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Judith and her Maidservant with the Head of Holofernes, Arteminisia Gentileschi, 1645, Museo e Real Bosco di Capodimonte

This historical Art piece has much history. Brings not only  equality to the woman role but also power. Power is seen by the artist showing unity to the figures them working as a team but also depicts them in a way of learning their possibilities in the curious manner they are drawn very realistic.

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Do women have to naked to get into the Met, Guerilla Girls, 2012, Pomona College Museum of Art

This image of Art to me speaks movement, Voices to be herd and also focus of reality. The Feminist Art is the attention grabber with vibrant colors and revolution on the realism of the portrayed image. This Art piece is one to definitely get a point across.

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Kaldor Public Art Project 30, Marina Abramovic, 2015

This photograph to me got my attention because I can see and almost feel behind the emotion of the image. I can connect with feeling of stress, tiredness, and at some deep level, irritation of some sort. This photograph is a deep expression of a woman and her expression.

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Susanna and the Elders, Arteminisia Gentileschi, 1649, Moravian Gallery in Brno

As always emphasized  throughout society we must seek to learn from our elderly. This piece to me gives a central idea that there is much also to learn from women. The flipped role in the elderly reaching out to this woman and full focus on her and her detail in portrayal of her body  makes it that much stronger to the feminist movement.

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The Dinner Party, Judy Chicago, 1974-1979, Brooklyn Museum

The formal dining and the black to white contrast in The Dinner Party Art piece  expresses a very strong and historical message to the feminist movement.

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The name of the movement I chose is Feminist Art. This movement was mostly active starting the 1970’s by Judy Chicago and Miriam Schapiro in the US but very lively in the UK as well. Three of the activists and artists that got my attention were one Linda Nochlin that started direction to this movement with her very famous to date essay titled, “why have there been no great women artists?” (1971) that brought up awakening to social and economic factors that prevented in society equal status to women. Another artist Judy Chicago with her recognized art piece “The Dinner Party”(1979) that that brought history to Western civilization with the 39 place settings. Finally, the still legend Mexican artist Frida Khalo that before this movement was already portraying pieces of art representing within herself the feminist movement as mentioned  of women’s pains, frustrations, and passions within our history. The primary visual characteristics of this Feminist Movement emphasized the feminine experience examples of this were vaginal imagery, menstrual blood, body art and embroidery. The goal was to bring to light and discuss inequalities for women. This “pívot of change” as they call it brought liberty to women economically and in status all while in our country we also faced the Vietnam War and much more political awareness.

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What caught my attention about this piece is the color. I also like how the artist perfectly shaped it.

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What I like about this piece is not many people like this kind of work, mainly because they try to read into it and can’t, because it about appreciating the way the material falls and it’s put together. There’s not much to look into it.

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This canvas, I have because of how simple it looks, but if you look closely, you can see the paint's texture. I also like that the lines are smooth, and you can see bits of red and brown in the lines. It’s not just one solid color.

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This painting is pretty cool; my favorite. The reason It's my favorite is it's hypnotizing. If you look at it, you can see the different shapes it gives. It’s a piece I would love to have in my house.

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What I like about this piece are the colors. I like how they all pop, and they all compliment each other. The shapes the artist uses are simple yet he It makes them Extraordinary.

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Minimalism art is a form of abstract art. It is composed of geometric shapes. It became popular in the US in the 1960s. This movement was post-World War ll. Movement is also interpreted as modern abstract expressionism.

Unlike most art that tries to tell a story or copy a beautiful landscape or even give off an emotion or feeling, minimalism does not try to give you emotion or a reality.

This type of art is what you see is what you get. Minimalist painter Frank Stella said about his painting, “ What you see is what you see.” That's the perfect description of Minimalism. You're not expected to read much into the art; that's the beauty of it.

Some of the leading artists associated with this movement are Frank Stella, Donald Judd, Robert Morris, and many more, but these are the ones that caught my eye the most.

Minimalism Art is more of an aesthetic it's a kind of art that only a few people appreciate. I say that because people always try to read into art, and minimalism is not about that. It's about the simplicity of the image. The goal or the meaning of minimalism is about just living and not expecting much, I would say. It about appreciates what is in front of you is, as a whole, the literal presence. “Minimalism emerged in New York in the early 1960s among artists who were self-consciously renouncing recent art they thought had become stale and academic. A wave of new influences and rediscovered styles led younger artists to question conventional boundaries between various media.”(The Art Story)

Minimalism is a way of exertion but not in an emotional way but in viewing things. I believe what the artists are trying to give us is a way to have us look at things the way they are, instead of having us trying to find a meaning to it. They are telling us that life is not complicated unless you make it complex, just like art.

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Palm Springs Desert Museum. "Magic, Art and Order: Jade in Chinese Culture," February 8, 1990-April 29, 1990.

New York. The Metropolitan Museum of Art. "The Bishop Jades," March 30, 2004-February 12, 2006.

New York. The Metropolitan Museum of Art. "The "Hundred Antiques"," February 18, 2006-October 31, 2006.

New York. The Metropolitan Museum of Art. "Extravagant Display: Chinese Art in the Eighteenth and Nineteenth Centuries," December 14, 2010-May 1, 2011.

New York. The Metropolitan Museum of Art. "Celebration of the Year of the Ram," January 17, 2015-April 12, 2015.

New York. The Metropolitan Museum of Art. "Monkey Business: Celebrating the Year of the Monkey," January 8, 2016-July 24, 2016.

New York. The Metropolitan Museum of Art. "Celebrating the Year of the Pig," February 4, 2019-July 28, 2019.

New York. The Metropolitan Museum of Art. "Celebrating the Year of the Rat," January 17, 2020-June 23, 2020.

The Metropolitan Museum of Art. "Celebrating the Year of the Ox," January 30, 2021-January 17, 2022.

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Twelve Animals of the Chinese Zodiac | China | Qing dynasty (1644-1911) | The Metropolitan Museum of Art

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Palm Springs Desert Museum. "Magic, Art and Order: Jade in Chinese Culture," February 8, 1990-April 29, 1990. New York. The Metropolitan Museum of Art. "The Bishop Jades," March 30, 2004-February 12, 2006. New York. The Metropolitan Museum of Art. "The "Hundred Antiques"," February 18, 2006-October 31, 2006. New York.

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A swallow, a solar symbol, in an rectangular inlay | Late Ptolemaic Period-early Roman Period | The Metropolitan Museum of Art

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Formerly in the collection of the Reverend Chauncey Murch (died 1907). Collected between 1883 and 1906 while Murch was a missionary in Egypt. Collection purchased by the Museum from the Murch family with funds provided by Helen Miller Gould, 1910

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Objets d'art et d'antiquités composant la collection de M. E. Laforge. Lyon: Jean-Baptiste Carrand, November 16-26, 1868. no. 56, pp. 8-9.

Molinier, Emile. L'émaillerie. Paris: Hachette, 1891. pp. 132-33.

Catalogue officiel illustré de l'exposition retrospective de l'art français des origines à 1800. Exposition universelle de 1900. Paris: Lemercier & Cie., 1900. no. 2408, p. 292, only plaques 17.190.685-.687; ill. p. 77.

Molinier, Emile. "Les arts à l'Exposition Universelle de 1900: L'Exposition rétrospective de l'Art français: L'Orfèvrerie (deuxième article)." Gazette des Beaux-Arts, 3rd ser., 24, no. 4 (October 1900). pp. 351-50, ill. p. 349 (17.190.685 only).

Guibert, Louis. Les Vieux Émaux de Limoges à l'Exposition de 1900. Limoges: Veuve H. Ducourtieux, 1901. pp. 13-15, ill. across from p. 21 (17.190.685 only).

Pératé, André. Collections Georges Hoentschel: Émaux du XIIe au XVe siècle. Paris: Librairie Centrale des Beaux-Arts, 1911. no. 35-40, fig. XVII-XVIII.

Breck, Joseph, and Meyric R. Rogers. The Pierpont Morgan Wing: A Handbook. 1st ed. New York: The Metropolitan Museum of Art, 1925. p. 32, 58, fig. 32-33, ill. p. 59 (17.190.685 and .695).

Breck, Joseph, and Meyric R. Rogers. The Pierpont Morgan Wing: A Handbook. 2nd ed. New York: The Metropolitan Museum of Art, 1929. p. 32, 58, fig. 32-33, ill. p. 59 (17.190.685 and .695).

Hildburgh, Walter L. Dr. Medieval Spanish Enamels and Their Relation to the Origin and the Development of Copper Champlevé Enamels of the Twelfth and Thirteenth Centuries. London: Oxford University Press, 1936. pp. 57-58, 77, 89, fig. 8b.

Ross, Marvin Chauncey. "An Enameled Reliquary from Champagnat." In Medieval Studies in Memory of A. Kingsley Porter. Vol. 2. Cambridge, Mass.: Harvard University Press, 1939. pp. 467-477, fig. 1-6.

Arts of the Middle Ages: A Loan Exhibition. Boston: Museum of Fine Arts, 1940. no. 232, p. 68, pl. XXI.

Hildburgh, Walter L. Dr. "Varieties of Circumstantial Evidence in the Study of Mediaeval Enameling." Speculum 17, no. 3 (July 1942). pp. 394-95.

Forsyth, William H. "Mediaeval Enamels in a New Installation." The Metropolitan Museum of Art Bulletin, n.s., 4, no. 9 (May 1946). p. 233, ill. p. 235.

Spanish Medieval Art: A Loan Exhibition in Honor of Dr. Walter W.S. Cook. New York: Institute of Fine Arts Alumni Association, 1954. no. 8, pl. VII.

Rorimer, James J., and William Holmes Forsyth. "The Medieval Galleries." The Metropolitan Museum of Art Bulletin, n.s., 12, no. 6 (February 1954). p. 140.

The Metropolitan Museum of Art. Guide to the Collections: Medieval Art. New York: The Metropolitan Museum of Art, 1962. fig. 24.

Hoving, Thomas. "The Thread of Patronage: The Medieval Collections of The Metropolitan Museum of Art and The Cloisters." Apollo 82, no. 43 (September 1965). p. 188, fig. 12.

Kohlhaussen, Heinrich. Europäisches Kunsthandwerk: Volume 1, Vorromanik und Romanik. Frankfurt: Umschau-Verlag, 1969. no. 78, p. XXIX.

Hoffmann, Konrad, ed. The Year 1200: A Centennial Exhibition at The Metropolitan Museum of Art. Vol. 1. New York: The Metropolitan Museum of Art, 1970. no. 140, pp. 136-137.

Lasko, Peter. Ars Sacra, 800-1200. 1st ed. New Haven and London: Yale University Press, 1972. pp. 229-231, fig. 262.

Souchal, Geneviève. "A propos d'un lion champlevé limousin: la survivance d'un thème sassanide." Gesta 15, nos. 1 and 2 (1976). p. 292.

Springer, Peter. Kreuzfüsse: Ikonographie und Typologie eines hochmittelalterlichen Gerätes. Bronzegeräte des Mittelalters, Vol. 3. Berlin: Deutscher Verlag für Kunstwissenshcaft, 1981. pp. 185, 187.

Howard, Kathleen, ed. The Metropolitan Museum of Art Guide. New York: The Metropolitan Museum of Art, 1983. no. 20, p. 345.

Gauthier, Marie-Madeleine. Émaux Méridionaux: Catalogue International de l'Oeuvre de Limoges; L'Époque Romane. Corpus des émaux méridionaux, Vol. I. Paris: Editions du centre national de la recherche scientifique, 1987. no. 132, pp. 123-24, pl. F, ill. 10 (color); pl. XCVI, ill. 365-368.

Husband, Timothy B., and Charles T. Little. Europe in the Middle Ages. New York: The Metropolitan Museum of Art, 1987. no. 56, p. 64.

Pushkin Museum and State Hermitage Museum. Dekorativno-Prikladnoe Iskusstvo ot Pozdnei Antichnosti do Pozdnei Gotiki: Kratkii Katalog Vystavki. Moscow: Pushkin Museum, 1990. no. 17, p. 10.

State Hermitage Museum. Dekorativno-Prikladnoe Iskusstvo ot Pozdnei Antichnosti do Pozdnei Gotiki. St. Petersburg: State Hermitage Museum, 1990. no. 17, pp. 42-43.

Little, Charles T., ed. The Art of Medieval Spain, A.D. 500-1200. New York: The Metropolitan Museum of Art, 1993. no. 133, pp. 276-277.

Howard, Kathleen, ed. The Metropolitan Museum of Art Guide. 2nd ed. New York: The Metropolitan Museum of Art, 1994. no. 21, p. 379.

Lasko, Peter. Ars Sacra, 800-1200. 2nd ed. New Haven and London: Yale University Press, 1994. pp. 244-47, fig. 333.

Taburet-Delahaye, Elisabeth, and Barbara Drake Boehm, ed. L'Oeuvre de Limoges: Emaux limousins du Moyen Age. Paris: Réunion des Musées Nationaux, 1995. no. 10, pp. 90-92.

Boehm, Barbara Drake, and Elisabeth Taburet-Delahaye, ed. Enamels of Limoges, 1100-1350. New York: The Metropolitan Museum of Art, 1996. no. 10, pp. 90-92.

Boehm, Barbara Drake. "Opus Lemovicense: La Diffusion des Émaux Limousins." In Émaux de Limoges, XIIe-XIXe Siècle, edited by Jacques Toussaint. Namur: Société Archéologique de Namur, 1996. pp. 28-30.

Boehm, Barbara Drake. "Hommage a Limoges: A Note on the Enamels of Caldwell and Company, New York." Bollettino d'Arte Supplemento 95 (1997). pp. 173-180, fig. 2.

Stirnemann, Patricia. "Emaux et enluminures: problèmes de flore." In L'Oeuvre de Limoges: Art et histoire au temps des Plantagenêts, edited by Danielle Gaborit-Chopin, and Elisabeth Taburet-Delahaye. Paris: Réunion des Musées Nationaux, 1998. pp. 225-36.

Martín Ansón, María Luisa. "Los Esmaltes Silenses: Problemática Sobre su Origen." In De Limoges a Silos, edited by Joaquín Yarza Luaces. Madrid: Sociedad Estatal para la Acción Cultural Exterior, 2001. p. 271.

Boehm, Barbara Drake. "'Magníficamente Trabajado y Excelente': el Gusto por la Obra de Limoges en la Europa Medieval." In De Limoges a Silos, edited by Joaquín Yarza Luaces. Madrid: Sociedad Estatal para la Acción Cultural Exterior, 2001. p. 28.

Luaces, Joaquín Yarza, ed. De Limoges a Silos. Madrid: Sociedad Estatal para la Acción Cultural Exterior, 2001. no. 73, pp. 60, 278-279, 288-89, 315.

Luaces, Joaquín Yarza. "Arquetas Relicario con Historias de Santos." In De Limoges a Silos, edited by Joaquín Yarza Luaces. Madrid: Sociedad Estatal para la Acción Cultural Exterior, 2001. p. 232.

Franco Mata, Ángela. "Arte 1200: iconografía y función de los 'Ornamenta ecclesiae' hispánicos." In Actes du Colloque: Autour de Hugo d'Oignies, edited by Robert Didier, and Jacques Toussaint. Namur: Société Archéologique de Namur, 2004. pp. 260-61, ill.

Boehm, Barbara Drake. "Le goût des Américains pour l'Œuvre de Limoges aux XIXe et XXe siècles." In L'Œuvre de Limoges et sa diffusion: Trésors, objets, collections, edited by Danielle Gaborit-Chopin, and Frédéric Tixier. Paris: Institut national d'histoire de l'art, 2011. p. 126.

Brennan, Christine E. "Hoentschel's Gothic Importance." In Salvaging the Past: Georges Hoentschel and French Decorative Arts from The Metropolitan Museum of Art, edited by Daniëlle O. Kisluk-Grosheide, Ulrich Leben, and Deborah L. Krohn. New York: Bard Graduate Center: Decorative Arts, Design History, Material Culture, 2013. p. 155, fig. 5.10.

Stein, Wendy A. How to Read Medieval Art. New York: The Metropolitan Museum of Art, 2016. no. 16, pp. 15, 70-71, ill. pp. 64-65.

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Chasse of Champagnat | French | The Metropolitan Museum of Art

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Objets d'art et d'antiquités composant la collection de M. E. Laforge. Lyon: Jean-Baptiste Carrand, November 16-26, 1868. no. 56, pp. 8-9. Molinier, Emile. L'émaillerie. Paris: Hachette, 1891. pp. 132-33. Catalogue officiel illustré de l'exposition retrospective de l'art français des origines à 1800. Exposition universelle de 1900. Paris: Lemercier & Cie., 1900.

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Date: ca. 1150
Geography: Made in Limoges, France
Credit Line: Gift of J. Pierpont Morgan, 1917

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A Swallow, a solar symbol, in a  rectangular inlay

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A Swallow, a solar symbol, in a  rectangular inlay

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Date: ca. 100 B.C. – A.D. 100
Geography: From Egypt
Credit Line: Gift of Helen Miller Gould, 1910

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Date: 18th–19th century
Geography:  Qing dynasty (1644–1911)
Credit Line: Gift of Heber R. Bishop, 1902

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One of the most fascinating and mysterious objects of early Islamic art in the Museum's collection, this wood panel was acquired in 1937 from the dealer Paul Mallon in Paris. It is the largest and most complete of a small group of similar panels that can be found today in the Museum für Islamische Kunst, Staatliche Museen zu Berlin; the Museum of Islamic Art, Cairo; the Museum of Archaeology of Cairo University; and the Musée du Louvre, Paris.[1] Their hearsay provenance-unconfirmed-is that they were found in the cemetery of 'Ain al-Sira near Fustat (Old Cairo).[2] For this reason, the most common identification of their function has been that they are fragments from a cenotaph. This is a possible option considering the over-six-foot length (nearly two meters) of the complete panel in the Museum. Various other considerations, however, can be put forward that question such an interpretation. First, had it been a cenotaph (tabut, in Arabic),[3] this decorated wooden box would have been placed at the center of a small room within a mausoleum dedicated to a high-ranking individual. While little is known of burial practices during the first two to three centuries of Islam when these panels were undoubtedly created, it is unlikely, given the lack of both archaeological and literary evidence, that the cemetery of 'Ain al-Sira would have hosted a sophisticated architectural structure that included this cenotaph.

In addition, close inspection of the Museum's panel in the Department of Objects Conservation indicates that the metal pins in the top edge may have originally been used to secure hinges; their location suggests that the panel functioned as the lid of a chest. If this was the case, the dimensions of the panel correspond to the width and length of the box (rather than the height and length of a side panel), making it a cenotaph of odd proportions if it was meant to suggest the perimeter of the body beneath.

An alternative possibility put forward in the past that has now gained support is that the chest might instead have been a container for an early copy of the Qur'an. Frequently written on thick parchment and produced in bound, multivolume sets, early Qur'ans were not only sacred but also precious and expensive manuscripts. The text of the Qur'an was divided into thirty established parts at an early stage, and it is likely that sets of even larger divisions were made. The dimensions of extant individual folios suggest that volumes of a height of about 16-18 inches (40-45 cm) would have been relatively common and would have fit nicely inside this chest arranged one next to another and stacked vertically in a few rows.[4] As demonstrated by late seventh- to early eighth-century Qur'an folios found inside the ceiling of the Great Mosque of Sana'a, Yemen, a few decades ago, early illuminated manuscripts of the Qur'an included both architectural arcades and geometric patterns similar to the central design of this panel, providing a direct link between the illumination of Qur'an manuscripts and the exterior decoration of Qur'an chests.[5]

From the technical as well as the art-historical point of view, this panel is a rare early example of wood-mosaic decoration, notable for the high quality of its execution. A single panel of fig wood (ficus sp.) served as the substrate. Ebony (Diospyros) or granadilla (Dalbergia melanoxylon), European yew (Taxus baccata), an unknown wood from the family Rutaceae, and bone (not ivory, as one might think) were applied to produce the complex geometric decoration. The diminutive triangular, square, rectangular, and diamond shapes were cut from wood rods in six different sizes and subsequently individually glued in place according to the desired patterns. Tool marks on the bone elements indicate the use of a saw, a knife, a rasp, and shaped carving tools with triangular-section blades. Holes were made using a bow drill. X-radiography reveals the metal pins in the top edge of the panel to be the only joining hardware; similar metal pins or corresponding holes in analogous locations have been observed in the closely related wooden panels in the other institutions in Berlin and Cairo mentioned above.

The composition is symmetrical with a central composite square that is strongly reminiscent of Roman stone-mosaic floors. Each of the two sides includes a series of five narrow arches separated by stylized columns. There is no sense of architectural depth in the design as the interior of each arch is filled with a dense, sometimes complex and sophisticated mosaic pattern. The prominent columns emphasize the decorative aspect of the panel especially at their top ends, which recall the crowns of Sasanian rulers. This use of elements from the artistic languages of the two great traditions inherited by the early Islamic artists, Roman on the Mediterranean coasts and Sasanian in the Greater Iranian region, makes this panel an intriguing work to study. It also helps to date it in the first two-unlikely the third-centuries after the advent of Islam.

Stefano Carboni and Daniel Hausdorf (authors) in [Ekhtiar, Soucek, Canby, and Haidar 2011]

Footnotes:

1. Museum für Islamische Kunst, Staatliche Museen zu Berlin (no. I. 5684 a-b); Museum of Islamic Art, Cairo (nos. 9518, 11636); Museum of Archaeology of Cairo University (no. 58); and Musée du Louvre, Paris (no. AA 201).

2. New Cairo, or al-Qahira, was founded by the Fatimids in 969, and nearby Fustat lost its political importance while maintaining a lively society and busy trading and commercial activities. Related panels in carved wood, now at the Louvre, have also been reported to come from 'Ain al-Sira: see Anglade, Elise. Catalogue des boiseries de la section islamique, Musée du Louvre. Paris, 1988, pp. 23-26, figs. 8-10a.

3. According to Muslim burial practice, the body of the deceased is wrapped in a simple cloth and placed in the ground. A cenotaph is therefore a sumptuous but empty grave marker placed on the ground directly above the burial place.

4. A cursory review of the recent George, Alain, The Rise of Islamic Calligraphy, London, 2010, pp. 45 and 92 (fig. 61), for example, shows that a Qur'an in the Bibliotheque Nationale de France, Paris (no. Arabe 331), measures 16 1/4 by 13 3/4 inches ( 41.3 × 34.8 cm), and one in the Khalili Collection, London (no. KFQ 27), is 18 1/2 by 13 inches ( 47 × 33 cm). George also observes ( p. 44) that "the dimensions of preserved Hijazi fragments are consistently large (typically 33 × 24 cm and above . . .)" and shows the image ( p. 87, fig. 57) of a folio from a "Giant Qur'an" in style C.Ia (also in the Bibliotheque Nationale, no. Arabe 324c) that measures 21 1/8 by 24 3/8 inches ( 53.7 × 62 cm).

5. I bid., pp. 79 - 86, figs. 53 - 56.

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One of the most fascinating and mysterious objects of early Islamic art in the Museum's collection, this wood panel was acquired in 1937 from the dealer Paul Mallon in Paris.

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Date: Second half of the 8th century.
Geography: Attributed to probably Egypt
Credit Line: Samuel D. Lee Fund, 1937

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Title Olomouc Museum of Art
Artist's Name Josef Hoffmann
Year Created 1905
Media/Materials Used wood
This furniture made with wood and it’s looks like old but it is not that furniture style has a new quality and modern design.
https://artsandculture.google.com/asset/adjustable-armchair-sitzmaschine-josef-hoffmann/jgHaqt2CaBpQrQ?avm=4

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Title Corning Museum of Glass
Artist's Name Maurice Marinot
Year Created 1934
Media/Materials Used glass
Dimensions of the Pieces overall H
This art movement catch my eyes because if it’s the artwork.
https://www.google.com/search?rlz=1CDGOYI_enUS831US832&hl=en-US&sxsrf=ALeKk00a52MN-PlSeNWyfTREF9ZzMIodnA:1615791774286&q=Vase+with+Acid-etched+Decoration&stick=H4sIAAAAAAAAAONgFmLXz9U3KKksVOLVT9c3NMwzt8gtryrK1dLITrbSL8ssLk3MiU8sKtEH4viC1KLM_JT43Pyy1NzUvBKr8vyi7OJFrAphicWpCuWZJRkKjsmZKbqpJckZqSkKLqnJ-UWJJZn5eTtYGQGMJu4gagAAAA&sa=X&ved=2ahUKEwj00fK13bHvAhWcJTQIHdlWB88Qtq8DMAN6BAgBEFM&biw=414&bih=696

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Title Irene and Her Sister
Artist's Name Tamara de Lempicka
Year Created 1925
Media/Materials Used painting
Dimensions of the Pieces is a particular creative design. These two sisters that the artist’s painted looks great and influenced by the art movement.
http://www.tamaradelempicka.org/irene-and-her-sister/

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Palmer Hayden, “Untitled (Dreamer),” created: 1930, media - oil pastel

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Palmer Hayden, “Untitled (Dreamer),” created: 1930, media - oil pastel

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I really enjoyed this picture because it could be percieved in many different ways as it could be seen as how jazz was always playing. It could also stand for how there were dreams and hopes for the black children that lived during the time.

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William H. Johnson, Café, created: 1939, media: acrylic

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William H. Johnson, Café, created: 1939, media: acrylic

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I really enjoyed this piece of art because it shows a very open setting . it also shows the history of the textiles of the time with the abstract detail

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Artist: Carlos Schwabe
Year: 1895-1900
Materials: Painting
Dimensions: 0.25 x 24 x 36 inches

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Artist: Edward Burne-Jones
Year: 1884
Materials: paint
Dimensions: 9′ 8″ x 4′ 6″

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Artist: gustav klimt
Year: 1907
Materials: Paint
Dimensions: 77 x 83 cm
I chose this artwork because the physical aspect is very intriguing to my eyes.

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Title Portrait of Fernando Pessoa
Artist's Name José de Almada Negreiros
Year Created 1954
Media/Materials Used Oil on canvas Calouste Gulbenkian Foundation
Dimensions of the Pieces this is a drawing and painted on art movement. This piece catches my attention because of the shape and designs.
https://www.flickr.com/photos/pedrosimoes7/33232402401

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Chakra stones represent healing. In the Native American culture stones were used to heal many ailments and are still widely used by many today. Each color has a different healing power for specific parts of our body: These are known as crown, third eye, throat, heart, solar plexus, sacral and root chakras.

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Title The Green turban
Artist's Name Tamara de Lempicka
Year Created 1930
Media/Materials/ She has used a limited palette and green colours
Dimensions of the Pieces/ This is a particular creative peace. This art movement looks great because it was painted amazing. I like the eyes that this person painted.
http://www.tamaradelempicka.org/green-turban/

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Art Deco ( 1910 - 1939)
Art Deco was an art movement popular in France. Art Deco first time appeared in France before world War 1. It was influenced the design of buildings, furniture, jewelry, fashion, ocean liner and objects. During its heyday, Art Deco represented luxury, glamour, exuberance, and faith in social and technological progress. The two of the main artists are Wiemer Pursell and Rene Lalique.

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augusta savage - gamin , created: 1929, media: bronze

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augusta savage - gamin , created: 1929, media: bronze

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A Very famous sculptor of the Time, Augusta Savage was a talented artist and was looking to find her professions and creativity within sculpting portraits.She was among 100 women to be placed in a program at Fontainebleu in paris to study Art. She was turned down after they discovered her race and was apprenticed by another American Sculptor named Hermon Macneil through an invitation. She was later commissioned by W.E.B debois to sculpt his portrait which led to her success as he was a well known and respected leader of the black culture movement.

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Symbol of purity and creation of the universe. Lotus flower also represents strength, as it grows in muddy waters. Just like a person who over comes many obstacles in life and still manages to stay strong, mentally and emotionally. Artist - Bahman Farzad
photo taken Dec. 10, 2008

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Across many cultures, especially the Native American culture, the feather symbolizes connection to spiritual realms. It also symbolizes flight and freedom, mentally and spiritually.  Unknown artist - photograph

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Ascent of Ethiopia- lois mailou jones ,created: 1932, media: pastels

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Ascent of Ethiopia- lois mailou jones ,created: 1932, media: pastels

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I felt like this really captured the era as it shows african culture. A very great example of the resurgence of African Culture through art was a piece by Lois Mailou Jones called ‘The Ascent Of Ethiopia’. The colors were vibrant and didn’t stray away from abstract piecework when it came to combining images or incorporating color. It includes a side profile of a woman in either ethiopian or egyptian textiles acting as a stairway to New York city. The roots of the renaissance were to regain the culture that was stripped away from blacks once they were enslaved. It acknowledged how african americans identity had become mostly watered down in order to assimilate to the society of the United States.

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The Harlem renaissance was a cultural awakening for people of African descent which originated in a small neighborhood called Harlem in New york city. It was built for the means to establish a black culture in a distinctly white state and overall country. The african americans wanted to reclaim their native culture and identity which was fulfilled through street art and jazz music. It lasted from the late 1910’s to the mid 1930s. Harlem which was located in Northern Manhatten was created to be an upperclass white suburbia but failed due to urban development and “desperate landlords”(History.com) The Great Migration caused many blacks from the South to move North resulting in anywhere from 100,000- 300,000 extra people to inhabit Harlem.

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Arrows are a symbol of new direction and new beginnings, just a butterflies are. Artist unknown

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1.    Title: Daydream

2.    Artist’s Name: Alphonse Mucha

3.    Year Created: 1897

4.    Media/Materials Used: Poster

5.    Dimensions of the Pieces: 1621 x 2171

6.    The poster from the Art Nouveau is intricately designed with flowers and many colors.  I simply enjoy the posters and I have purchased cards in the past with similar designs.

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1. Title: Poster for the Scottish Musical Review

2. Artist's Name: Charles Rennie Mackintosh

3. Year Created: 1896

4. Media/Materials Used: Poster

5. Dimensions of the Pieces: 1120 x 1477

6. I liked this poster because of the balance yet everything is intertwined.

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This is a photo by Darcy Lauren, unknown date of photo. Butterflies are a symbol for new beginnings.

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1. Title: Daffodils

2. Artist's Name: Louis Comfort Tiffany

3. Year Created: 1916

4. Media/Materials Used: Stained glass

5. Dimensions of the Pieces: 152 x 243

6. The background color of blue in contrast with the daffodils is soothing and beautiful at the same time. This was my favorite stained-glass piece.

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1. Title: The Strawberry Thief (Flower and Bird Pattern)

2. Artist's Name: William Morris

3. Year Created: 1884

4. Media/Materials Used: Cotton; plain weave, block printed, wool trim with tassels.

5. Dimensions of the Pieces: 283 × 106 cm

6. I really like textiles and this piece was very intricate.  I would love to use this specific pattern at home.

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1.    Title: The Kiss

2.    Artist's Name: Gustav Klimt

3.    Year Created: 1907-1908

4.    Media/Materials Used: oil on canvas painting with gold leaf and silver and platinum.

5.    Dimensions of the Pieces: 180 cm x 180 cm
6. I loved the colors of this painting and I enjoyed the image of the couple in an embrace.  It is hard to tell from the picture of the painting but the gold leaf would have given the painting a magical feel. I think the artist illustrates the beauty loving someone and being wrapped in the moment.

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1.    What is the name of the art movement?
I chose the Art Nouveau movement because I love the flowing lines, ornamental designs in paintings, architecture, furniture, advertising, and posters. The term means new art.
2.    Between which years was this art movement active? The movement was active from 1890 through 1910 in most of the referenced sources.  The Art Story site listed the end of the movement in 1905. The San Francisco Museum lists the end of the period as the worldwide focuses on World War I in 1914.
3.    If the movement you chose is associated with a particular country or region, in what places was it found? The movement is primarily associated in Europe and the United states, but as I read about the movement it eventually became an international sensation.  Various prominent artists were located all over the world: William Morris in England, Charles Rennie Mackintosh in Scotland, Alphonse Mucha was based in France, Gustav Klimt in Austria, and Louis Comfort Tiffany in the United States.

4.    Who are at least three of the main artists associated with this movement?Three important artists during this period are William Morris, Gustav Klimt, and Louis Comfort Tiffany.

1. Describe the primary visual characteristics of this movement. The movement style is an ornamental with many long, intricate, curved, violent lines. The term whiplash curves were used to describe the curved lines. The style was used in architecture, interior design, jewelry, posters, paintings, and furniture.

2. What were the goals or objectives of this movement? How did it get started? Art Nouveau was born from a rebellion of historical and conservative artistic movements. The goal of the movement was to modernize design and provide more expression. William Morris stated the goal was to give people pleasure in things they use. The movement can be traced back to the arts and crafts movement of William Morris and experiments by artists such as Paul Gauguin with expressive lines.  Japanese prints also influenced the movement because of their use of linear patterns.

3. What was going on in the world while this work was being created? During the late 1890s, a great deal of change was happening in the art world and many artists were looking for ways to express themselves.  This twenty-year period prior to World War I saw progress in technology.  Bicycles, elevators were invented, The Eiffel Tower is built for the Paris World's Fair.  The women’s suffrage movement begins, but I find it interesting that I did not find many women artists, but they were the center of some of the art, especially the graphic art. The movement also took place during the turn of the century and I believe it reflects a change in attitude by the artists and the community. A need for more freedom of expression.

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Gail Fredell
Date: n.d.
Furniture/ wood & granite
18 3/4 in. x 92 1/2 in. x 24 in. (47.63 cm x 234.95 cm x 60.96 cm)
Anything wood, I'm a fan of! This piece I feel portrays a childhood of some sort. I say this because the top part of the piece with wheels looks like it could be a skateboard as it can easily rolls down the bottom part of the piece. I feel as if this piece tells us that life is a roller coaster no matter how simple it can feel at moments.

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I chose this movement because I strongly believe that often times things are presented to us only as symbols. Sometimes they are hidden symbols and other times very obvious. How we interpret them helps us figure out how to deal with situations we are dealing with in our lives. This movement began in the 1800's in the French, Russian and Belgium origins. Three of the most popular artists for this movement are: Gustav Klimt, Gustave Moreau & Edvard Munch. Another artist is Stephane Mallarme who favored dreams, visions and the associative powers of the imagination in poetry. While this movement was represented mostly by poetry and metaphorical images, I chose modern day photos to represent this movement.

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Brice Marden
1986
Print/ etching & sugar-lift aquatint
19 3/8 in. x 16 in. (49.21 cm x 40.64 cm)
This sketch caught my attention because I feel as if it could be expressing multiple things all at once. It's as if its telling a story but then isn't. I believe this piece wants you to feel it out the way you want to. There is no direction in any shape or form which I feel it, itself, represents perfectly.

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Title: A prisoner no more

Artist's Name: Laura Dumm

Year Created: 2018

Media/Materials Used: Acrylic on canvas

Dimensions of the Pieces: 25x25

This is my absolute favorite piece a prisoner no more is absolutely full of emotion and realness. Often after a women is abused she feels trapped like a prisioner, she feels worthless. Laura Dumm captured the moment of self confident and strength of this women when most of the time she is blamed for her own abuse. The finger pointing shows how scoeity, mainly men see women who have been abused wiether it be sexual assualt or domestic violence, most ment victim blame which is clearly shown here. But the women in this paintings doesnt seem scared or sad, she looks like she relaized her value, she looks unbothered by the judgy comments. This piece is simple stunning.

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Don't know why it's uploading on a totally separate section but this is the piece I am touching upon above.

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Title: Stop violence against women

Artist's Name: Fabieke

Year Created: 2014

Media/Materials Used: graffiti art materials (airbrush, oil-based chalk, paint)

Dimensions of the Pieces: Unknown

This beautiful graffiti art is shocking but so raw. There are so many women that are abused on a daily bases yet they hide it with makeup, something that is supposed to accentuate their beauty not hide the truh. I love that this piece shows a women standing up for herself, the hand towards the audience can be connected to her holding her hand up in a stop formation. Fabieke did an amazing job capturing the strength abused women have after putting up and standing up to their abuser. It is a good example of the movement because femeinist art is supposed to show women empowerment through their struggles.

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Title: Untitled, known as “your body is a battleground”

Artist's Name: Barbara Kruger

Year Created:1989

Media/Materials Used: Photo media

Dimensions of the Pieces: H:112 x W: 112 in.

Barbara did a great job using the contrast and the staticky look on the right side which is what captured my attention. This piece is very unlike all the other feminist peices simply because of the type of image it is. During my search for feminsit art this was the only one of it's kind. I was captured by the left side looking determined yet still femine and dainty while the right side looks mad and ready to fight. This just shows that although women on the outside might look pretty on the inside they have their own issues, yet they still get their repsosnilties done.

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Title: Eye Body

Artist's Name:Carolee Schneemann

Year Created:1963

Media/Materials Used: nude body, plastic tarps, broken mirrors, black paint

Dimensions of the Pieces: 34.3 x 26.7 (cm), 13.5 x 10.5 (inch)

The Eye body piece is so beautiful and eye capturing, the contrast Schneemann uses creates a beautiful solutee. I have seen many pieces similar to this but non of them uses such high contrast yet still maintained the image of the womens body. The lines she make with her body accentuate the realness of womens perfectly imperfect bodies. This is a good example overall because she did not edit it, the body and flaws are real, she was able to perfectly cputre a women mid thought. This piece impowers women to be real to allow thmeslves to see their imperfections as beautiful.

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Title: The dinner party

Artist's Name: Judy Chicago

Year Created:1970

Media/Materials Used: glazed porcelain brick base

Dimensions of the Pieces:48x48x48 feet

The piece captured my attention due to the taboo imagery that Chicago uses. She created this peace to honor women who have made a positive difference in the feminist world but instead of using normal plates she uses glazed porcelain shaped like female genitalia. This is never seen because many people think it is too taboo and exposes women but Chicago uses it as a form of empowerment trying to normalize body parts. This is a great example of this movement because of its boldness, and uniqueness of this piece, she uses different shapes and sizes to show how different yet beautiful we all are.

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Donald Judd
1973
Sculpture/ stainless steel & paint
120 in. x 27 in. x 24 in. (304.8 cm x 68.58 cm x 60.96 cm)
What I really admired from this sculpture was how shiny each shelf like form was built. It was built to perfection and although I don't really know what kind of meaning would be behind this piece, I can definitely  say that the artist who created this took his time and it came out beautifully. I would love to do more research on this sculpture as I know there is a meaning behind it as there is to everything!

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Bruce Conner
April 26th, 1965
Print/lithograph
41 3/8 x 30 in. (105.09 x 76.2 cm)
This print caught my eye was mainly how it was one of the most simplest pieces of art that I viewed while scrolling through the museum SFMOMA!

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Artist: Edvard Munch
Year: 1892-1895
Materials: oils on canvas
Dimensions: 91 cm × 70.5 cm
I chose this piece of art because of the art and craft put into this painting. It has very nice colors and a very interesting figure.

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The movement took place in the late 19th century to the early 20th century. Although the movement started in France, it later spread itself all across Europe and into North America. Some of the many artists that were involved in the movement were Gustave Moreau, Hugo Simberg, and Frida Kahlo. The primary goals of the movement were to change and replace the corrupt and decadent lifestyle to a more spiritual and universal idealism

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Artist: Andy Warhol
Year created 1962
Media:  Acrylic paint on canvas
Dimensions 205.44 cm × 289.56 cm (80.88 in × 114.00 in)

This Art piece is colorful and very standing out with the different shades of gray and black.

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Sol LeWitt
1962
Sculpture/ oil on canvas & painted wood
62 1/4 in. x 62 1/4 in. x 9 3/4 in. (158.12 cm x 158.12 cm x 24.77 cm)
The reason this art piece caught my eye was how it was a square in a square. I looked at these squares as if it was some type of trap. To put it in other words, as in I feel as if the brown square represents what the outer blue square wants us to acknowledge but our eyes go straight to the brown square as it is purposely placed right front and center.

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Artist: Roy Lichtenstein
Year created: 1963
Media: Oil and acrylic paint on canvas
Dimension: 111.8 cm × 111.8 cm (44 in × 44 in)
this Art piece is overall a good example of pop art the piece is such as like in a comic book.

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The art movement I chose to research and acknowledge was minimalism. I chose this particular movement because minimalism is something I've been trying to strive more for in my life. I've always strongly believed that having the bare minimum can humble just about anyone and that we don't need so much as we think we do. I feel as a society we are taught and brought up on how we must need this and so many other irrelevant things that we miss the point of life and it's true meaning. Minimalism art I feel brings those feelings to life that something so simple can mean so much more than what meets the naked eye.

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Artist: Jasper Johns
Year created: 1961
Media: oil paint
dimensions: 6′ 6″ x 10′ 5″
this piece is defintion of abstract and the color really make it pop out. Overall the piece is nice and its cool you can see a very light outline of the U.S.

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"The Parasol", Francisco Goya, (1777), Oil on linen, 104 cm × 152 cm

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"The Parasol", Francisco Goya, (1777), Oil on linen, 104 cm × 152 cm

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One thing that caught my attention was the colors on this painting. These colors are brighter compared to others in this movement. This best fits the romantic era because this shows that people can be good and help others.

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Office designed by Pierre Chareau (about 1925), Musée des Arts Décoratifs, Paris

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Henry Dreyfuss: Hudson locomotive

Hudson locomotive fitted with a streamlined Art Deco casing, called the “bullet” or “torpedo” style, designed by Henry Dreyfuss for the 20th Century Limited line, on display at the 1939 New York World's Fair.

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"The Lady of Shallot",John William Waterhouse, (1888), oil paint on canvas, 5'0" X 6'7"

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"The Lady of Shallot",John William Waterhouse, (1888), oil paint on canvas, 5'0" X 6'7"

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This painting caught my attention because of the woman in the painting. This painting is also outdoors and features nature. I believe this is a good painting to represent romanticism because you can see the emotions in the woman's face and romanticism was about the emotions in paintings.

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Boats and boating--Equipment and supplies

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Cincinnati Union Terminal in Cincinnati, Ohio, USA (1933)
Fellheimer & Wagner Architects
Concrete, steel, marble.

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André Groult, cassettone antropomorphe, parigi, 1925 ca.

Small cabinet covered with sharkskin, by André Groult (about 1925)

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René Lalique: dragonfly corsage ornament

Dragonfly corsage ornament made of gold, enamel, chrysoprase, moonstones, and diamonds, designed by René Lalique, 1897–98; in the Gulbenkian Museum, Lisbon.

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Artist: Andy Warhol
Year created: 1962
Media: Canvas, Synthetic polymer paint
Dimensions: 1′ 8″ x 1′ 4″
This piece makes me remember the time where I would eat can soup when I was little and its just so funny how a painting of a can soup is so popular nd probably an expensive piece.

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Art movement: Art Deco

Period: Between approximately 1902 and 1936

Origin of movement: France

Three Influential Art Deco artists:

Josef Hoffmann - designed the Stoclet Palace in Brussels (1911)

Émile-Jacques Ruhlmann – French furniture designer

Georges Augustin Barbier – book and fashion illustrator, theatrical costume designer

Primary characteristics - symmetry, simplicity, element organization; use of cone, cylinder, sphere

similar to Cubism; bright colors; motifs from ancient Egypt, Mesopotamia, Greece, Rome, Asia,

and Mesoamerica with Machine Age elements

Reason for movement: To create a unique yet modern style that represented decorative artists at the

turn of the 20th century. At the height of the movement’s popularity art deco pieces symbolized

luxury as well as social and technological progress.

Major events during the Art Deco period: Art Deco was created around 1902 as a result of social

movements to recognize decorative artists who were underrepresented as a profession. World

War I caused the postponement of the second international exposition. The Stock Market crash

of 1928 caused Art Deco to become less flashy with it’s use of less expensive materials. Pre-

World War II years saw Art Deco replaced by Art Moderne, a more streamlined version of Art

Deco. World War II caused the Art Deco and Art Moderne movements to go dormant in favor

for more functional designs.

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"On The Beach", Thomas Doughty, (1827-1828), oil on canvas, 35 H X 52 W

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"On The Beach", Thomas Doughty, (1827-1828), oil on canvas, 35 H X 52 W

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This piece draws my attention because of how beautiful it is. The scenery is so bright and peaceful. I think this is a good example for Romanticism because it really shows the nature makes admire how beautiful it can be.

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Artist: Chuck Close
Materials: acrylic on canvas
Year: 1967
Dimensions: (107.5"x83.5")
I couldn't do this assignment without having a Chuck Close piece because while researching photorealism his name was the most common to come up whenever I searched it. His pieces are very interesting to me and I think a lot of people like his style of photorealism.

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Artist: Robert Longo
Materials: graphite and charcoal on vellum
Year: 1953
Dimensions: Sheet: 60.2 by 48.2 cm, 23 3/4  by 18 7/8  in.
Image: 50.5 by 40.9 cm, 20 by 16 1/8  in.
What could I say about this piece except for exceptional! I really love it for the details and honestly the materials used. I can imagine seeing this in person and seeing the true work that went into it and the most amazing part is the incredible details in the tigers fur and whiskers.

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Jean Dupas
1929
Oil on panel
60.6 cm x 48.3 cm

This painting shows the more divisive side of the movement, as during the period of when art nouveau was being left behind there was a lot of mixed feelings about the new "norm" that became Art Deco.

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My understanding of the

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Arthur Harmon
1931
1,454 feet tall

The Empire State Building is one of the most known buildings in the world and it so happens to be in the Art Deco art style. It's simple lines and lack of shapes makes it a stable of those times.

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1. Romantic era
2. Romanticism was at it's peak between 1800 and 1850
3. It originated in Europe but was popular everywhere
4. Thomas Cole, Francesco Hayez, Francisco Goya
5. Some main characteristics are landscapes, nature, many women are painted in these pieces, and neutral colors
6. The objective of this movement was for people to believe in the goodness of humanity and a return to nature and for people to value their feelings over their reason
7. The Industrial Revolution was going on during this time period and people were overwhelmed with all the mechanization.

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Jacques-Emile Ruhlmann
1923
Mohagony, Ivory and Ebony
80.3 cm x 51.1 cm x 80.3 cm

This table shows that Art Deco was one of the more versatile art styles as it was used in almost every medium. It has the same characteristics as the jewelry and paintings, of streamlined and balanced design.

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"Double Colonnettes" Table - Jacques-Émile Ruhlmann - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Artist: Eduard Zhaldak
Materials: Oil on canvas
Year: 2019
Dimensions: 60 x 55 x 2 cm / 23,62" х 21,65'' х 0,79
This piece by Eduard Zhaldak is a very nice piece that looks like something that I would buy to put on a wall and to change the mood of a room with a more calm and relaxed feeling of nature. I believe it's a great example of what photorealism really is with it's precise accuracy and precision.