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This exhibit is all about animals. Whether it be human-animals, tin animals, or stop motion animals, this is the go-to if you wanna see how the depictions of animals in art has changed over time

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Great Hall of the Bulls. Lascaux, France. Paleolithic, Europe. 15,000-13,000 BCE. Rock painting

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Great Hall of the Bulls. Lascaux, France. Paleolithic, Europe. 15,000-13,000 BCE. Rock painting

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The great hall of the bulls is in a 20 meter long extension of the entrance of a cave in Lascaux, France. Nomadic people in the southwest region of France lived by following herds of animals. The cave contains several wall paintings of different figures, the most notable being the animal paintings in The Great Hall of the Bulls. This area depicts several different types of animals such as bulls, deer, cows, and horses. The animals’ horns are seen from the front while their bodies are seen from the side, meaning they were painted in a twisted perspective. Many of the animals overlap. The animals were painted onto the walls with pigments from grounded up minerals, such as iron ochre, charcoal, and manganese pigments. Pigments were applied on the wall by blowing them through a pipe. Certain areas of the wall that bulged out were used to represent animals’ bodies. The artwork is religious in nature, being used to get shamans in a trancelike state in order to contact the forces of nature. There are several theories about its purpose. One theory is that it was made to help with hunting. Prehistoric people believed that they would overpower their prey if they created images of them. Another theory is that the images were meant to communicate stories, such as one where a bison was killed by a human figure with the head of a bird.

Possible themes and subthemes:

Animal imagery, narratives, nature, sacred spaces, religion

Connections to other works:

Tomb of the Triclinium. This work also included wall paintings in an underground area, a tomb.

Column of Trajan. This work is also seen as a narrative, in this case one of Trajan’s campaign against the Dacians.

Resources:
“The Hall of the Bulls.” Lascaux, 2021, https://archeologie.culture.fr/lascaux/en/node/9028/salle-taureaux/info.

Looney, Mary Beth, and Mary Beth Looney. “Hall of Bulls, Lascaux.” Smarthistory, https://smarthistory.org/hall-of-bulls-Art in context. “Hall of Bulls Lascaux - an Exploration of the Lascaux Cave Paintings.” Artincontext.org, 28 Apr. 2022, https://artincontext.org/hall-of-bulls/.

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Lamassu from the citadel of Sargon II, Dur Sharrukin. Neo-Assyrian. 720-705 BCE. Alabaster

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Lamassu from the citadel of Sargon II, Dur Sharrukin. Neo-Assyrian. 720-705 BCE. Alabaster

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The Lamassu can be found in the citadel of Sargon II. The Lamassu is a bull-human hybrid, having the body of a bull with the head of a human. The face of the Lamassu had a calm stoic expression that was typical of Assyrian art. The Lamassu was a fearsome expression of the king's power. The double horned crown that the Lamassu is wearing is a symbol of divinity, this adds to its apotropaic status as a sculpture that wards off evil spirits. Inscriptions in cuneiform on the Lamassu talk about what happens if someone wrongs the king. The Lamassu can be seen from two angles, the front where it has 2 stationary legs and the side where it has 3 moving legs. The Lamassu was subtractively carved from one piece of stone. The Lamassu from the image set was found in Sargon II’s citadel in Khorsabad, Iraq. Sculptures like the Lamassu were made during the height of the Assyrians in the 8th century BCE. Assyrian emperors made several palaces in different cities, all of which had guardian figures that were at the citadel gates.

Possible themes and subthemes:

Hybrid figures, power and authority, animal imagery, violence, text and images.

Connections to other works:

Sphinx. Both works have animal-human hybrids, with the sphinx having the head of a pharaoh and body of a lion.

Rulers feather headdress. This work is also symbolic of the king's power, in this case the Aztec king monctezuma.

Resources:

Nici, John B. “Ancient Near Eastern Art.” Barron's AP Art History, Barron's Educational Series, Inc., Hauppauge, NY, 2018, pp. 115.

Harris, Dr. Beth, and Dr. Steven Zucker. “Lamassu from the Citadel of Sargon II.” Smarthistory, 2015, https://smarthistory.org/lamassu-from-the-citadel-of-sargon-ii/.

“Sculpture: British Museum.” The British Museum, https://www.britishmuseum.org/collection/object/W_1850-1228-4.

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Bahram Gur Fights the Karg, folio from the Great Il-Khanid Shahnama. Islamic; Persian, I’ll-Khanid. 1300-1340 CE. Ink and opaque watercolor, gold, and silver on paper

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Bahram Gur Fights the Karg, folio from the Great Il-Khanid Shahnama. Islamic; Persian, I’ll-Khanid. 1300-1340 CE. Ink and opaque watercolor, gold, and silver on paper

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Bahram Gur Fights the Karg is one of the stories from the Shahnama, or the Persian Book of Kings. The actual composition has Islamic text above and under the image of Bahram Gur. The Shahnama was made by a poet named Firdawsi near 1000 CE. It detailed the history of Persia before Islam. It also includes the deeds of Persian ancient heroes, one of which being Bahram Gur who defeated the karg, or horned wolf. Bahram V, or Bahram Gur, was the ruler of the Sasanian empire in Persia. In the story, Bahram Gur is on a trip to India when the ruler of India asked Bahram Gur to help him kill a karg. A karg is a sort of unicorn and horned wolf hybrid. Bahram Gur cut the head off the Karg and presented it to the ruler of India. This illumination of the story of Bahram Gur was made by Mongols. The Mongols came to the Mediterranean under Hulagu, grandson of Genghis Khan. During Hulagu’s Ilkhanid period, book illustration became a very important part of artistic tradition. The mongol’s nomadic tradition allowed them to appreciate stories and other types of narrative art. The patron of this work, a court vizier, wanted to identify himself with previous powerful heroes of ancient Persia. Because of the gold and silver over the ink and watercolor, this item likely expressed the wealth of the owner. The increased access of paper due to the Mongols international contacts allowed for the creation of more books. Along with this, Chinese scrolls and overlapping forms all show influence from Eastern Asia. There is also Persian influence in depicting a hero riding a horse on top of fallen foes.

Possible themes and subthemes:

Scenes of conquering, historical record, patron, text within images, animal imagery, objects of wealth and status.

Connections to other works:

The Court of Gayumars. Both these works are illustrations of stories from the Persian Shahnama.

Bible Moralisees. This work was also thought to have a wealthy patron because of the gold pages and lavish production.

Resources:

Nici, John B. “Islamic Art.” Barron's AP Art History, Barron's Educational Series, Inc., Hauppauge, NY, 2018, pp. 221.

Yantz, Jayne, and Jayne Yantz. “Bahram Gur Fights the Karg (Horned Wolf).” Smarthistory, 2017, https://smarthistory.org/bahram-gur-fights-the-karg/.

Harvard. “From the Harvard Art Museums' Collections Bahram Gur Fights the Horned Wolf (Painting, Verso; Text, Recto), Illustrated Folio from a Manuscript of the Great Ilkhanid Shahnama (Book of Kings).” From the Harvard Art Museums' Collections Bahram Gur Fights the Horned Wolf (Painting, Verso; Text, Recto), Illustrated Folio from a Manuscript of the Great Ilkhanid Shahnama (Book of Kings), https://harvardartmuseums.org/art/169542.

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Painted elk hide. Attributed to Cotsiogo, Eastern Shoshone, Wind River Reservation, Wyoming. 1890-1900 CE. Painted elk hide

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Painted elk hide. Attributed to Cotsiogo, Eastern Shoshone, Wind River Reservation, Wyoming. 1890-1900 CE. Painted elk hide

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The painted elk hide by Cotsiogo, or Cadzi Cody, is a piece of elk hide painted on with chalk and red ochre. Cotsiogo was part of the Eastern Shoshone tribe. Cotsiogo was relocated to the Wind River Reservation when the Americans encroached on his territory. Animal hide painting is a tradition among people of the Great Plains. Pigments were painted on and other elements stenciled. These paintings were meant to record history. This specific painted elk hide may have been a wall hanging or a robe.  As tourists came to the Americas, Cotsiogo began to paint typical native traditions that tourists would find appealing. An example of this is the Sun Dance. The Sun Dance is shown with people dancing around two poles with a buffalo head with an eagle above it. The Sun Dance was meant to honor the gods for earth’s bounty. The painting also shows men hunting buffaloes, skinning buffaloes, chopping buffaloes, and riding horses. Buffaloes were a sacred animal to the people of the Great Plains. This is because buffaloes were part of how they sustained themselves.  Buffaloes were also seen as gifts from god. As Europeans came to the Americas, Cotsiogo began using paint obtained from trade. These hide paintings show past events because all depicted events were outlawed at the time.

Possible themes and subthemes:

Animal imagery, historical record, religion, the natural world, colonialism.

Connections to other works:

All T’oqapu tunic. This work can also be used as a robe, in this case it shows the status of the user.

Black-on-black ceramic vessel. This work was also affected by American tourists, in this case causing Maria Martinez to sign her name on pottery in order to make more money.

Resources:

Kilroy-Ewbank, Dr. Lauren. “Eastern Shoshone: Hide Painting of the Sun Dance, Attributed to Cotsiogo (Cadzi Cody).” Smarthistory, 2015, https://smarthistory.org/eastern-shoshone-hide-painting-of-the-sun-dance-attributed-to-cotsiogo-cadzi-cody/.

Nici, John B. “Art of the Americas.” Barron's AP Art History, Barron's Educational Series, Inc., Hauppauge, NY, 2018, pp. 492-493.

“Painted Elk Hide.” Brooklyn Museum, https://www.brooklynmuseum.org/opencollection/objects/83032.

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Transformation Mask. Kwakwaka’wawk, Northwest coast of Canada. Late 19th century CE. Wood, paint, and string

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Transformation Mask. Kwakwaka’wawk, Northwest coast of Canada. Late 19th century CE. Wood, paint, and string

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The eagle transformation mask has an exterior that looks like an eagle and can open to show a human face. The mask is made with the formline style, which is the style typical of northwest coast culture. The masks have bilateral symmetry and are made of wood with painted decorations. There are several different types of transformation masks relating to the clans who made them. The Kwakwaka’wakw people are divided into 4 clans: killer whale, eagle, raven, and wolf. People within those clans called numayn were responsible for keeping crest symbols safe. The different Kwakwaka’wakw nations are very diverse, but they all believe that ancestors roamed the world, this is referenced in the mask when it opens and reveals a human face. The transformation masks were meant to be used in potlatches and ceremonies. These potlatches were winter ceremonies where the host showed his wealth and status. The mask was part of a larger costume. During the ceremonies the mask can be opened and closed with strings. This mask is opened in order to reenact their ancestors' transformation from animal to human. The masks were also a sign of peoples status in society. European contact changed masking practices for the northwest coast people. When the Europeans came and introduced metal tools and other materials, the northwest coast people started using metal tools to carve and other materials to refine the mask. This can be seen in how post-colonial masks use brighter synthetic colors. European Christian missionaries also banned potlatches from 1885 until 1950s because they believe cannibalism went on during them.

Possible themes and subthemes:

Human and animal hybrids, power, animal imagery, family, objects of wealth and status, performance.

Connections to other works:

Preying Mantra. Both works feature human animal hybrids, in Preying Mantra’s case there is a woman with bird feathers on her head and insect legs on her earlobe.

Ahu ula. This work also shows the power and status of the wearer.

Resources:

Nici, John B. “Art of the Americas.” Barron's AP Art History, Barron's Educational Series, Inc., Hauppauge, NY, 2018, pp. 492.

Kilroy-Ewbank, Dr. Lauren. “Transformation Masks.” Smarthistory, 2015, https://smarthistory.org/transformation-masks/.

“Transformation Mask.” Transformation Mask | Denver Art Museum, https://www.denverartmuseum.org/en/object/1951.228.

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Aka Elephant Mask. Bamileke. 19th to 20th century CE. Wood, woven raffia, cloth, and beads

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Aka Elephant Mask. Bamileke. 19th to 20th century CE. Wood, woven raffia, cloth, and beads

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The Aka Elephant Mask, made by the Kuosi Society of the Bamileke kingdom in Cameroon, is a mask worn on ceremonial occasions. A main aspect of the mask is how it is covered in beads. These beads were imported from European countries. The thousands of beads present are a symbol of power and wealth in the Kuosi society. The mask is made to look like an elephant. The long trunk and large ears give this impression. There is also a human face in between the elephant features. The mask is worn over the head and two large flaps hang in front and behind the user. The ceremony involved a costume and several other performers and musicians. The elephant masquerade came out of a house in the palace and began to dance to music. The ceremony was meant to honor the king. Along with the elephant mask, the costume had a large headdress and a leopard skin pelt, which symbolizes the power of the king, the fon. The elephant motif also symbolizes the king's power. The king was thought to be a divine ruler that could turn into an elephant. Elite members of the society were the people who wore this mask. There are several geometric motifs, the main one being the isosceles triangle, which is reminiscent of patterning on a leopard's body. The dynamic mask was stripped of its original context by Europeans and now sits stationary in a museum.

Possible themes and subthemes:

Mask, spiritual world, power and authority, materials and their symbolic importance, performance, animal imagery.

Connections to other works:

Ndop (portrait figure) contextual photograph. This work also includes someone who wears a leopard skin pelt as a symbol of power

Bandolier Bag. This work also includes the use of European beads acquired from trade.

Resources:

Klemm, Dr. Peri, and Dr. Steven Zucker. “Elephant Mask (Bamileke Peoples).” Smarthistory, 2015, https://smarthistory.org/elephant-mask-kuosi-society-bamileke-peoples-cameroon/.

“Kuosi Society Elephant Mask.” Brooklyn Museum, https://www.brooklynmuseum.org/opencollection/objects/4852.

“Elephant Mask.” Smithsonian Institution, https://www.si.edu/object/elephant-mask%3Anmafa_2001-13-1.

Nici, John B. “African Art.” Barron's AP Art History, Barron's Educational Series, Inc., Hauppauge, NY, 2018, pp. 511–512.

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Buk (mask). Torres Strait. Mid to late 19th century CE. Turtle shells, wood, fiber, feathers, and shells

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Buk (mask). Torres Strait. Mid to late 19th century CE. Turtle shells, wood, fiber, feathers, and shells

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The Buk mask is a ceremonial mask from Mabuiag Island in the Torres Strait between New Guinea and Australia. This mask is an amalgamation of human and animal forms. It is divided into 3 registers, the bottom one with a human face and raffia, the middle one with a frigatebird, and the top one with feathers. The turtle shells on the mask are unique to the Torres Strait and were typical in ceremonies.  This mask was part of a large costume used in ceremonies. These ceremonies were done for several reasons, such as good harvest, fertility, and funerals. Men wore this mask and moved around while reenacting narratives regarding mythical  heroes. Fibers and feathers are loosely attached so that there can be more motion in these ceremonies. These masks were stored in stone houses called kwads. There are different theories for who the person being depicted is. One is that it is a hero who used their supernatural powers to do good deeds. Another is that it is an ancestor, it’s thought to be this way because of the lattice work present around the face that suggests a beard. With this interpretation the bird can be seen as a totem, a mythical animal that is associated with a lineage. This mask connected the user to the supernatural. When Europeans invaded the Torres Strait they told islanders to destroy their masks. The only masks left were salvaged by collectors. Since this mask was made after the area was Christianized experts are unsure whether this specific mask was made for ceremonial purposes or for collectors.

Possible themes and subthemes:

Masks, family, animal imagery, ceremonies, art as a vehicle to connect to the supernatural/spiritual world, funerary traditions, performance

Connections to other works:

Female (pwo) mask. This work is also a mask used in ceremonies. The pwo mask is used by males to depict females in ritual dances.

Lanzon stele. This work also combines human images with zoomorphic images.

Resources:

Nici, John B. “Pacific Art.” Barron's AP Art History, Barron's Educational Series, Inc., Hauppauge, NY, 2018, pp. 526–527.

“Mask (Buk, Krar, or Kara).” Metmuseum.org, https://www.metmuseum.org/art/collection/search/311950.

Klemm, Dr. Peri, and Dr. Beth Harris. “Mask (Buk), Torres Strait, Mabuiag Island.” Smarthistory, 2015, https://smarthistory.org/mask-buk-torres-strait-mabuiag-island/.

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The Horse in Motion. Eadweard Muybridge. 1878 CE. Albumen print

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The Horse in Motion. Eadweard Muybridge. 1878 CE. Albumen print

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The Horse in Motion was a set of 12 images of a horse, Sallie Gardner, galloping. This work was meant to prove that all four of a horse's hooves are off the ground during its stride. Leland Stanford, governor of California, hired Eadweard Muybridge to achieve this task. Muybridge was an English photographer whose claim to fame were his photos of Yosemite Valley Up until that time, it wasn’t known if all of the horses' hooves were off the ground. Images of horses depicted them with their legs fully stretched horizontally to give the illusion of movement, known as the “flying gallop.” To achieve the task Muybridge set up 24 cameras triggered by wires that were tripped by the horse. For the time, the shutter speed of 1/2000th of a second was very fast. A zoopraxiscope was used to play the images in a quick motion, the result was a stop motion animation proving that all of the horse's feet were in the air during its stride. The actual set of images has 11 photos of a horse in motion with a 12th one of a stationary horse spliced in. Muybridge was known to splice in images in order to close the series. Once these images were published in magazines and newspapers there was a widespread debate over the depiction of horses. Some argued that the elegant “flying gallop” was superior to the awkward gallop that Muybridge captured. Sculptor Auguste Rodin said that the artist is truthful and the photograph lies because time doesn’t stop.

Possible themes and subthemes:

Art and patronage, challenging established traditions, technological innovation, animal imagery, multiple images

Connections to other works:

Marilyn Diptych. This work also includes multiple images placed next to each other, in this case multiple images of Marilyn Monroe contrast her public and private life.

Still Life in Studio. This work is also a photograph. The Still Life in Studio was meant to showcase a new art form, the photograph.

Resources:
Belden-Adams, Dr. Kris. “Eadweard Muybridge, the Horse in Motion.” Smarthistory, 2021, https://smarthistory.org/eadweard-muybridge-the-horse-in-motion/.

“The Horse in Motion.” Lehigh University Omeka, https://omeka.lehigh.edu/exhibits/show/data_visualization/galleria/muybridge.

“Attitudes of Animals in Motion.” Metmuseum.org, https://www.metmuseum.org/art/collection/search/700109.

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Goldfish. Henri Matisse. 1912 CE. Oil on canvas

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Goldfish. Henri Matisse. 1912 CE. Oil on canvas

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The Goldfish by Henri Matisse is an oil on canvas still life painting of a goldfish on a table. Mattise painted this artwork in his studio in Issy-les-Moulineaux. The goldfish are in a bowl that is sitting on a table in a room. There is a mish mash of different perspectives in the image. There is a strong contrast between the thinly applied colors. The bright orange of the goldfish draws the viewer into the composition by contrasting with the pinks and greens surrounding the bowl. The complimentary colors of blue and orange as well as green and red make each other appear brighter. There are loose painterly and energetic brushstrokes. This work is part of Matisse’s Goldfish series. This one is different from the other goldfish paintings because of its central focus on the goldfish. Matisse’s obsession with goldfish began when he visited Morocco. He found it fascinating how the locals would gaze at goldfish bowls for hours of the day. Matisse also admired the contemplative and relaxed lifestyle of the Moroccans. His depiction of goldfish symbolized this contemplative nature. Matisse wanted his Goldfish artwork to provide art that could be “a soothing, calming influence on the mind” for the viewer.

Possible themes and subthemes:

Nature, still life, animal imagery, color, human interaction.

Connections to other works:

Fruits and insects. This work is also a still life. Ruysch depicts a still image of fruits and insects in order to comment on the transience of life, vanitas.

Where Do We Come From? What Are We? Where Are We Going? This work was also inspired by a visit to another country in a different continent. In Gauguin’s case his trip to Tahiti.

Wilkins, Charlotte. “Henri Matisse, Goldfish.” Smarthistory, 2015, https://smarthistory.org/matisse-goldfish/.

“Henri Matisse Goldfish.” Goldfish, https://pushkinmuseum.art/data/fonds/europe_and_america/j/2001_3000/zh_3299/index.php?lang=en.

Nici, John B. “Early and Mid-Twentieth Century Art.” Barron's AP Art History, Barron's Educational Series, Inc., Hauppauge, NY, 2018, pp. 404.

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Pisupo Lua Afe (Corned Beef 2000). Michel Tuffery. 1994 CE. Mixed Media

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Pisupo Lua Afe (Corned Beef 2000). Michel Tuffery. 1994 CE. Mixed Media

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Pisupo Lua Afe is a sculpture of a bull made of flattened cans. This was made by Michael Tuffedy, a New Zealander with Samoan and Tahitian descent. The name of this artwork has a meaning. Pisupo is the Samoan word for pea soup, the first canned food made available in the Pacific Islands. Canned foods, specifically corned beef, took over New Zealand life. People ate it at weddings, birthdays, and feasts instead of the healthy foods that were produced. Since corned beef is high in saturated fat and cholesterol, an epidemic of diabetes and heart disease swept New Zealand and other Pacific Islands. Tuffery aims to comment on this phenomenon. Along with commenting on health issues, Tuffery also comments on ecological issues. The introduction of cattle to the Pacific Islands harmed the plants and waterways of the Pacific Islands. Tuffery achieves both these goals by making a tin bull out of flattened corned beef cans. The overlapping metal cans give the bull a rough visual appearance that shows how cattle can harm fragile ecosystems. Tuffery also makes a comment on the challenge of trash disposal in islands. He encourages upcycling, where trash is transformed into a product of higher value. The tin bulls are also part of an installation. In the installation Tuffery puts fireworks inside the bulls to give the effect of it breathing fire. He stages bull fights and has performers play music.

Possible themes and subthemes:

Artist intent, installation, social commentary, animal imagery, materials and their symbolic importance.

Connections to other works:

Earth's creation. This work also relates to an experience specific to the artists, the green time in Australia after it rains.

Acropolis, Parthenon. This work also has materials that are symbolically important, the permanent material of marble in the Parthenon expresses the endurance and beauty of the Greeks.

References:

Nici, John B. “Contemporary Art.” Barron's AP Art History, Barron's Educational Series, Inc., Hauppauge, NY, 2018, pp. 548.

“Pisupo Lua Afe (Corned Beef 2000).” Museum of New Zealand Te Papa Tongarewa, https://collections.tepapa.govt.nz/object/235630.

Lythberg, Dr. Billie. “Michel Tuffery, Pisupo Lua Afe.” Smarthistory, 2016, https://smarthistory.org/michel-tuffery-pisupo-lua-afe/.