Artist Maurizio Cattelan duct taped a banana to a wall, titled it "Comedian", and sold 5 editions of the artwork for as much as $150,000 each. Why did it capture our attention, curiosity, and memes? What does it mean?

Discover how advertising, machinery and U-boats intersect on the eve of WWI. To learn about other great moments in modern art, take our online course, Modern Art, 1880-1945. Created by The Museum of Modern Art.

Short Histories of Major Art Movements and Select Artists from ART 305

Short Description:
Part textbook, part shared knowledge, this book is the co-creation of the instructor and students of Red Deer Polytechnic's ART 305, 19th Century European Art History class.

Long Description:
What happens when a class shares their collective knowledge about their subject, rather than hiding it away and stuffing it down in individual memory? A textbook that is formed by the meeting of the minds!

As part of the ART 305 19th Century European Art History move to online during the pandemic, a collective project was born: creating a digital open-education resource, free to any who choose to access it, and a way for the individuals in class to be part of a greater community in an online learning environment.

With some chapters authored by the instructor of the class and others created by the students as a result of their term’s research, this text is a growing document that will encompass past, present, and future learners as their collective body of knowledge grows.

Within the parameters of 19th Century European Art History this text begins with the influence and beginnings of change during the Rococo era in France and progresses through time until the beginning of the 20th century. Each chapter marks a specific era or a specific artist and chapters are individually authored.

Word Count: 136177

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

An introductory course using visual materials with emphasis on methods and motivations that generate the visual experience, both past and present. Art practices from around the world are examined for form and content. Emphasis will be on Western Art.

Course Outcomes:
1. Articulate verbally and in writing a general understanding of the significance of visual art in a wide variety of culture and media.
2. Create a personal work of art. Articulate verbally and in writing the form and content of the piece, along with information about significant artists and art works relative to the created artwork, and to visual art.
3. Articulate verbally and in writing appropriate art vocabulary, and art evaluation concepts, when viewing visual art.

“This glossary contains over 250 key terms and is illustrated with more than 100 images. A few of the key terms are repeated to give a different context to the term with each use. In such cases, a different illustration may be used, in keeping with the culture and time period under which the key term is listed. This resource can be used digitally, as a series of webpages (on Canvas, for example) or as a PDF of this entire glossary that is made available on certain platforms. As a series of webpages, the book is organized in modules. The PDF, when available, can also be printed into a hard copy of the entire glossary. The structure of this glossary follows art historical periods culturally. When viewing this glossary as a series of webpages, each of the topics listed under Table of Contents (see previous page) is contained on its own page. The length of each page varies a great deal due to the arbitrary “length” of a webpage. All image captions, as well as their attributions and licenses, are listed at the bottom of each page.”

This art history video discussion examines Jackson Pollock's "One: Number 31", 1950, Oil and enamel paint on unprimed canvas, 1950 (MoMA).

Acoma polychrome water jar, c. 1890, from Acoma, clay and pigment, 25.1 x 29.8 cm (The Metropolitan Museum of Art); speaker: Brian Vallo, Director, Indian Arts Research Center School for Advanced Research, Santa Fe, New Mexico. Created by The Metropolitan Museum of Art.

Take time with Ad Reinhardt's black canvases and discover the rewards of contemplation. Created by The Museum of Modern Art.

Ad Reinhardt, Abstract Painting, 1963, oil on canvas, 60 x 60 inches (The Museum of Modern Art) Speakers: Salman Khan & Steven Zucker. Created by Steven Zucker and Sal Khan.

This resource is useful for students who can visit rare books in special collections libraries. Teachers and students of book history, literature, and art history might find this resource useful.

Leonardo da Vinci, Adoration of the Magi, 1481, oil on panel (Galleria degli Uffizi, Florence) http://smarthistory.khanacademy.org/leonardo-adoration-of-the-magi.html. Created by Beth Harris and Steven Zucker.

Rodney Leon, African Burial Ground National Monument, 2006, New York City, An ARCHES video, speakers Dr. Renée Ater and Dr. Steven Zucker. Created by Smarthistory.

How a portrait of an African muslim came to hang side-by-side with the founding fathers in one of America's earliest museums. Charles Willson Peale, Portrait of Yarrow Mamout (Muhammad Yaro), 1819, oil on canvas, 61 x 50.8 cm (Philadelphia Museum of Art) Speakers: Dr. Carol Eaton Soltis, Project Associate Curator, Philadelphia Museum of Art and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Conservators, scientists, and curators tell the story behind the unprecedented conservation of Tullio Lombardo's Adam. The life-size marble statue of Adam, carved by Tullio Lombardo (Italian, ca. 1455–1532), is among the most important works of art from Renaissance Venice to be found outside that city today. Made in the early 1490s for the tomb of Doge Andrea Vendramin, it is the only signed sculpture from that monumental complex. The serene, idealized figure, inspired by ancient sculpture, is deceptively complex. Carefully manipulating composition and finish, Tullio created God's perfect human being, but also the anxious victim of the serpent's wiles. In 2002, Adam was gravely damaged in an accident. Committed to returning it to public view, the Museum undertook a conservation treatment that has restored the sculpture to its original appearance to the fullest extent possible. The exhibition allows Adam to be viewed in the round and explains this unprecedented twelve-year research and conservation project. It also inaugurates a new permanent gallery for Venetian and northern Italian sculpture. The installation of this gallery was made possible by Assunta Sommella Peluso, Ignazio Peluso, Ada Peluso, and Romano I. Peluso.

In the process of crafting millions of porcelain sunflower seeds, Chinese artist Ai WeiWei creates a work of art as well as a positive social project for the village in rural China he employed to make the seeds. Follow Sunflower Seeds on its remarkable journey from conception to delivery, and hear the artist talk about his unique socio-political approach to making art. Created by Tate.

House Altar depicting Akhenaten, Nefertiti and Three of their Daughters, limestone, New Kingdom, Amarna period, 18th dynasty, c.1350 BCE (Ägyptisches Museum/Neues Museum, Staatliche Museen zu Berlin). Created by Beth Harris and Steven Zucker.

Alberti, Façade of Santa Maria Novella, Florence, 1470. Speakers: Dr. Steven Zucker and Dr. Beth Harris.

In this art history video discussion Beth Harris and Steven Zucker look at Albrecht Durer's "Self-Portrait, 1500." (Alte Pinakothek, Munich).

The albumen silver print, invented in 1850, was the most popular photographic printing process of the 19th century. To make albumen silver prints, a sheet of paper is coated with albumen (egg white) and salts, then sensitized with a solution of silver nitrate. The paper is exposed in contact with a negative and printed out, which means that the image is created solely by the action of light on the sensitized paper without any chemical development. Because the paper is coated with albumen, the silver image is suspended on the surface of the paper rather than absorbed into the paper fibers. The result is a sharp image with fine detail on a smooth, glossy surface. This project is made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-10-13-0194.

Some of the most vivid pigments in medieval manuscripts were manufactured through alchemy, an experimental practice that predates modern chemistry. Today, chemistry deepens our knowledge about paint colors, their identification, and potential continued transformations.

Alexander Mosaic, c. 100 B.C.E., Roman copy (Pompeii) of a lost Greek painting, c. 315 B.C.E., Hellenistic Period (Archaeological Museum, Naples). Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

The Alexander Sarcophagus, c. 312 B.C.E., Pentelic marble and polychromy, found in Sidon, 195 x 318 x 167 cm (İstanbul Archaeological Museums). Speakers: Dr. Elizabeth Macaulay-Lewis and Dr. Steven Zucker. Created by Steven Zucker and Beth Harris.

The Bier of Iskandar (Alexander the Great), folio from the Great Mongol Shahnama (Il-Khanid dynasty, Tabriz, Iran), c. 1330, ink, opaque watercolor and gold on paper, 57.6 x 39.7 cm (Freer Gallery of Art, Smithsonian Institution, purchase — Charles Lang Freer Endowment, F1938.3) This video focuses on one particular painting within one particular 14th century manuscript now commonly called the Great Mongol Shahnama. This is only one of many versions of the Shanama, the great epic of Iran. Speakers: Dr. Massumeh Farhad, Chief Curator and The Ebrahimi Family Curator of Persian, Arab, and Turkish Art, Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution and Dr. Steven Zucker.

Chiricahua Apache artist Allan Houser’s “Earth Song” is the signature sculpture on display at the Heard Museum in Phoenix, AZ. Created in 1979 from Alabama marble, it depicts an Apache man singing a song of respect, a prayer to Mother Earth. Houser is considered the Grandfather of Contemporary Native American Sculpture for creating works that are grounded in a respect for all indigenous cultures. Discover more reasons why “Earth Song” is a masterpiece with David Roche, Dickey Family Director and CEO of the Heard Museum. Video by Bank of America. Created by Smarthistory.

Washington Allston, Elijah in the Desert, 1818, oil on canvas, 125.09 x 184.78 cm / 49 1/4 x 72 3/4 inches (Museum of Fine Arts, Boston). Created by Beth Harris and Steven Zucker.

Sir Lawrence Alma-Tadema, A Reading from Homer, 1885, oil on canvas, 36-1/8 x 72-1/4 inches / 91.8 x 183.5 cm (Philadelphia Museum of Art). Created by Beth Harris and Steven Zucker.

Infrared cameras now reveal concealed drawings under the surface of many of the Renaissance's most revered paintings. Learn how this radical drawing technique was done.

In this art history video discussion Beth Harris and Steven Zucker examine Albrecht Altdorfer's "The Battle of Issus," 1529, oil on panel. Alte Pinokothek, Munich.

Ambrogio Lorenzetti, Allegory of Good Government, Effects of Good Government in the City and the Country, and Allegory and Effects of Bad Government in the City and the Country, Siena c. 1337-40, fresco, Sala della Pace (Hall of Peace) also know as the Sala dei Nove (the Hall of the Nine), 7.7 x 14.4 meters (room), Palazzo Pubblico, Siena Speakers: Dr. Beth Harris and Dr. Steven Zucker For more information visit: http://smarthistory.khanacademy.org/the-allegories-and-effects-of-good-and-bad-government.html. Created by Beth Harris and Steven Zucker.

Found marking the grave of an important individual, this gorget was worn as a neck ornament during life. Gorget, c. 1250-1350, probably Middle Mississippian Tradition, whelk shell, 10 x 2 cm (National Museum of the American Indian, Smithsonian Institution, 18/853) Speakers: Dr. David Penney, Associate Director for Museum Scholarship, Exhibitions, and Public Engagement, National Museum of the American Indian and Dr. Steven Zucker A Seeing America video. Created by Beth Harris and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

American Encounters provides a narrative of the history of American art that focuses on historical encounters among diverse cultures, upon broad structural transformations such as the rise of the middle classes and the emergence of consumer and mass culture, and on the fluid conversations between "high" art and vernacular expressions. The text emphasizes the intersections among cultures and populations, as well as the exchanges, borrowings, and appropriations that have enriched and vitalized our collective cultural heritage.

Millard Sheets, Tenement Flats, oil on canvas, 102.1 x 127.6 cm (Smithsonian American Art Museum). A conversation with Dr. Virginia Mecklenburg, Chief Curator, Smithsonian American Art Museum and Dr. Steven Zucker This Seeing America video was made possible thanks to major grants from the Terra Foundation and the Alice L. Walton Foundation. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Amiens Cathedral, Robert de Luzarches, Thomas de Cormont and Renaud de Cormont, Amiens, France, begun 1220. Created by Beth Harris and Steven Zucker.

Anavysos Kouros, c. 530 B.C.E., marble, 6' 4" (National Archaeological Museum, Athens). Speakers: Dr. Steven Zucker & Dr. Beth Harris. Created by Beth Harris and Steven Zucker.

A conversation with Lisa Ackerman, World Monuments Fund, and Beth Harris, Smarthistory. Created by Beth Harris and Steven Zucker.

A conversation with Lisa Ackerman, World Monuments Fund, and Beth Harris, Smarthistory. Created by Beth Harris and Steven Zucker.

Conservators at the British Museum preparing an ancient Egyptian coffin for display in the exhibition Journey through the afterlife: ancient Egyptian Book of the Dead. © Trustees of the British Museum. Created by British Museum.

Preparing pieces of papyrus ready for display in the exhibition Journey through the afterlife: ancient Egyptian Book of the Dead. © Trustees of the British Museum. Created by British Museum.

From the Utah System of Higher Education (with special thanks to Dr. Nancy Ross). Video by Ydraw. Created by Nancy Ross.

Ancient Greek Temples at Paestum: Hera I, c. 560-530 B.C.E., Archaic Period; Hera II, c. 460 B.C.E., Classical Period; Temple of Minerva, c. 500 B.C.E. Archaic Period. A conversation with Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

Used for the storage and shipment of grains, wine, and other goods, as well as in the all-male Greek drinking party, known as the symposium, ancient Greek vases were decorated with a variety of subjects ranging from scenes of everyday life to the tales of heroes and gods. The two most popular techniques of vase decoration were the black-figure technique, so-named because the figures were painted black, and the red-figure technique, in which the figures were left the red color of the clay. The black-figure technique developed around 700 B.C. and remained the most popular Greek pottery style until about 530 B.C., when the red-figure technique was developed, eventually surpassing it in popularity. This video illustrates the techniques used in the making and decorating of a black-figure amphora (storage jar) in the Art Institute of Chicago's collection. This video was produced with the generous support of a Long Range Fund grant provided by the Community Associates of the Art Institute of Chicago. It was created for LaunchPad, a program of digital interpretive materials that supplement the viewing of works of art on display in the Art Institute of Chicago's galleries. Created by Getty Museum.

Used for the storage and shipment of grains, wine, and other goods, as well as in the all-male Greek drinking party, known as the symposium, ancient Greek vases were decorated with a variety of subjects ranging from scenes of everyday life to the tales of heroes and gods. The two most popular techniques of vase decoration were the black-figure technique, so-named because the figures were painted black, and the red-figure technique, in which the figures were left the red color of the clay. The black-figure technique developed around 700 B.C. and remained the most popular Greek pottery style until about 530 B.C., when the red-figure technique was developed, eventually surpassing it in popularity. This video illustrates the techniques used in the making and decorating of a black-figure amphora (storage jar) in the Art Institute of Chicago's collection. This video was produced with the generous support of a Long Range Fund grant provided by the Community Associates of the Art Institute of Chicago. It was created for LaunchPad, a program of digital interpretive materials that supplement the viewing of works of art on display in the Art Institute of Chicago's galleries. Created by Getty Museum.

Early in the Spring 2020 semester, University of Tennessee at Chattanooga students in my Ancient to Modern Latin American Visual Culture Art History course embarked upon an intensive first-hand visual analysis and research project that involved working directly with original artifacts from Ancient Latin America housed within the University of Tennessee at Chattanooga Library’s Special Collections. This unique opportunity and the publication of their findings were made possible thanks to the generous support and assistance of Special Collections Director Carolyn Runyon and her dedicated staff.

By examining the wide array of Pre-Columbian objects in the George and Louise Patten Salem Hyde Papers and Cultural Artifacts Collection, these upper division students formed small research groups dedicated to specific artifact types, such as human figurines, animal figurines, tools and lithics, vessels, anthropomorphic ceramics, replicas, and sherds. They carefully recorded their original observations of their selected objects of study in written field notes, photographs, and drawings. Later, they compared their initial observations with preliminary collection data developed independently by Archaeology students of Dr. Andrew Workinger, leading to further questions and insights surrounding these extraordinary pieces predominantly from pre-contact indigenous cultures of the Central and Intermediate regions of Latin America that today comprise Costa Rica, Ecuador, Panama and Colombia. Building upon their analysis, the Art History student research groups then re-examined their selected artifacts through analytical frameworks focused on Gender and the Body, Color, Pattern and Materiality, Spirituality and the Object, Form and Function, and Identity and Representation. In presenting their findings to their peers, students received feedback that allowed them to refine their analysis and develop the original individual and group catalog essays that comprise this exhibition publication. Their research sheds further light on the extraordinary value and diversity of the ancient artifacts of Latin America that uniquely form part of UTC’s Special Collections, as well as the innovative power of interdisciplinary research and collaboration.

Thebes, the city of the god Amon, was the capital of Egypt during the period of the Middle and New Kingdoms. With the temples and palaces at Karnak and Luxor, and the necropolises of the Valley of the Kings and the Valley of the Queens, Thebes is a striking testimony to Egyptian civilization at its height.

Andrea Mantegna, San Zeno Altarpiece, 1456-59, oil on panel, 212 x 460 cm / 83 x 180 inches, comissioned by the Benedictine Abbot, Gregorio Correr (Basilica of San Zeno, Verona). Created by Beth Harris and Steven Zucker.

Andrea Pisano, Reliefs for the Campanile in Florence, c. 1336 Speakers: David Drogin and Beth Harris. Created by Beth Harris and Steven Zucker.

Anishinaabe, possibly Mississauga Ojibwa, Shoulder bag (missing strap), c. 1800, tanned leather, porcupine quills, dye, glass beads, silk ribbon, metal cones, and deer hair, Possibly made in Ontario, Canada; possibly made in Michigan, United States; possibly made in Wisconsin, United States, 30.5 × 22.9 cm (The Metropolitan Museum of Art). Created by The Metropolitan Museum of Art.

The conservator’s eye: Anselm Kiefer, Bohemia Lies by the Sea, 1996, oil, emulsion, shellac, charcoal, and powdered paint on burlap, 75 1/4 in. × 18 ft. 5 inches / 191.1 × 561.3 cm (The Metropolitan Museum of Art). Speakers: Corey D'Augustine and Steven Zucker.

Video by San Francisco Museum of Modern Art. Surrounded by his paintings in SFMOMA’s galleries, German artist Anselm Kiefer describes the challenges and significance of exploring the past in his work. He highlights the subjective, emotional nature of both history and art. Created by Smarthistory.

Video by SFMOMA. German painter and sculptor Anselm Kiefer discusses the meanings behind some of his favorite materials, including straw, cow manure, and lead. He describes how he strives for fluidity and malleability in his work, though conservation can be a challenge. Created by Smarthistory.

This art history video discussion examines Antoine or Louis Le Nain's "Peasant Family in an Interior", 2nd quarter of the 17th century, oil on canvas (Musee du Louvre, Paris).

Apollonius, Boxer at Rest, c. 100 B.C.E., bronze, Hellenistic Period (Palazzo Massimo, Museo Nazionale Romano, Rome). Speakers: Dr. Steven Zucker and Dr. Beth Harris. Created by Beth Harris and Steven Zucker.

Apulu (Apollo of Veii), from the roof of the Portonaccio temple, Italy, c. 510-500 B.C.E., painted terracotta, 5 feet, 11 inches high (Museo Nazionale di Villa Giulia, Rome). Speakers: Dr Steven Zucker and Dr. Beth Harris.

Ara Pacis Augustae (Altar of Augustan Peace), 13-9 B.C.E.Speakers: Dr. Beth Harris & Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

Arch of Constantine, 312-315 C.E., approximately 20m high, 25m wide, and 7m deep, central opening approximately 12m high, Rome. Speakers: Dr. Steven Zucker and Dr. Beth Harris. Video produced by Dr. Naraelle Hohensee, Dr. Beth Harris, and Dr. Steven Zucker.

Triumphal Arch of Septimius Severus, 203 C.E., marble above a travertine base, roughly 23 x 25 m, Roman Forum speakers: Dr. Darius Arya, executive director of the American Institute for Roman Culture and Dr. Beth Harris This video was made in collaboration with the American Institute for Roman Culture.

Take a guided virtual tour of the Scrovegni (Arena) Chapel, in Padova, Italy — thanks to Matthew Brennan. 360-degree video allows you to look around the interior freely, and provides a new perspective on this masterpiece of Italian Renaissance art. See the frescoes up-close and at eye-level, as if you were floating right in front of them, thanks to a new approach developed by Mirror Stage Studio. Narration by SmartHistory: www.smarthistory.org Video production by Mirror Stage: www.mirrorstage.io This video makes use of imagery available in the public domain, as well as provided by Smarthistory. Created by Smarthistory.

Art 200 is an introductory course that chronicles the major developments in art that span from the Upper Paleolithic Period through the Fourteenth Century. This broad, comprehensive survey details this time period’s diverse range of artistic output while identifying the wider contexts (historical, social, cultural, religious) that affected the characteristics and motivations of early art production.

(Google Drive) Text of the book in “chapters” arranged by module—as well as assignments

This entry-level course is designed to help you gain a general appreciation for art as well as to help you develop a working vocabulary for the knowledgeable analysis of art based on the Visual Elements and the Principles of Design. The syllabus is included in the course and contains the course objectives, student learning outcomes, list of assignments and names of the course textbooks.

The Art Appreciation course explores the world’s visual arts, focusing on the development of visual awareness, assessment, and appreciation by examining a variety of styles from various periods and cultures while emphasizing the development of a common visual language. The materials are meant to foster a broader understanding of the role of visual art in human culture and experience from the prehistoric through the contemporary.

This is an Open Educational Resource (OER), an openly licensed educational material designed to replace a traditional textbook. The course materials consist of 24 lessons each with a presentation, reading list, and/or sample assignment. For ease of adapting, materials are available as PDFs and Microsoft PowerPoint or Word documents.

This course is an exploration of visual art forms and their cultural connections for the student with little experience in the visual arts. It includes a brief study of art history and in depth studies of the elements, media, and methods used in creative processes and thought. Upon successful completion of this course, students will be able to: interpret examples of visual art using a five-step critical process that includes description, analysis, context, meaning, and judgment; identify and describe the elements and principles of art; use analytical skills to connect formal attributes of art with their meaning and expression; explain the role and effect of the visual arts in societies, history, and other world cultures; articulate the political, social, cultural, and aesthetic themes and issues that artists examine in their work; identify the processes and materials involved in art and architectural production; utilize information to locate, evaluate, and communicate information about visual art in its various forms. Note that this course is an alternative to the Saylor FoundationĺÎĺ_ĺĚĺ_s ARTH101A and has been developed through a partnership with the Washington State Board for Community and Technical Colleges; the Saylor Foundation has modified some WSBCTC materials. This free course may be completed online at any time. (Art History 101B)

What is art conservation? Who does it and how does it work? Take a behind-the-scenes look inside the Art Conservation department at the Isabella Stewart Gardner Museum and meet the team of trained conservators who specialize in the treatment of objects, paintings, and textiles. Want to learn more about art conservation at the Gardner? Visit http://www.gardnermuseum.org/collection/conservation Filmmaking by SheridanWorks.

The history of Art is long and varied, spanning tens of thousands of years from ancient paintings on the walls of caves
to the glow of computer-generated images on the screens of the 21st century.

“This courseware includes resources copyrighted and openly licensed by multiple individuals and organizations. Click the words ‘Licenses and Attributions’ at the bottom of each page for copyright and licensing information specific to the material on that page.” Reviewer’s note: arguably the weakest of the full-text resources presented here, but may give a starting point for some resources

Art museums are powerful and contested institutions. They are also innovative sites of architectural and artistic practice. From the exhibitionary complex of the nineteenth century to the experiential complex of today, this course investigates the art museum from historical and contemporary perspectives, striking a balance between theoretical investigation and case studies of recent exhibitions and museum buildings. Where and why did the concept of the public art museum emerge, and how have its functions changed over time? How do art museums continue to shape our definitions of what art is? How have they responded to recent critiques of the self-described 'universal' museum and to claims for the ethical display of ill-gotten artifacts or the restitution of such objects as Greek vases and bronzes looted from Benin? And why is the Euro-American art museum so compelling a model that it has spread around the globe?
To address these and other questions, we will also go behind the scenes. Visits to local museums and discussions with curators are an essential component of the course.

This subject focuses on the objects, history, context, and critical discussion surrounding art since World War II. Because of the burgeoning increase in art production, the course is necessarily selective. We will trace major developments and movements in art up to the present, primarily from the US; but we will also be looking at art from Europe, Asia, Africa, Latin America, and the Middle East, as well as art "on the margins" — art that has been overlooked by the mainstream critical press, but may have a broad cultural base in its own community. We will ask what function art serves in its various cultures of origin, and why art has been such a lightning rod for political issues around the world.

Created by The Museum of Modern Art. Learn why Willem de Kooning added raw egg to his paint.

Created by The Museum of Modern Art. Learn the properties of enamel paint and why artists use it.

Empathy is a term we hear a lot, but what does it mean and how does it work? Looking back through art history, we find many moments when art has allowed us to share in the feelings of others, from Maya Lin's Vietnam Veterans Memorial, to representations of the Buddhist deity Jizō Bosatsu, along with the Röttgen Pietà, Guáman Poma's First New Chronicle and Good Government, the ink drawings of Chittaprosad and Zainul Abedin, the work of Ghana Think Tank, and more.

This site presents a program that places art in the context of people's lives so our students will understand how important and effective a tool art is in solving problems and overcoming adversity. The student will recognize that Africans sometimes face problems that are similar to his own, and while the solutions Africans create may look different than ours, they are logical and effective.

Word Count: 135881

Included H5P activities: 52

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Art & Context: Monet's Cliff Walk at Pourville & Malevich's Suprematist Composition: White on White A conversation with Sal Khan, Steven Zucker & Beth Harris. Created by Beth Harris, Steven Zucker, and Sal Khan.

Marcel Duchamp, In Advance of the Broken Arm, 1964 (fourth version, after lost original of November 1915) (MoMA). A conversation with Sal Khan & Steven Zucker. Created by Beth Harris, Steven Zucker, and Sal Khan.

Artemision Zeus or Poseidon, c. 460 B.C.E., bronze, 2.09 m high, Early Classical (Severe Style), recovered from a shipwreck off Cape Artemision, Greece in 1928 (National Archaeological Museum, Athens). Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Steven Zucker and Beth Harris.

Francisco de Goya, Third of May, 1808, 1814, oil on canvas, 266 x 345.1 cm (Museo del Prado. Madrid). Created by Beth Harris and Steven Zucker.

Francisco de Goya, Third of May, 1808, 1814, oil on canvas, 266 x 345.1 cm (Museo del Prado. Madrid). Created by Beth Harris and Steven Zucker.

Tiffany and Company’s famous Bryant Vase was meticulously crafted by highly skilled artisans­­—among them, Augustus Saint-Gaudens and Eugene J. Soligny—who worked the silver for more than a year. Curator Ellenor Alcorn describes how Tiffany then used the fascinating nineteenth-century process of electrotyping to create presentation copies. View this work on metmuseum.org. Created by The Metropolitan Museum of Art.

Although Korea's cultural connections with China and Japan form a crucial part of its history, Korea also has a visually rich and technically sophisticated artistic tradition that is separate and distinct from that of its larger East Asian neighbors.

This publication introduces Korea's artistic achievement and places it in the context of its history and religions. Works from the Museum's permanent collection form the core of the discussion and are used to illustrate the diversity and beauty of Korean art. These include Buddhist paintings, celadon wares and white porcelain vessels, inlaid lacquerwares, and traditional musical instruments. The boxed set also provides useful teaching tools for the classroom, including maps, an illustrated timeline, a chronology, a glossary, lesson plans, questioning strategies, cross-cultural comparisons, and two large posters. In addition, there are bibliographies for educators and students as well as lists of relevant websites, cultural resources, and film and video resources.

These educational materials are made possible by The Korea Foundation.

Learn how tapestries were made in the time of Louis XIV and are still made today. Explore the process of tapestry weaving at the Gobelins Manufactory in Paris, where historical techniques dating to the time of Louis XIV are used to make contemporary works of art. Video chapters: Introduction - 0:04 Designing a Tapestry - 1:08 Colorful Threads - 2:17 Preparing a Loom - 4:36 Weaving - 6:15 This video was produced in conjunction with the exhibition "Woven Gold: Tapestries of Louis XIV," on view at the Getty Center, December 15, 2016–May 1, 2016. http://www.getty.edu/art/exhibitions/french_tapestries/.

The visual narratives and abstractions of this preeminent African American artist explore the places where he lived and worked: the rural South, Pittsburgh, Harlem, and the Caribbean. Bearden's central themes: religion, jazz and blues, history, literature, and the realities of black life he endured throughout his remarkable career in watercolors, oils, and especially collages and photomontages from the 1940s through the 1980s.

A great and early civilization arose on the subcontinent of South Asia that in time spread northward to the Himalayan region and eastward to Southeast Asia, a vast area including Cambodia, Thailand, Laos, Indonesia, Vietnam, Malaysia, and Myanmar. This resource introduces works of art from this area selected from the superb South and Southeast Asian and Islamic collections of The Metropolitan Museum of Art. Included are examples of Buddhist and Hindu temple art and the later court arts of South Asia; these range from miniature painting and luxurious textiles to elegant personal possessions. As well as descriptions of the visual qualities and symbolic meanings of the art, also provided are a summary of South and Southeast Asian history, a section about Buddhism and Hinduism, a timeline and map, classroom activities, lesson plans, a bibliography, and a glossary.

These educational materials were made possible by The Miriam and Ira D. Wallach Foundation.

Learn about art and culture of the Islamic world and glean ideas for supporting studies of English language arts, math, science, social studies, world history, and visual arts. Each of the units listed below is also available as a downloadable PDF.

Ashurbanipal Hunting Lions, gypsum hall relief from the North Palace, Ninevah, c. 645-635 B.C.E., excavated by H. Rassam beginning in 1853 (British Museum). Speakers: Dr. Steven Zucker & Dr. Beth Harris

The battle of Til Tuba reliefs are among some of the great masterpieces of ancient Assyrian art. The movement and details are truly stunning. That said, the scenes actually being depicted are anything but easy on the eye. Join curator Gareth Brereton as he walks you through the reliefs that once decorated the last great king of Assyria's royal palace. WARNING: includes scenes of drowning, flaying and wearing your deceased leader's head as a necklace. DOUBLE WARNING: includes scenes of extreme royal hat misplacement. The BP exhibition I am Ashurbanipal: king of the world, king of Assyria 8 November 2018 – 24 February 2019

Speakers: Dr. Steven Zucker and Dr. Beth Harris. Created by Steven Zucker and Beth Harris.

Atrial Cross, convento San Agustín de Acolman, mid-16th century Speakers: Dr. Lauren Kilroy-Ewbank and Dr. Beth Harris For more on this cross and more art history: http://smarthistory.org/atrial-cross-acolman/.

Augustus of Primaporta, 1st century C.E. (Vatican Museums). Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

Trace the legacy of Babylonian discoveries and ideas, including their mathematical system based on 60 and their desire to predict the future. With British Museum curator Irving Finkel. © Trustees of the British Museum. Created by British Museum.