistoric art require the contributions of other disciplines? Why?

Big Idea 4:

Materials, Processes, and Techniques - -How do the materials and techniques of global prehistoric art shape and define those works?

1. Apollo 11 stones. Namibia. c. 25,500–25,300 bce. Charcoal on stone.

2. Great Hall of the Bulls. Lascaux, France. Paleolithic Europe. 15,000–13,000 bce. Rock painting.

3. Camelid sacrum in the shape of a canine. Tequixquiac, central Mexico. 14,000–7000 bce. Bone.

4. Running horned woman. Tassili n’Ajjer, Algeria. 6000–4000 bce. Pigment on rock.

5. Beaker with ibex motifs. Susa, Iran. 4200–3500 bce. Painted terra cotta.

6. Anthropomorphic stele. Arabian Peninsula. Fourth millennium bce. Sandstone.

7. Jade cong. Liangzhu, China. 3300–2200 bce. Carved jade.

8. Stonehenge. Wiltshire, UK. Neolithic Europe. c. 2500–1600 bce. Sandstone.

9. The Ambum stone. Ambum Valley, Enga Province, Papua New Guinea. c. 1500 bce. Greywacke.

10. Tlatilco female figurine. Central Mexico, site of Tlatilco. 1200–900 bce. Ceramic.

11. Terra cotta fragment. Lapita. Reef Islands, Solomon Islands. 1000 bce. Terra cotta (incised).

systems, and/or physical setting

U1L2: Unit 1, Lesson 2 Materials, Processes, and Techniques in

1.C Explain how artistic decisions about form, style materials, technique, and/or content shape a work of art (or group of related works of art).

5.A Describe visual elements of a work of art (or group of related works of art).

5.B In analyzing a work of art beyond the image set, expain how artistic decisions about form, style, materials, technique, and/or content shape a work of art (or group of related works of art).

Art and art making takes many different forms both within and across cultures, and the materials, processes, and techniques employed may also vary by location and culture with wide-ranging influence on the art that is generated.

shaped by visual analysis as well as by other disciplines, technology, or

Unit 2

Culture -

- What can the physical setting of a work of art tell us about what was important to the culture in which it was created?

Big Idea 5:

Purpose and Audience -

- How does purpose or function influence works of art and express cultural characteristics of societies?

12. White Temple and its ziggurat. Uruk (modern Warka, Iraq). Sumerian. c. 3500–3000 bce. Mud brick.

13. Palette of King Narmer. Predynastic Egypt. c. 3000–2920 bce. Greywacke.

14. Statues of votive figures, from the Square Temple at Eshnunna (modern Tell Asmar, Iraq). Sumerian. c. 2700 bce. Gypsum inlaid with shell and black limestone.

15. Seated scribe. Saqqara, Egypt. Old Kingdom, Fourth Dynasty. c. 2620–2500 bce. Painted limestone.

16. Standard of Ur from the Royal Tombs at Ur (modern Tell el-Muqayyar, Iraq). Sumerian. c. 2600–2400 bce. Wood inlaid with shell, lapis lazuli, and red limestone.

17. Great Pyramids (Menkaura, Khafre, Khufu) and Great Sphinx. Giza, Egypt. Old Kingdom, Fourth Dynasty. c. 2550–2490 bce. Cut limestone.

18. King Menkaura and queen. Old Kingdom, Fourth Dynasty. c. 2490–2472 bce. Greywacke.

19. The Code of Hammurabi. Babylon (modern Iran). Susian. c. 1792–1750 bce. Basalt.

20. Temple of Amun-Re and Hypostyle Hall. Karnak, near Luxor, Egypt. New Kingdom, 18th and 19th Dynasties. Temple: c. 1550 bce; hall: c. 1250 bce. Cut sandstone and mud brick.

21. Mortuary temple of Hatshepsut. Near Luxor, Egypt. New Kingdom, 18th Dynasty. c. 1473–1458 bce. Sandstone, partially carved into a rock cliff, and red granite.

22. Akhenaten, Nefertiti, and three daughters. New Kingdom (Amarna), 18th Dynasty. c. 1353–1335 bce. Limestone.

23. Tutankhamun’s tomb, innermost coffin. New Kingdom, 18th Dynasty. c. 1323 bce. Gold with inlay of enamel and semiprecious stones.

24. Last judgment of Hunefer, from his tomb (page from the Book of the Dead ). New Kingdom, 19th Dynasty. c. 1275 bce. Painted papyrus scroll.

25. Lamassu from the citadel of Sargon II, Dur Sharrukin (modern Khorsabad, Iraq). Neo-Assyrian. c. 720–705 bce. Alabaster.

26. Athenian agora. Archaic through Hellenistic Greek. 600 bce–150 ce. Plan.

27. Anavysos Kouros. Archaic Greek. c. 530 bce. Marble with remnants of paint.

28. Peplos Kore from the Acropolis. Archaic Greek. c. 530 bce. Marble, painted details.

29. Sarcophagus of the Spouses. Etruscan. c. 520 bce. Terra cotta.

30. Audience Hall (apadana) of Darius and Xerxes. Persepolis, Iran. Persian. c. 520–465 bce. Limestone.

31. Temple of Minerva (Veii, near Rome, Italy) and sculpture of Apollo. Master sculptor Vulca. c. 510–500 bce. Original temple of wood, mud brick, or tufa (volcanic rock); terra cotta sculpture.

32. Tomb of the Triclinium. Tarquinia, Italy. Etruscan. c. 480–470 bce. Tufa and fresco.

33. Niobides Krater. Anonymous vase painter of Classical Greece known as the Niobid Painter. c. 460–450 bce. Clay, red-figure technique (white highlights).

34. Doryphoros (Spear Bearer). Polykleitos. Original 450–440 bce. Roman copy (marble) of Greek original (bronze).

35. Acropolis. Athens, Greece. Iktinos and Kallikrates. c. 447–410 bce. Marble.

36. Grave stele of Hegeso. Attributed to Kallimachos. c. 410 bce. Marble and paint.

37. Winged Victory of Samothrace. Hellenistic Greek. c. 190 bce. Marble.

38. Great Altar of Zeus and Athena at Pergamon. Asia Minor (present-day Turkey). Hellenistic Greek. c. 175 bce. Marble (architecture and sculpture).

39. House of the Vettii. Pompeii, Italy. Imperial Roman. c. second century bce; rebuilt c. 62–79 ce. Cut stone and fresco.

40. Alexander Mosaic from the House of Faun, Pompeii. Republican Roman. c. 100 bce. Mosaic.

41. Seated boxer. Hellenistic Greek. c. 100 bce. Bronze. 42. Head of a Roman patrician. Republican Roman. c. 75–50 bce. Marble.

43. Augustus of Prima Porta. Imperial Roman. Early first century ce. Marble.

44. Colosseum (Flavian Amphitheater). Rome, Italy. Imperial Roman. 70–80 ce. Stone and concrete.

45. Forum of Trajan. Rome, Italy. Apollodorus of Damascus. Forum and markets: 106–112 ce; column completed 113 ce. Brick and concrete (architecture); marble (column).

46. Pantheon. Imperial Roman. 118–125 ce. Concrete with stone facing.

47. Ludovisi Battle Sarcophagus. Late Imperial Roman. c. 250 ce. Marble.

systems, and/or physical setting affect art and art making.

Explain how materials, processes, and techniques affect art and art making. 1.A Identify a work of art (or group of related works of art).

1.B Describe visual elements of a work of art (or group of related works of art).

1.C Explain how artistic decisions about form, style, materials, technique, and/or content shape a work of art (or group of related works of art).

2.A Describe contextual elements of a work of art (or group of related works of art).

2.C Explain how and/or why context influences artistic decisions about form, style, materials, content, and/or function in the creation or meaning of a work of art (or group of related works of art).

3.A Describe similarities and/or differences in two or more works of art using appropriate and relevant points of comparison.

5.A Describe visual elements of a work of art (or group of related works of art) beyond the image set.

5.B In analyzing a work of art beyond the image set, explain how artistic decisions about form, style, materials, technique, and/or content shape a work of art (or group of related works of art).

6.A Attribute a work of art to a specific artist, culture, art historical style, or object type from the image set.

6.B Justify an attribution of a work of art by explaining similarities with work by a specific artist, culture, art historical style, or object type from the image set.

Cultural practices, belief systems, and physical setting constitute an important part of art and art making and are often communicated in various stylistic conventions and forms. Such cultural considerations may affect artistic decisions that include, but are not limited to, siting, subject matter, and modes of display, and may help to shape the creation of art in a given setting or within a given culture.

Art and art making take many different forms both within and across cultures, and the materials, processes, and techniques employed may also vary by location and culture with wide-ranging influence on the art that is generated.

shaped by visual analysis as well as by other disciplines, technology, or

Unit 3

Developing Understanding: The art and architecture created by Medieval European artists and architects was heavily influenced by purpose and audience. The shared artistic forms, functions, and techniques apparent in these works were often influenced by both earlier and contemporary cultures. This is evident in places of worship, for example the Great Mosque’s influence on the Alhambra or Chartres Cathedral’s influence on cathedral architecture that followed.

The Renaissance and Baroque traditions built upon those established in the Medieval period, and expanded upon them to include new technological and cultural developments. The cultural shift that took place during the Renaissance in Europe led artists to explore secular subjects in addition to religious works, such as scenes from everyday life like Bruegel’s Hunters in the Snow or Ruysch’s Fruit and Insects. Unit 3: pages 81-125 Big Idea 1:

Culture -

- How do the cultural values and belief systems of Early European and Colonial American art relate to the purpose and function of the art and art making?

Big Idea 2:

Interactions with Other Cultures - -How are the cultural interactions that developed throughout this period demonstrated in the works of art?

Big Idea 5:

Purpose and Audience -

- What do the purpose, patron, and intended audience for Early European and Colonial American art communicate about the context in which it was created? 48. Catacomb of Priscilla. Rome, Italy. Late Antique Europe. c. 200–400 ce. Excavated tufa and fresco.

49. Santa Sabina. Rome, Italy. Late Antique Europe. c. 422–432 ce. Brick and stone, wooden roof.

50. Rebecca and Eliezer at the Well and Jacob Wrestling the Angel, from the Vienna Genesis. Early Byzantine Europe. Early sixth century ce. Illuminated manuscript (tempera, gold, and silver on purple vellum).

51. San Vitale. Ravenna, Italy. Early Byzantine Europe. c. 526–547 ce. Brick, marble, and stone veneer; mosaic.

52. Hagia Sophia. Constantinople (Istanbul). Anthemius of Tralles and Isidorus of Miletus. 532–537 ce. Brick and ceramic elements with stone and mosaic veneer.

53. Merovingian looped fibulae. Early medieval Europe. Mid-sixth century ce. Silver gilt worked in filigree, with inlays of garnets and other stones.

54. Virgin (Theotokos) and Child between Saints Theodore and George. Early Byzantine Europe. Sixth or early seventh century ce. Encaustic on wood.

55. Lindisfarne Gospels: St. Matthew, cross-carpet page; St. Luke portrait page; St. Luke incipit page. Early medieval (Hiberno Saxon) Europe. c. 700 ce. Illuminated manuscript (ink, pigments, and gold on vellum).

56. Great Mosque. Córdoba, Spain. Umayyad. c. 785–786 ce. Stone masonry.

57. Pyxis of al-Mughira. Umayyad. c. 968 ce. Ivory.

58. Church of Sainte-Foy. Conques, France. Romanesque Europe. Church: c. 1050–1130 ce; Reliquary of Saint Foy: ninth century ce, with later additions. Stone (architecture); stone and paint (tympanum); gold, silver, gemstones, and enamel over wood (reliquary).

59. Bayeux Tapestry. Romanesque Europe (English or Norman). c. 1066–1080 ce. Embroidery on linen.

60. Chartres Cathedral. Chartres, France. Gothic Europe. Original construction c. 1145–1155 ce; reconstructed c. 1194–1220 ce. Limestone, stained glass.

61. Dedication Page with Blanche of Castile and King Louis IX of France, Scenes from the Apocalypse from Bibles moralisées. Gothic Europe. c. 1225–1245 ce. Illuminated manuscript (ink, tempera, and gold leaf on vellum). (2 images, each from a separate manuscript)

62. Röttgen Pietà. Late medieval Europe. c. 1300–1325 ce. Painted wood.

63. Arena (Scrovegni) Chapel, including Lamentation. Padua, Italy. Unknown architect; Giotto di Bondone (artist). Chapel: c. 1303 ce; Fresco: c. 1305 ce. Brick (architecture) and fresco.

64. Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preparation for Passover). Late medieval Spain. c. 1320 ce. Illuminated manuscript (pigments and gold leaf on vellum).

65. Alhambra. Granada, Spain. Nasrid Dynasty. 1354–1391

ce. Whitewashed adobe stucco, wood, tile, paint, and gilding.

66. Annunciation Triptych (Merode Altarpiece).

Workshop of Robert Campin. 1427–1432 ce. Oil on wood.

67. Pazzi Chapel. Basilica di Santa Croce. Florence, Italy. Filippo Brunelleschi (architect). c. 1429–1461 ce.

Masonry.

68. The Arnolfini Portrait. Jan van Eyck. c. 1434 ce. Oil on wood.

69. David. Donatello. c. 1440–1460 ce. Bronze.

70. Palazzo Rucellai. Florence, Italy. Leon Battista Alberti (architect). c. 1450 ce. Stone, masonry.

71. Madonna and Child with Two Angels. Fra Filippo Lippi. c. 1465 ce. Tempera on wood.

72. Birth of Venus. Sandro Botticelli. c. 1484–1486 ce.

Tempera on canvas.

73. Last Supper. Leonardo da Vinci. c. 1494–1498 ce. Oil and tempera.

74. Adam and Eve. Albrecht Dürer. 1504 ce. Engraving.

75. Sistine Chapel ceiling and altar wall frescoes.

Vatican City, Italy. Michelangelo. Ceiling frescoes: c.

1508–1512 ce; altar frescoes: c. 1536–1541 ce. Fresco.

76. School of Athens. Raphael. 1509–1511 ce. Fresco.

77. Isenheim altarpiece. Matthias Grünewald.

c. 1512–1516 ce. Oil on wood.

78. Entombment of Christ. Jacopo da Pontormo.

1525–1528 ce. Oil on wood.

79. Allegory of Law and Grace. Lucas Cranach the Elder.

c. 1530 ce. Woodcut and letterpress.

80. Venus of Urbino. Titian. c. 1538 ce. Oil on canvas.

81. Frontispiece of the Codex Mendoza. Viceroyalty of New Spain. c. 1541–1542 ce. Ink and color on paper.

82. Il Gesù, including Triumph of the Name of Jesus ceiling fresco. Rome, Italy. Giacomo da Vignola, plan (architect); Giacomo della Porta, facade (architect);

Giovanni Battista Gaulli, ceiling fresco (artist). Church:

16th century ce; facade: 1568–1584 ce; fresco and stucco figures: 1676–1679 ce. Brick, marble, fresco, and stucco.

83. Hunters in the Snow. Pieter Bruegel the Elder. 1565 ce.

Oil on wood.

84. Mosque of Selim II. Edirne, Turkey. Sinan (architect).

1568–1575 ce. Brick and stone.

85. Calling of Saint Matthew. Caravaggio. c. 1597–1601

ce. Oil on canvas.

86. Henri IV Receives the Portrait of Marie de’ Medici, from the Marie de’ Medici Cycle. Peter Paul Rubens.

1621–1625 ce. Oil on canvas.

87. Self-Portrait with Saskia. Rembrandt van Rijn.

1636 ce. Etching.

88. San Carlo alle Quattro Fontane. Rome, Italy.

Francesco Borromini (architect). 1638–1646 ce. Stone and stucco.

89. Ecstasy of Saint Teresa. Cornaro Chapel, Church of Santa Maria della Vittoria. Rome, Italy. Gian Lorenzo Bernini. c. 1647–1652 ce. Marble (sculpture); stucco and gilt bronze (chapel).

90. Angel with Arquebus, Asiel Timor Dei. Master of Calamarca (La Paz School). c. 17th century ce. Oil on canvas.

91. Las Meninas. Diego Velázquez. c. 1656 ce. Oil on canvas.

92. Woman Holding a Balance. Johannes Vermeer. c.

1664 ce. Oil on canvas.

93. The Palace at Versailles. Versailles, France. Louis Le Vau and Jules Hardouin-Mansart (architects). Begun 1669 ce. Masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture); gardens.

94. Screen with the Siege of Belgrade and hunting scene. Circle of the González Family. c. 1697–1701 ce.

Tempera and resin on wood, shell inlay.

95. The Virgin of Guadalupe (Virgen de Guadalupe).

Miguel González. c. 1698 ce. Based on original Virgin of Guadalupe. Basilica of Guadalupe, Mexico City. 16th century ce. Oil on canvas on wood, inlaid with mother-of-pearl. 96. Fruit and Insects. Rachel Ruysch. 1711 ce. Oil on wood.

97. Spaniard and Indian Produce a Mestizo. Attributed to Juan Rodríguez Juárez. c. 1715 ce. Oil on canvas.

98. The Tête à Tête, from Marriage à la Mode. William Hogarth. c. 1743 ce. Oil on canvas.

U3L0: Unit 3, Lesson 0 Unit Introduction U3L1: Unit 3, Lesson 1 Cultural Contexts of Early European and Colonial American Art Explain how cultural practices, belief systems, and/or physical setting

4.A Explain how a specific work of art (or group of related works of art) demonstrates continuity and/or change within an artistic tradition, style, or practice.

4.B Explain why a specific work of art (or group of related works of art) demonstrates continuity and/or change within an artistic tradition, style, or practice.

4.C Explain the influence of a specific work of art (or group of related works of art) on other artistic production within or across cultures.

4.D Explain the meaning or significance of continuity and/or change between works of art (or

6.A Attribute a work of art to a specific artist, culture, art historical style, or object type from the image set.

7.B Explain how one or more art historically valid interpretations of a work of art (or group of related works of art) are derived from an analysis of its form, style, materials, content, function, context, reception, and/or meaning.

8.A Articulate a defensible claim about one or more works of art (or group of related works of art).

8.B Using specific and relevant evidence, support a claim about one or more works of art (or group of related works of art).

Unit Summary

Unit 4

Interactions with Other Cultures - -How did cultural interactions influence and shape the creation of art and artistic traditions in Later Europe and the Americas?

Big Idea 4:

Materials, Processes, and Techniques - -How is art and art making in this period shaped by advances in technology, increased availability of materials, and wider dissemination of techniques?

99. Portrait of Sor Juana Inés de la Cruz. Miguel Cabrera. c. 1750 ce. Oil on canvas.

100. A Philosopher Giving a Lecture on the Orrery.

Joseph Wright of Derby. c. 1763–1765 ce. Oil on canvas.

101. The Swing. Jean-Honoré Fragonard. 1767 ce. Oil on canvas.

102. Monticello. Virginia, U.S. Thomas Jefferson (architect).

1768–1809 ce. Brick, glass, stone, and wood.

103. The Oath of the Horatii. Jacques-Louis David. 1784

ce. Oil on canvas.

104. George Washington. Jean-Antoine Houdon.

1788–1792 ce. Marble.

105. Self-Portrait. Elisabeth Louise Vigée Le Brun. 1790 ce.

Oil on canvas.

106. Y no hai remedio (And There’s Nothing to Be Done), from Los Desastres de la Guerra (The Disasters of War), plate 15. Francisco de Goya. 1810–1823 ce (published 1863). Etching, drypoint, burin, and burnishing.

107. La Grande Odalisque. Jean-Auguste-Dominique Ingres. 1814 ce. Oil on canvas.

108. Liberty Leading the People. Eugène Delacroix. 1830

ce. Oil on canvas.

109. The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm). Thomas Cole. 1836 ce. Oil on canvas.

110. Still Life in Studio. Louis-Jacques-Mandé Daguerre.

1837 ce. Daguerreotype.

111. Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On). Joseph Mallord William Turner. 1840 ce. Oil on canvas.

112. Palace of Westminster (Houses of Parliament).

London, England. Charles Barry and Augustus W. N.

Pugin (architects). 1840–1870 ce. Limestone masonry and glass.

113. The Stone Breakers. Gustave Courbet. 1849 ce (destroyed in 1945). Oil on canvas.

114. Nadar Raising Photography to the Height of Art.

Honoré Daumier. 1862 ce. Lithograph.

115. Olympia. Édouard Manet. 1863 ce. Oil on canvas.

116. The Saint-Lazare Station. Claude Monet. 1877 ce. Oil on canvas.

117. The Horse in Motion. Eadweard Muybridge. 1878 ce.

Albumen print.

118. The Valley of Mexico from the Hillside of Santa Isabel (El Valle de México desde el Cerro de Santa Isabel). Jose María Velasco. 1882 ce. Oil on canvas.

119. The Burghers of Calais. Auguste Rodin. 1884–1895

ce. Bronze.

120. The Starry Night. Vincent van Gogh. 1889 ce. Oil on canvas.

121. The Coiffure. Mary Cassatt. 1890–1891 ce. Drypoint and aquatint.

122. The Scream. Edvard Munch. 1893 ce. Tempera and pastels on cardboard.

123. Where Do We Come From? What Are We? Where Are We Going? Paul Gauguin. 1897–1898 ce. Oil on canvas.

124. Carson, Pirie, Scott and Company Building. Chicago, Illinois, U.S. Louis Sullivan (architect). 1899–1903 ce.

Iron, steel, glass, and terra cotta.

125. Mont Sainte-Victoire. Paul Cézanne. 1902–1904 ce.

Oil on canvas.

126. Les Demoiselles d’Avignon. Pablo Picasso. 1907 ce.

Oil on canvas.

127. The Steerage. Alfred Stieglitz. 1907 ce. Photogravure.

128. The Kiss. Gustav Klimt. 1907–1908 ce. Oil and gold leaf on canvas.

129. The Kiss. Constantin Brancusi. Original 1907–1908 ce.

Stone.

130. The Portuguese. Georges Braque. 1911 ce. Oil on canvas.

131. Goldfish. Henri Matisse. 1912 ce. Oil on canvas.

132. Improvisation 28 (second version). Vassily Kandinsky. 1912 ce. Oil on canvas.

133. Self-Portrait as a Soldier. Ernst Ludwig Kirchner.

1915 ce. Oil on canvas.

134. Memorial Sheet for Karl Liebknecht. Käthe Kollwitz.

1919–1920 ce. Woodcut.

135. Villa Savoye. Poissy-sur-Seine, France. Le Corbusier (architect). 1929 ce. Steel and reinforced concrete.

136. Composition with Red, Blue and Yellow. Piet Mondrian. 1930 ce. Oil on canvas.

137. Illustration from The Results of the First Five-Year Plan. Varvara Stepanova. 1932 ce. Photomontage.

138. Object (Le Déjeuner en fourrure). Meret Oppenheim.

1936 ce. Fur-covered cup, saucer, and spoon.

139. Fallingwater. Pennsylvania, U.S. Frank Lloyd Wright (architect). 1936–1939 ce. Reinforced concrete, sandstone, steel, and glass.

140. The Two Fridas. Frida Kahlo. 1939 ce. Oil on canvas.

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

Jacob Lawrence. 1940–1941 ce. Casein tempera on hardboard.

142. The Jungle. Wifredo Lam. 1943 ce. Gouache on paper mounted on canvas.

143. Dream of a Sunday Afternoon in the Alameda Park.

Diego Rivera. 1947–1948 ce. Fresco.

144. Fountain (second version). Marcel Duchamp. 1950 ce.

(original 1917). Readymade glazed sanitary china with black paint.

145. Woman, I. Willem de Kooning. 1950–1952 ce. Oil on canvas.

146. Seagram Building. New York City, U.S. Ludwig Mies van der Rohe and Philip Johnson (architects).

1954–1958 ce. Steel frame with glass curtain wall and bronze.

147. Marilyn Diptych. Andy Warhol. 1962 ce. Oil, acrylic, and silkscreen enamel on canvas.

148. Narcissus Garden. Yayoi Kusama. Original installation and performance 1966. Mirror balls.

149. The Bay. Helen Frankenthaler. 1963 ce. Acrylic on canvas.

150. Lipstick (Ascending) on Caterpillar Tracks.

Claes Oldenburg. 1969–1974 ce. Cor-Ten steel, steel, aluminum, and cast resin; painted with polyurethane enamel.

151. Spiral Jetty. Great Salt Lake, Utah, U.S. Robert Smithson. 1970 ce. Earthwork: mud, precipitated salt crystals, rocks, and water coil.

152. House in New Castle County. Delaware, U.S.

Robert Venturi, John Rauch, and Denise Scott Brown (architects). 1978–1983 ce. Wood frame and stucco.

systems, and/or physical setting affect art and art making.

Explain how interactions with other cultures affect art and art making. 2.C Explain how and/or why context influences artistic decisions about form, style, materials, content, and/or function in the creation or meaning of a work of art (or group of related works of art).

3.B Explain how two or more works of art are similar and/or different in how they convey meaning.

4.A Explain how a specific work of art (or group of related works of art) demonstrates continuity and/or change within an artistic tradition, style, or practice.

4.B Explain why a specific work of art (or group of related works of art) demonstrates continuity and/or change within an artistic tradition, style, or practice.

4.C Explain the influence of a specific work of art (or group of related works of art) on other artistic production within or across cultures.

4.D Explain the meaning or significance of continuity and/or change between works of art (or groups of related works of art) within a related artistic tradition, style, or practice. Cultural practices, belief systems, and physical setting constitute an important part of art and art making and are often communicated in various stylistic conventions and forms. Such cultural considerations may affect artistic decisions that include, but are not limited to, siting, subject matter, and modes of display, and may help to shape the creation of art in a given setting or within a given culture.

A variety of factors leads to and motivates interaction between and among cultures, and this interaction may influence art and art making. Such cultural interaction may result from factors including, but not limited to, travel, trade, war, conquest, and/or colonization, and may include forms of artistic influence such as spolia, appropriation, and stylistic revivals, among other expressions of cultural exchange.

U4L2: Unit 4, Lesson 2 Purpose and Audience in Later European and American Art Explain how purpose, intended audience, or patron affect art and art

6.A Attribute a work of art to a specific artist, culture, art historical style, or object type from the image set.

shaped by visual analysis as well as by other disciplines, technology, or the availability of evidence. 7.B Explain how one or more art historically valid interpretations of a work of art (or group of related works of art) are derived from an analysis of its form, style, materials, content, function, context, reception, and/or meaning.

8.A Articulate a defensible claim about one or more works of art (or group of related works of art).

8.B Using specific and relevant evidence, support a claim about one or more works of art (or group of related works of art).

Unit 5

Culture - -What similarities and differences appear in the art of the Indigenous Americas?

- How do the similarities and differences apparent in the art of the Indigenous Americas help us understand how diverse these cultures were from one another?

Big Idea 5:

Purpose and Audience -

- What do the intended purposes or audiences for the art of the Indigenous Americas demonstrate about the cultures that created it? 153. Chavín de Huántar. Northern highlands, Peru. Chavín.

900–200 bce. Stone (architectural complex); granite (Lanzón and sculpture); hammered gold alloy (jewelry).

154. Mesa Verde cliff dwellings. Montezuma County, Colorado. Ancestral Puebloan (Anasazi). 450–1300 ce.

Sandstone.

155. Yaxchilán. Chiapas, Mexico. Maya. 725 ce. Limestone (architectural complex).

156. Great Serpent Mound. Adams County, southern Ohio. Mississippian (Eastern Woodlands). c. 1070 ce.

Earthwork/effigy mound.

157. Templo Mayor (Main Temple). Tenochtitlan (modern Mexico City, Mexico). Mexica (Aztec).

1375–1520 ce. Stone (temple); volcanic stone (The Coyolxauhqui Stone); jadeite (Olmec-style mask); basalt (Calendar Stone).

158. Ruler’s feather headdress (probably of Motecuhzoma II). Mexica (Aztec). 1428–1520 ce.

Feathers (quetzal and cotinga) and gold.

159. City of Cusco, including Qorikancha (Inka main temple), Santo Domingo (Spanish colonial convent), and Walls at Saqsa Waman (Sacsayhuaman). Central highlands, Peru. Inka. c. 1440 ce; convent added 1550– 1650 ce. Andesite.

160. Maize cobs. Inka. c. 1440–1533 ce. Sheet metal/ repoussé, metal alloys.

161. City of Machu Picchu. Central highlands, Peru. Inka. c.

1450–1540 ce. Granite (architectural complex).

162. All-T’oqapu tunic. Inka. 1450–1540 ce. Camelid fiber and cotton.

163. Bandolier bag. Lenape (Delaware tribe, Eastern Woodlands). c. 1850 ce. Beadwork on leather.

164. Transformation mask. Kwakwaka’wakw, Northwest coast of Canada. Late 19th century ce. Wood, paint, and string.

165. Painted elk hide. Attributed to Cotsiogo (Cadzi Cody), Eastern Shoshone, Wind River Reservation, Wyoming.

c. 1890–1900 ce. Painted elk hide.

166. Black-on-black ceramic vessel. Maria Martínez and Julian Martínez, Tewa, Puebloan, San Ildefonso Pueblo, New Mexico. c. mid-20th century ce. Blackware ceramic.

systems, and/or physical setting affect art and art making.

Explain how interactions with other cultures affect art and art making. 2.A Describe contextual elements of a work of art (or group of related works of art).

2.C Explain how and/or why context influences artistic decisions about form, style, materials, content, and/or function in the creation or meaning of a work of art (or group of related works of art).

4.A Explain how a specific work of art (or group of related works of art) demonstrates continuity and/or change within an artistic tradition, style, or practice. Cultural practices, belief systems, and physical setting constitute an important part of art and art making and are often communicated in various stylistic conventions and forms. Such cultural considerations may affect artistic decisions that include, but are not limited to, siting, subject matter, and modes of display, and may help to shape the creation of art in a given setting or within a given culture.

A variety of factors leads to and motivates interaction between and among cultures, and this interaction may influence art and art making. Such cultural interaction may result from factors including, but not limited to, travel, trade, war, conquest, and/or colonization, and may include forms of artistic influence such as spolia, appropriation, and stylistic revivals, among other expressions of cultural exchange.

U5L2: Unit 5, Lesson 2 Materials, Processes, and Techniques in Indigenous American Art Explain how materials, processes, and techniques affect art and art making. 1.B Describe visual elements of a work of art (or group of related works of art).

1.C Explain how artistic decisions about form, style, materials, technique, and/or content shape a work of art (or group of related works of art).

5.A Describe visual elements of a work of art (or group of related works of art) beyond the image set.

5.B In analyzing a work of art beyond the image set, explain how artistic decisions about form, style, materials, technique, and/or content shape a work of art (or group of related works of art). Art and art making take many different forms both within and across cultures, and the materials, processes, and techniques employed may also vary by location and culture with wide-ranging influence on the art that is generated.

or function shape the creation or meaning of a work of art (or group of related works of art).

2.D Explain how artistic decisions about form, style, materials, content, function, and/or context of a work of art (or group of related works of art) elicit a response or shape its reception. A variety of purposes may affect art and art making, and those purposes may include, but are not limited to, intended audience, patron, artistic intention, and/ or function. Differing situations and contexts may influence the artist, patron, or intended audience, with functions sometimes changing over time, and therefore affecting the role these different variables may play in art and art making.

shaped by visual analysis as well as by other disciplines, technology, or the availability of evidence. 7.B Explain how one or more art historically valid interpretations of a work of art (or group of related works of art) are derived from an analysis of its form, style, materials, content, function, context, reception, and/or meaning. The study of art history is shaped by different theories and interpretations of art and art making that change over time. These theories and interpretations may be generated both by visual analysis of works of art and by scholarship that may be affected by factors including, but not limited to, other disciplines, available technology, and the availability of evidence.

U5L5: Unit 5, Lesson 5 Unit Summary

Unit 6

Developing Understanding: Connecting the concept of culture to African art is critical to understanding the art itself, as well as the role it plays in the many and varied African societies. Artistic expression is an integral part of social life within the African continent, connecting daily practices to beliefs, systems of authority, and social structures. This unit allows students to further examine the role of art historical interpretations by exploring art and art making in Africa.