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The Cover page for the English translation (2)

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What the dog doin'?

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Though strange as it may sound, I've found that eight dogs best matches up with my notes on modernism. In the case of Eight Dogs, there's the obvious correlation of story telling, which in turn leads on an inevitable case for expression which no tale even a quarter the length of Eight Dogs would be able to avoid if they tried. There's also a degree of Condition and Abstraction, being displayed through Lord Satomi, jokingly offering his daughter hand in marriage to the dog, then having to follow through with it(1,2), a problem which only came into play, because the story is implied to take place during a period where giving out your daughter as a price is considered acceptable, and backing out of such an arrangement is something that's frowned upon.

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My initial plan was to find and write about the first graphic novel, instead what I found is an epic novel(1)(5). However, after finding out the story opens with a feudal lord offering his daughter's hand in marriage to his dog, I decided that this story needed to be brought here.

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When considering medias not yet covered on this list, one thing that came to mind was the written word. The particular work is a Japanese epic novel titled Eight Dogs or "Hakkenden" in Japanese. To provide a bit of context, The Epic Genre, as its name may suggest, is a defined by its scale and length(5), both of which being almost absurdly long. Such stories would likely be commonplace back in the 1800s, as the absence of technology would free up a lot of time for people to read and write, absurdly long books.

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A visual representation of Canada's poor attempt at purification through heartless genocide

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While I cannot recall if it was specifically a visual culture lecture I have seen this painting in or not, I distinctly remember seeing this painting in a lecture before recently visiting the Beaverbrook Art Gallery this past week. I believe this piece, along with some of the artist's other paintings I have seen, contributes to visual culture through effectively spreading awareness of the horrors the church along with the Canadian government have inflicted against indigenous communities (4). I believe that while the visual culture lectures did touch upon and call attention to things which were problematic, I do wish at a point we had taken time to discuss the role of visual culture in tragedies such as residential schools or the sixties scoop (4)(5). I feel as though compositions such as The Scream, 2017 have their place in visual culture due to the immediacy of the statement and importance of the theme at play (1).

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‘The Scream, 2017’ fills in the gaps of this timeline because the lack of indigenous centric media being displayed really stood out to me. Throughout the whole series of padlet assignments I’ve tried to tie in fashion design and indigenous culture, trying to fill in gaps long before the assignment specifically prompted me to do so. Therefore I wanted to continue the theme from my “Significant Event” padlet with the witness blanket to further fill in the gap I previously saw at the time.

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(1). Art Canada Institute - Institut de l’art canadien. “The Scream, 2017.” Art Canada Institute - Institut de l’art canadien, January 1, 2017. https://www.aci-iac.ca/art-books/kent-monkman/key-works/the-scream/. 
(2). Burshtein, Karen. “Kent Monkman’s the Scream: Images That Define Atrocities.” BBC News, February 24, 2022. https://www.bbc.com/culture/article/20210706-kent-monkmans-the-scream-images-that-define-atrocities. 
(3). Denver Art Museum. “The Scream.” The Scream | Denver Art Museum, January 1, 2017. https://www.denverartmuseum.org/en/object/2017.93. 
(4). Miller, J.R. “Residential Schools in Canada | the Canadian Encyclopedia.” The Canadian Encyclopaedia, October 10, 2010. https://www.thecanadianencyclopedia.ca/en/article/residential-schools. 
(5). Sinclair, Niigaanwewidam James, and Sharon Dainard. “Sixties Scoop | the Canadian Encyclopedia.” The Canadian Encyclopaedia, June 22, 2016. https://thecanadianencyclopedia.ca/en/article/sixties-scoop. 

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The Scream by Kent Monkman is an acrylic on canvas painting featuring multiple figures belonging to three distinct groups, being native americans, the RCMP, and the church (1)(3). This piece deserves to be a part of the padlet timeline because of its effective visual storytelling of the tragedy of residential schools (4). It very clearly uses the high valued red RCMP uniforms to create points of emphasis throughout the composition, which will further draw attention to their actions against indigenous people seen in the painting (1). Furthermore, the cross and uniforms use iconography to allow the viewer to instantly recognize and interpret the artist's message (1)(4).

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Where It Started

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Even if these works were not made with as much intention as our modern works today (though that is debatable) the handprints give the foundation of all the rules we've established in our visual culture class. Showing art of the body, establishing an aesthetic choices and artistic intent, and the community art brings. it lays the groundwork of our art development as humans through the cultural power of communication.

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The thing that drew me to this was seeing everyone else's timeline entrees and I was like, "man, so many different styles and mediums throughout our years as humans. that's cool" but then i thought deeper about how we all started as apes and how much living as a caveman must've sucked and i eventually stumbled onto the idea that all we had was rocks and mud and we still wanted to make art.

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prehistoric artwork of stenciled hands is worth including because it represents the earliest forms of human art and our desire to create. visually the pieces are nothing significant without the background knowledge of it being some of our first recorded artwork from anywhere between 7300BC-700AD(1), but with the given knowledge the art give a bold indicator of our instinct to create beauty. as some of the oldest surviving images they reveal our origins of our innate artistic expression and intentions showing that through all this time, we are still them and they have always been us.

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Multimedia on Paper, 68 × 96 in, Studio Museum in Harlem

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Music, Love, and Identity

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I feel that this piece connects to our conversations around identity, representation, and material. It also visually reminded me of the work of Bisa Butler, who was another Black artist we studied in our Color Study class. Akunyili Crosby explores her identity as part of the African diaspora, her first interactions with American culture in her youth, and the challenging of western ideas of what domestic life is like in places such as Nigeria (3) through her complex visual language. Akunyili Crosby’s works are great examples of how many artists are pushing back against the growing popular trend of simplified beige minimalism.

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This piece helps to fill in some of the gaps as Akunyili Crosby is a female Nigerian-born artist (2), two things we have significant underrepresentation of in our timeline, as we have very few entries that feature Black and/or African artists, and none (as far as I can see) that are women. She was born in Nigeria and immigrated to the US when she was 16, so she brings a very interesting cross-cultural perspective into her art by being part of the African Diaspora (2). I feel like bringing in specifically the perspective of a contemporary African artist is important to better expanding the scope of our timeline.

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“Nwantinti.” Studio Museum in Harlem, www.studiomuseum.org/artworks/nwantinti.

Akunyili Crosby, Njideka. “Njideka Akunyili Crosby.” Njideka Akunyili Crosby, 2024, www.njidekaakunyilicrosby.com/about.

Solway, Diane. “Nigerian Painter Njideka Akunyili Crosby Tells an Afropolitan Story in America.” W Magazine, 15 Aug. 2017, www.wmagazine.com/story/njideka-akunyili-crosby-artist-painter.

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I think Akunyili Crosby belongs on our timeline because of her unique cultural perspective as a Nigerian-born, Igbo-decended woman who moved to the US as a teenager (2). This heritage is seen in Nwantinti, as Akunyili Crosby combines the 1976 album art of Nelly Uchendu’s “Love Nwantiti”, which is a cover of an Igbo folk song, with a more contemporary scene of her with her partner where they now live in Los Angeles (1). She uses Xerox image transfers, acrylic paint, pastels, charcoal, and colored pencil (1) to create this highly visually and physically textured piece that captures this quiet, tender domestic love.

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The first detailed Atlas of the moon

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This piece relates to when we talked about meaning within art, and how that meaning is shown through function and form. This piece shows its form with elements such as shape, texture and color, that being a gray sphere with rock texture, to represent the moon.  It also shows function by documentation, showing a detailed engraving of the moon, and the Baroque art style. (3) (4) This also documents the skill of the artist at the time, and was made around the time when the first telescope was invented.

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This detailed book on the moon helped to further our understanding of the moon phases, and gave us a clearer look of the moon. This drawing was made before cameras could take photos that turned out this detailed, and was made about 40 years after the first telescope was invented. (5)

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1.“Johannes Hevelius - Lunar Map, in Selenography, or the Description of the Moon (Selenographia: Sive Lunae Descriptio) - the Metropolitan Museum of Art.” Johannes Hevelius - Lunar Map, in Selenography, or the Description of the Moon (Selenographia: sive Lunae descriptio) - The Metropolitan Museum of Art. Accessed December 11, 2025. https://www.metmuseum.org/art/collection/search/789189. 

2.Cartwright, Mark. “Johannes Hevelius.” World History Encyclopedia, October 6, 2023. https://www.worldhistory.org/Johannes_Hevelius/. 

3.“The Baroque Style · V&A.” Victoria and Albert Museum. Accessed December 11, 2025. https://www.vam.ac.uk/articles/the-baroque-style?srsltid=AfmBOoq2j_iEhcRNMkvLzHXV2HDzvSChg1Y43xYnyMkXpeqX4lm3in7V. 

4.Dykeman, Gillian. “2.1 Meaning.” Visual Culture. Lecture, September 17th 2025. 

5.“Galileo and the Telescope: Modeling the Cosmos: Articles and Essays: Finding Our Place in the Cosmos: From Galileo to Sagan and beyond: Digital Collections: Library of Congress.” The Library of Congress. Accessed December 11, 2025. https://www.loc.gov/collections/finding-our-place-in-the-cosmos-with-carl-sagan/articles-and-essays/modeling-the-cosmos/galileo-and-the-telescope. 

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This piece is worthy of being included in the timeline due to the fact that it was one of the first detailed maps of the moon. The picture shown above depicts just one of the many engravings within a book titled "Seleographia: sive Lunae desciptio". (1) Created by Polish astronomer, Johannes Hevelius, this book was made over a 4-year observation study, using telescopes that Hevelius had improved on or even invented himself. (2) Not only does this piece have its own significant history with it, but it was also made during the rise of an artstyle called  'Baroque'. 

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10.5"x9"  Original Production Cel on Original Background 

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An Original, Singular Cel from Scooby-Doo on Zombie Island

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Not only did Scooby-Doo become a massively known TV show, with multiple spin offs, movies, and more, but also, the way that it was animated in, (cel production) was a popular animation technique that a lot of other studios used as well. (3) This way of animating has been become a lot less popular than it used to be, as computers have taken over recently. This single frame from an animation has been turned into fine art through time and technology advancement. Although now, with AI becoming more and more prevalent, I wouldn't be surprised if there was a resurgence in this type of animation.

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I noticed that a lot of the artwork in the timeline is older, and a lot of it is done with oil on canvas, and they're also all single, one and done still pieces. While cell production hasn't been covered this semester in school, or in visual culture, I believe it's still an important part of history. I also think this is a good piece to transition into the next semester with Time Design.

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This artwork piece is an Original production Cel from  "Scooby-doo on Zombie Island", created in 1998 by Hannah-Barbera Studios (1) I believe that this artwork is important to the timeline due to the process that it used to take to make animations, before most cartoons became computer made.  This is only one frame amongst hundreds, if not thousands, hand made, using Cel production.(transparent celluloid sheets, drawn and then layered on each other)(2)

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The Ultimate Ephemeral Artwork

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As covered during our unit on power, we can see two very different sides of a power dynamic displayed within the history of the Lennon wall. Anonymous artists turned the mural into a place for anti-Communist political statements. Including Beatles lyrics which were banned due to the censorship of western images and symbols (Natasha Geiling 2014). On the other hand, we can see the counter protest done by Prague’s secret police. Including painting over the mural and leaving only the phrase “Wall Is Over!” The wall continues to serve as a back and forth between activists, the public, and the government. 

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Often graffiti and street art is not considered real art or even vandalism. However, despite some bad actors that tarnish the reputation of street art, many use public art to spread an important message or simply to create joy. Despite their anonymity, the freedom of speech that comes with creating art without credit opens the door for deeper conversations into what is considered art by the general public. The Graffiti community has a deep, global, meaningful history that deserves to be heard. 

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After the murder of John Lennon in December of 1980 a mural was painted in his memory by an unknown artist. Over time more was added to the piece. Citizens leaving candles, flowers, photographs, and other art. Due to the censorship of western media within the Czech Republic (formerly Czechoslovakia) many used the wall as a form of protest and self expression despite the security and cameras that were placed to prevent any further attempts. Their efforts were unsuccessful and the wall continued to be filled with art and messages of peace and love. Even inspiring other walls such as the Hong Kong Lennon wall (Wikipedia contributors “Lennon Wall”). 

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The most famous sword of the Edo period

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My previous timeline entries are all around this same period. MiyamotoMusashii and Horikawa Kunihiro lived at the same time in the Edo period and were likely aware of each other's existence. Obviously, the forging of swords doesn't have an astounding impact on visual culture, but blacksmithing is an art and thus has some impact, no matter how small. Kunihiro's impact on Shintou swords cannot be overstated; however, due to his skill and the number of skilled students he trained in blacksmithing(2). So he may not have revolutionized art; however, his impact is clear, and like Miyamoto Musashi, his impact on things outside of visual culture is much greater than his impact on Visual culture.

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Blacksmithing itself was never covered in any of the lectures, so this entry should hopefully fill that gap, as I do consider it an art. additionally i intended to do this entry on a female blacksmith yet i found that what little female blacksmiths were documented had very little information known about them. Additionally, I found Japanese swordsmiths were the most documented, so that also informed my choice.

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Admin@Nihonto. “Horikawa Kunihiro 堀川国広.” NIHONTO, October 18, 2017. https://nihonto.com/horikawa-kunihiro/. 

Shimbun, The Sankei. “[Hidden Wonders of Japan] Beloved ‘Yamanbagiri Kunihiro’ Sword Tops Upcoming Exhibition.” JAPAN Forward, August 27, 2021. https://japan-forward.com/hidden-wonders-of-japan-beloved-yamanbagiri-kunihiro-sword-tops-upcoming-exhibition/. 

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Yamanbagiri Kunihiro is the most renowned sword forged by Horikawa Kunihiro. Kunihiro himself was referred to as the father of the Shintou; the term shinto refers to swords made between 1596 and 1764. According to her inscriptions, Yamanbagiri was 70 centimeters long and was forged in February 1590 (1. The sword has a unique pattern across its blade and was made for Nagao Akinaga, the lord of the Ashikaga. I believe that, due to its status as Kuniyoshi's most famous work, it earns the right to be included on the timeline, despite being created as a tool meant to kill rather than a piece of art.

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Frida Kahlo. 9140. Museum of Modern Art, New York City, US. Oil on Canvas. 40 x 27.9 cm.

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In a departure from many of Frida Kahlo's self portraits, she portrays herself somewhat androgynously, surrounded by discarded hair clippings, seated in grief and independence.

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We studied another of Kahlo's self portraits, "The Two Fridas," when we talked about art as a vehicle for self reflection. This is what Frida Kahlo is most known for—her use of art to explore her identity and express her emotional experiences (1), and that exploration and expression is on full display in Self Portrait with Cropped Hair. We also studied chairs as functional objects that often serve as symbols in art. In this piece, painted following her divorce from Diego Rivera, Kahlo chose to depict herself seated on a bright yellow chair, in an otherwise drably toned oil painting. Yellow is the color of marigold flowers, which are utilized during Dia de los Muertos to help usher the dead back to their loved ones in the world of the living; yellow is also the color of the sun, and a symbol of happiness and vitality (4). By choosing the color yellow for the chair, Kahlo is making a statement of hope in the midst of a painful period in her life. 

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Frida Kahlo is one of the most influential and famous artists of all time, and as she was also a woman of color, it felt wrong for her not to be included in a timeline that didn't have enough work made by women.

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1. Barat, Charlotte. 2016. “Frida Kahlo | MoMA.” The Museum of Modern Art. MoMA. 2016. https://www.moma.org/artists/2963-frida-kahlo

2. du Plessis, Alicia. ““Self-Portrait with Cropped Hair" by Frida Kahlo - an Analysis.” Art in Context, September 27, 2023. https://artincontext.org/self-portrait-with-cropped-hair-by-frida-kahlo/

3. “Frida Kahlo: Self Portrait with Cropped Hair 1940.” MoMA Frida Kahlo, 2025. 
https://www.moma.org/collection/works/78333?artist_id=2963&page=1&sov_referrer=artist

4. “The Significance of Color in Traditional Mexican Artwork.” The Significance of Color in Traditional Mexican Artwork. Accessed December 10, 2025. https://www.mexicohistorico.com/paginas/the-significance-of-color-in-traditional-mexican-artwork-5f1d6556.html 

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I noticed that our timeline was lacking in female identifying artists, and Frida Kahlo immediately came to mind. When I came across "Self Portrait with Cropped Hair," I loved it for its boldness and departure from so much of Kahlo's other work. It is an oil painting that shows her looking strong and somewhat androgynous, sitting on a yellow chair in a men's suit, with newly cropped hair. She holds a pair of scissors in one hand and a chopped braid in the other. Her face is serious. Her stance is masculine, with legs spread apart. Though her hair is short and she is in men's clothing, she is wearing dangly earrings and heeled shoes, embracing the line between genders. She is taking up space and making a statement.

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When everyday white became a quiet resistance.

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This piece connects directly to class discussions about how visuals operate within power structures. Korean clothing historically followed strict colour codes tied to hierarchy, yet people collectively chose white, flipping colour symbolism into a tool of solidarity and defiance. Because overt resistance was dangerous, the colour itself became a subtle, persistent, and deeply emotional visual language. This movement expands our understanding of visual culture by proving that aesthetics aren’t just decorative. They’re emotional, political, and capable of carrying cultural memory across generations. Demonstrating that visual culture evolves not just through grand artworks but through the choices ordinary people make when cultural survival is at stake.

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Much of the visual culture canon centers on elite art forms of paintings, monuments, and state-sponsored imagery. In contrast, everyday practices and community-made visuals are often left out and underrepresented. This piece fills that gap by showing how textiles and clothing functioned as a collective visual language outside institutional control. The white hanbok represents a form of cultural authorship created not by a single “master” artist but by an entire population resisting assimilation. Including it challenges the canon by expanding who is considered a contributor to visual culture. It brings everyday Koreans into the narrative and reminds us that visual history isn’t only made in museums. It’s also made in the quiet choices people refused to give up.

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“History of the Hanbok.” KCCUK. Accessed December 10, 2025. https://kccuk.org.uk/en/about-korea/history-hanbok/  :  Kim, Hyesoon. “Story.” 문화체육관광부 한국문화원. Accessed December 10, 2025. https://www.korean-culture.org/eng/webzine/202003/sub01.html  :  Se-hee, Cho. “Do You Know ‘the White-Clad Folk’?” 중앙헤럴드, March 5, 2010. https://herald.cauon.net/news/articleView.html?idxno=17912  :  “White Clothing in Korea.” Wikipedia, November 25, 2025. https://en.wikipedia.org/wiki/White_clothing_in_Korea#cite_note-:3-4  :  Guide, Korean Culture. “Why Koreans Wore White for Centuries: The Culture of the White-Clad People.” K Culture Guide, June 1, 2025. https://koreancultureguide.com/49  :  Lee, Yeseung. “The White-Clad People: The White Hanbok and Korean Nationalism.” Cultural Dynamics 34, no. 4 (August 4, 2022): 271–96. https://doi.org/10.1177/09213740221117811

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This piece is significant because it highlights the visual power of white clothing in Korean culture, where simple garments became potent cultural symbols. The soft, undyed fabric, loose silhouette, and bright luminosity of white clothing created a unified look, but historically, this colour held much deeper meaning. In Korea, colour once strictly signalled class and status, making the widespread choice to wear white a deliberate rejection of those systems. During the Japanese colonial period, the continued wearing of white, despite repeated bans, transformed everyday dress into a subtle yet widespread act of defiance. Its visual impact lies in its quiet uniformity; the brightness of white against the landscape became a living artwork of cultural resilience. This makes it essential to the timeline as a distinct visual language of resistance.

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Street art of Ronald McDonald eating human bones.

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McDonald's and fast food in general by depicting the brand mascot feeding on the bones of dead consumers. A large portion of what we looked at involves art born of rebellion. Many artists create work that criticizes an aspect of their society, and this mural is a prime example of that. It clearly depicts a highly recognizable and powerful symbol in an unfavourable and oppressive light, clearly getting their point of contempt across. Ronald McDonald is the mascot of a multimillion dollar corporation that is very influential in pop culture and this mural is a clear punch upwards to this brand and their practices.

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I believe in the idea that unserious or "silly" style art should be more normalized simply because I think funny things that also look pretty are cool. This art does have meaning behind it but it is still a cartoony depiction of Ronald McDonald and a skeleton in a french fry box. It's not a realistic painting or a deep piece with tons of layers of inspiration, but it still looks interesting using thick lineart in a sort of graphic design-esque way. Cartoonists are artists as well, so I think to acknowledge this artstyle in a larger form is very important.

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Rabbit, Diabolical. “Street Art of the Day by Diego Della Posta Called ‘Parapappappaa!’.” diabolicalrabbit.com, March 12, 2019. https://diabolicalrabbit.com/street-art-of-the-day-by-diego-della-posta-called-parapappappaa/. 

Posta, Diego Della. “‘PARAPAPPAPPAA!’ - Diego Della Posta.” Behance. Accessed December 10, 2025. https://www.behance.net/gallery/71453053/PARAPAPPAPPAA. 

“Mister Thoms.” Street Art For Mankind, January 17, 2021. https://streetartmankind.org/artists/mister-thoms/. 

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This piece is worthy of being included in the timeline because it's very high effort and very well done. It's a good commentary on capitalism as well as the health downsides of fast food and in my opinion the design is cool to look at from a graphic design perspective, like most of the pieces I've chosen. It uses sharp lines and stylization as well as being saturated colours which is very eye-catching. This piece stands as a message and warning to those who see it of the dangers of fast food consumption but still turns this idea into art with a unique style (1). 

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Panel from chapter 390 of One Piece Manga

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Panel from chapter 390 of One Piece Manga

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The Declaration.

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I do not believe that we have covered this area in the lectures, how ever I find that its been a  major source of movement in the past few years, aiding in building community in otherwise harsh areas, where freedom of speech is often a source of crime. Its being done so through the visual culture of the jolly roger. So through the last twenty-eight years of designing it, he has brought hope to countless people.

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It fills the gap missing for the use of visual culture in comic/manga to aid and inform people. Much like history books or rather newspaper clippings eith the visual intent behind it.

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1. Louis Kemner et al., “25 Best One Piece Manga Panels,” CBR, May 21, 2025, https://www.cbr.com/one-piece-best-manga-panels/.
2. Wiki Pedia, “One Piece,” Wikipedia, December 10, 2025, https://en.wikipedia.org/wiki/One_Piece.
3. Rebecca Ratcliffe, “‘A Symbol of Liberation’: How the One Piece Manga Flag Became the Symbol of Asia’s Gen Z Protest Movement,” The Guardian, September 24, 2025, https://www.theguardian.com/world/2025/sep/24/how-one-piece-manga-flag-became-symbol-asia-gen-z-protest-movement-liberation.

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This piece is worthy to be here, for the creators growth of visual nature through manga creation that has been running since its beginning in july of 1997. Oda has since continued pulling real world events and adapting them into visual references and messages, that now has given societies ran under extremist government radicalization to push back and take their rights and lifes back into their own hands. 

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The Great Wave

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The Great Wave was a huge bridge between eastern and western art. It was an inspirational piece to so many artists around the world. Vincent Van Gogh wrote to his brother Theo in a letter he sent on September 8th 1888 “I did not know that one could be so terrifying with blue and green… these waves are claws, the boat is caught in them, you can feel it.”(5) You can see the influence the Great Wave had on Van Gogh’s painting starry night with its similar colour palette and swirling brush strokes that mimic waves.

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I feel like eastern art was very underrepresented in the visual culture course. Especially Japanese art. A lot of the materials we get in our FVA kits are from Japan like our gouache paint and erasable pens and I feel like we should learn something about the history of their art and what they use these materials for. It fills gaps in the timeline because you can see its significance and influence and this piece in particular is a great way to transition into eastern art for our curriculum because of its vast and undeniable influence on western visual culture.

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1) “The Great Wave Off Kanagawa.” Wikipedia, December 5, 2025. https://en.wikipedia.org/wiki/The_Great_Wave_off_Kanagawa. 

2) “Katsushika Hokusai - under the Wave off Kanagawa (Kanagawa Oki Nami Ura), Also Known as the Great Wave, from the Series Thirty-Six Views of Mount Fuji (Fugaku Sanjūrokkei) - Japan - Edo Period (1615–1868) - The Metropolitan Museum of Art.” Katsushika Hokusai - Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei) - Japan - Edo period (1615–1868) - The Metropolitan Museum of Art. Accessed December 7, 2025. https://www.metmuseum.org/art/collection/search/45434. 

3) Hokusai, Katsushika. “The Great Wave by Hokusai.” The Art Institute of Chicago. Accessed December 7, 2025. https://www.artic.edu/artworks/24645/under-the-wave-off-kanagawa-kanagawa-oki-nami-ura-also-known-as-the-great-wave-from-the-series-thirty-six-views-of-mount-fuji-fugaku-sanjurokkei. 

4) Kochetkova, Marina. “Hokusai’s Great Wave Explained.” DailyArt Magazine, November 25, 2024. https://www.dailyartmagazine.com/great-wave-hokusai/#:~:text=Through%20his%20well%2Dthought%2Dout,in%20the%20early%2019th%20century. 

 5) 27, August. “10+ Things to Know about the Great Wave.” The Art Institute of Chicago, August 27, 2024. https://www.artic.edu/articles/1139/10-things-to-know-about-the-great-wave. 
 

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Katsushika Hokusai, a japanese artist born on october 31st 1760 in Edo Japan and dying on May 10th 1849 in Edo Japan, created Under the Wave off Kanagawa also known as the Great Wave in 1831 which was a part of his series Thirty-six Views of Mount Fuji. It is a woodblock print using ink on coloured paper. Its dimensions are 10 ⅛ by 14 15/16 inches or 25.7 by 37.9cm. This piece deserves to be on the time line because of its cultural significance and how it is seen as the opening of japan to the western world.(4)

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He didn't make a sandwich fast enough

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This art piece played a huge role in challenging gender roles by showcasing the main focal point as an active and powerful hero . In the bible, Judith uses her intelligence, beauty and the fact that people see her as vulnerable to infiltrate an enemy camp. She uses Holofernes(the man in the painting) lust and drunkenness against him and ultimately saves her people by successfully killing him. The art piece also inspired the feminist art movement by challenging the patriarchy. In the art piece it showed her in a position of power, as the man who supposedly is powerful is getting his head cut off. The art piece directly confronts the patriarchal structures, and it also ultimately empowered women to challenge oppression . 

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I found that on the timeline, there weren’t a lot of females being represented so I wanted to find an art piece that filled in that gap. The art piece I chose, I think really represented women because not only were there empowering female figures, but it was also painted by a female. Artemisia made the art piece that really went against the gender norms of her era. She showed the empowering figures as the 2 females while the man was seen in a more vulnerable and humiliating light. She inspired many people by serving as a powerful symbol of female strength, resilience , and empowerment. 

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This art piece deserves to be on the timeline because the artist, Artemisia Gentileschi questioned gender roles in a violent but successful way. This realism art piece shows a woman cutting off a man’s head, while another female holds his head down. The man in the painting is seen in such a restrained pose which went against what men were seen as ; the bread winners and protectors. Not only that but Artemisia, the artist who made the painting was the first woman to enter the academy of art and design in Florence in the 17th century. And not to mention, she was the first female in a very much so male dominated field. 

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A surrealism self portrait rebelling from seeing women just as a muse.

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This self portrait is a surrealism piece. That abstract imagery like the hyena figure and the scale like of the horse wall hanging being the largest thing in the room. There's emphasis in colour used in this piece, the blue and red chair against the natural colour palette really emphasizes Leonora. The bright yellow curtains also emphasize the window in the back. Our eyes are being legged to the window through the lines in the tiling on the floor. Those lines also bring focus to a smudge on the side of the piece, almost like something was painted there, but she decided against it, maybe to make us wonder.

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When surrealism was founded, it treated woman as purely a muse, many of the male surrealism artist at the time were misogynistic. They made women as a sexual desire and object in their work. Leonora Carrington was an early adaptor of surrealism. She was seen as a bold surrealism artist compared to her male peers. Leonora Carrington once said, "I didn't have time to be anyone's muse, I was too busy rebelling against my family and learning to be an artist." Her female rebellious perspective was needed into surrealism. She depicted woman in a deeper female experience.

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Witek, Dominic. “10 Surrealist Paintings You Should Know.” Artsper Magazine, November 5, 2025. https://blog.artsper.com/en/a-closer-look/10-surrealist-paintings-you-should-know/. 
Carter, Michaela. “How Leonora Carrington’s Self-Portrait Helped Me Tell Her Story.” Literary Hub, April 2, 2021. https://lithub.com/how-leonora-carringtons-self-portrait-helped-me-tell-her-story/. 
Surrealism and women – smarthistory. Accessed November 28, 2025. https://smarthistory.org/surrealism-and-women/. 

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This piece is a self portrait painting by Leonora Carrington (1937-1938). The style of the piece is surrealism, this piece is worth being apart of the timeline because it is a part of the progression in art history I've been submitting, from impressionism to post impressionism to now surrealism piece. This self portrait was one of her earliest serious paintings, and almost the only self portrait she did in her career. The self portrait is a surrealistic version of her sitting in a room. The room is cool with pops of colour, the focus is on her sitting in a chair, she's facing the viewer in earth tone clothes. The chair she's on is bright blue and red, making her stand out. There's interesting imagery leading to her like a hyena figure beside her and a large horse wall hanging statue behind her. In the back, there are bright yellow curtains that are open to show the landscape outside with a white horse passing by the window. Beside the hyena figure is what looks like smudging or some kind of mistake cover-up making us think what it was.

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Deaths Impact

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It connects to a broader discussion of the role visual culture has within politics. It uses composition and symbolism to sanctify the subject but in a way that it serves the previous ideas of political revolution. It shows how 18th century art has transitioned in a way from more preppy royal art to more ideological art. The work amplifies how visual culture began influencing whole social scenes during times of political unrest.

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David's painting turned political assassinations into a symbol of revolution. It redefined arts social purpose from something of the richest private indulgence to something that can be used to favour public perception.

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The Death of Marat is a hallmark piece in the history of what was the French Revolution and Neoclassical art. The piece was painted in 1793 and it portrays a journalist who was murdered whose name was Jean-Paul Marat and it makes him out to be somewhat of a saint-ish figure martyr for the revolutionary cause. David uses dramatic lighting and honestly a pretty basic composition to centralize the overall piece so it can speak its gravity. The visual clarity and emotional restraint makes the piece both aesthetic and politically powerful. An overall ideal Neoclassical of arts role in politics.

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The Death of Marat ( French: La Mort de Marat or Marat Assassiné) is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, it was painted when David was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his murder by Charlotte Corday on 13 July 1793. Art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".

The painting is in the collection of the Royal Museum of Fine Arts of Belgium. A replica, created by the artist's studio, is on display at the Louvre.

Jean-Paul Marat (24 May 1743 - 13 July 1793) was one of the leaders of the Montagnards, a radical faction active during the French Revolution from the Reign of Terror to the Thermidorian Reaction. Marat was stabbed to death by Charlotte Corday, a Girondin and political enemy of Marat who blamed Marat for the September Massacre. Corday gained entrance to Marat's dwelling with a note promising details about a counter-revolutionary ring in Caen.

Marat suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. Corday fatally stabbed Marat, but she did not attempt to flee. She was later tried and executed for the murder.

When he was murdered, Marat was correcting a proof of his newspaper L'Ami du peuple. The blood stained page is preserved. In the painting, the note Marat is holding is not an actual quotation of Corday, but a fictional expression based on what Corday might have said.

A copy of L'Ami du peuple stained with the blood of Marat

David's politics

The leading French painter of his generation, David was a prominent Montagnard and a Jacobin, aligned with Marat and Maximilian Robespierre. As a deputy of the museum section at the National Convention, David voted for the death of French king Louis XVI and served on the Committee of General Security, where he actively participated in sentencings and imprisonment, eventually presiding over the "section des interrogatoires". David was also on the Committee of Public Instruction.

Detail of The Death of Marat showing the paper held in Marat's left hand. The letter reads "Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance" which translates to"It is enough that I am very unhappy to be entitled to your benevolence"

The Death of Marat has often been compared to Michelangelo's Pietà, a major similarity being the elongated arm hanging down in both works. David admired Caravaggio's works, especially Entombment of Christ, which mirrors The Death of Marat' s drama and light.

David sought to transfer the sacred qualities long associated with the monarchy and the Catholic Church to the new French Republic. He painted Marat, martyr of the Revolution, in a style reminiscent of a Christian martyr, with the face and body bathed in a soft, glowing light.

Charlotte Corday by Paul Jacques Aimé Baudry, painted 1860.

One of two versions of Death of Marat made by Edvard Munch in 1907

Several copies of the painting were made by David's pupils in 1793-1794, when the image was a popular symbol of martyrdom amid the Reign of Terror. From 1795 to David's death, the painting languished in obscurity. During David's exile in Belgium, it was hidden, somewhere in France, by Antoine Gros, David's most famous pupil.

There was renewed interest in the painting after Pierre-Joseph Proudhon and Charles Baudelaire praised the work after seeing it at the Bazar Bonne-Nouvelle in 1845. Nineteenth-century paintings inspired by David's work include Paul Jacques Aimé Baudry's Charlotte Corday. In the 20th century, David's painting inspired artists such as Pablo Picasso and Edvard Munch, poets (Alessandro Mozzambani) and writers (Peter Weiss' play ). Brazilian artist Vik Muniz created a version composed of contents from a city landfill as part of his "Pictures of Garbage" series.

The letter that appears in the painting, with bloodstains and bath water marks still visible, has survived and is owned by Robert Lindsay, 29th Earl of Crawford.

In Vladimir Nabokov's novel (1955), the main protagonist Humbert Humbert, explains his feelings "like Marat but with no white-necked maiden to stab me"

The composition influenced one of the scenes in Stanley Kubrick's 1975 adaptation of Barry Lyndon.[citation needed ]

The cover art of the 1980 album by Australian pub rock band Cold Chisel, was inspired by the painting.

Vik Muniz recreated the Death of Marat with waste from a massive landfill near Rio de Janeiro in his 2010 documentary . The picture is prominently featured on the DVD cover.

Steve Goodman re-created the painting (with himself in place of Marat) for the cover of his 1977 album Say It in Private.

The painting is recreated in The Red Violin (1998), in the scene when Jason Flemyng, playing violinist Frederick Pope, leans back in a bathtub with a letter from his lover in his hand.

In the 2002 movie, About Schmidt, Jack Nicholson's character Warren falls asleep in the bath whilst composing a letter, recreating David's painting.

In the 23 October 2008, episode of CSI: Crime Scene Investigation (Season 9, Episode 3 - "Art Imitates Life") a serial killer poses his victims peculiarly, one such victim's posture being an homage to David's painting.[citation needed ]

In 2013, it was gender-swapped with Lady Gaga in Marat's spot for ARTPOP. MTV

In the 2014 video game Assassin's Creed Unity, Arno Dorian investigates the death of Jean-Paul Marat, bringing Charlotte Corday to justice. The body of Jean-Paul is as given in the painting by Jacques-Louis David.

The painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa Moshfegh

The painting is referenced by US alternative rock band R.E.M. in the lyrics of their song "We Walk" and in the video to their song "Drive".

T J Clark, "Painting in the Year Two", in Representations, No. 47, Special Issue: National Cultures before Nationalism (Summer, 1994), pp. 13-63.

Thibaudeau, M.A., Vie de David, Bruxelles (1826)

Delécluze, E., Louis David, son école et son temps, Paris, (1855) re-edition Macula (1983) - First-hand testimony by a pupil of David

David, J.L., Le peintre Louis David 1748-1825. Souvenirs & Documents inédits par J.L. David son Petit-Fils, ed. Victor Havard, Paris (1880)

Holma, Klaus, David. Son évolution, son style, Paris (1940)

Adhé mar Jean, David. Naissance du génie d'un peintre, ed. Raoul Solar, Paris (1953)

Bowman, F.P., 'Le culte de Marat, figure de Jésus', Le Christ romantique, ed. Droz, Genève, pp. 62 sq. (1973)

Wildenstein, Daniel et Guy, Documents complémentaires au catalogue de l'oeuvre de Louis David, Paris, Fondation Wildenstein (1973) - fondamental source to track all influences constituting David's visual culture

Starobinski, Jean, 1789, les emblèmes de la raison, ed. Flammarion, Paris (1979)

Schnapper, Antoine, David témoin de son temps, ed. Office du Livre, Fribourg (1980)

Kruft, H.-W., "An antique model for David's Marat" in The Burlington Magazine CXXV, 967 (October 1983), pp. 605-607; CXXVI, 973 (April 84)

Traeger, Jorg, Der Tod des Marat: Revolution des menschenbildes, ed. Prestel, München (1986)

Thévoz, Michel, Le théâtre du crime. Essai sur la peinture de David, éd. de Minuit, Paris (1989)

Guilhaumou, J., La mort de Marat, ed. Complexe, Bruxelles (1989)

Mortier, R., 'La mort de Marat dans l'imagerie révolutionnaire', Bulletin de la Classe des Beaux-Arts, Académie Royale de Belgique, 6ème série, tome I, 10-11 (1990), pp. 131-144

Simon, Robert, "David's Martyr-Portrait of Le Peletier de Saint-Fargeau and the conundrums of Revolutionary Representation" in Art History, vol.14, n°4 (December 1991), pp. 459-487

Sérullaz, Arlette, Inventaire général des dessins. Ecole française. Dessins de Jacques-Louis David 1748-1825, Paris (1991)

David contre David, actes du colloque au Louvre du 6-10 décembre 1989, éd. R. Michel, Paris (1993) [M. Bleyl, "Marat : du portrait à la peinture d'histoire"]

Malvone, Laura, "L'Évènement politique en peinture. A propos du Marat de David" in Mélanges de l'École française de Rome. Italie et Méditerranée, n° 106, 1 (1994)

Pacco, M., De Vouet à David. Peintures françaises du Musée d'Art Ancien, XVIIe et XVIIIe siècles, ed. MRBAB, Bruxelles (1994)

Hofmann, Werner, Une époque en rupture 1750-1830, Gallimard, Paris (1995)

Crow, T., Emulation. Making artists for Revolutionary France, ed. Yale University Press, New Haven London (1995)

Monneret, Sophie, David et le néoclassicisme, ed. Terrail, Paris (1998)

Robespierre, edited by Colin Haydon & William Doyle, Cambridge (1999)

Lajer-Burcharth, E., Necklines. The art of Jacques-Louis David after the Terror, ed. Yale University Press, New Haven London (1999)

Lee, S., David, ed. Phaidon, London (1999); * Aston, Nigel, Religion and Revolution in France, 1780-1804, McMillan, London (2000)

Jacques-Louis David's Marat, edited by William Vaughan & Helen Weston, Cambridge (2000)

Rosenberg, Pierre & Louis-Antoine Prat, Jacques-Louis David 1748-1825. Catalogue raisonné des dessins, 2 volumes, éd. Leonardo Arte, Milan (2002)

Idem, Peronnet, Benjamin, "Un album inédit de David", Revue de l'Art, n°142, (2003-2004) pp. 45-83

Coquard, Olivier, "Marat assassiné. Reconstitution abusive" in Historia Mensuel, n°691 (juillet 2004)

Vanden Berghe, Marc & Ioana Plesca, Nouvelles perspectives sur la Mort de Marat: entre modèle jésuite et références mythologiques, Bruxelles (2004) / New perspectives for David's Death of Marat, Brussels (2004), available at the KBR, Brussels.

Idem, Lepeletier de Saint-Fargeau sur son lit de mort par Jacques Louis-David : saint Sébastien révolutionnaire, miroir multiréférencé de Rome, Brussels (2005), available at the KBR, Brussels.

Sainte-Fare Garnot, N., Jacques-Louis David 1748-1825, Paris, Ed. Chaudun (2005)

Johnson, Dorothy, Jacques-Louis David: New Perspectives, University of Delaware Press (2006)

Guilhaumou, Jacques, La mort de Marat (2006) revolution-francaise.net

Plume de Marat - Plumes sur Marat, pour une bibliographie générale, (Chantiers Marat, vol. 9-10), Editions Pôle Nord, Bruxelles (2006)

Angelitti, Silvana, "La Morte di Marat e la Pietà di Michelangelo" in La propaganda nella storia, sl, (sd), e-torricelli.it

Pesce, Luigi, Marat assassinato : il tema del braccio della morte : realismo caravagesco e ars moriendi in David, s.ed., sl, (2007) best glowing tips

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The Death of Marat ( French: La Mort de Marat or Marat Assassiné) is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, it was painted when David was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security.

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Flowing lines, inspiration from nature and craftsmanship into everyday life to create art nouveau.

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There are key features to the style of art nouveau that define it. The style uses organic, sinuous, asymmetrical, and curvilinear lines. It takes inspiration from natural forms and from nature, like plants, flowers, and insects. Alponse Mucha art nouveau work are harmonious compositions with the free flowing, curvilinear lines. His posters often focused on beautiful, stylized women, with floral and botanical motifs, creating elements to create a sense of beauty and romanticism. The art nouveau movement spread throughout Europe and North America in all different forms, most popular in graphic design and architecture. europeana November 1 Today, we recognise Art Nouveau by its characteristic flowing lines, floral ornaments, geometric forms and use of symbolic figures https://www.europeana.eu/en/exhibitions/art-nouveau-a-universal-style/origins-of-art-nouveau “Make Your Day.” TikTok. Accessed October 20, 2025. https://vt.tiktok.com/ZSUgEx9M9/

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The art nouveau movement broke down fine art and crafts into visual language through the signature line work and nature motifs in all forms. It popularized new techniques like lithography and influenced design elements in typography, graphic desgin, the art deco style and modern aesthetics. The art nouveau movement also affected and influenced architecture and interior design with the purpose to create functional beauty to create the reminiscence of nature forms to functional objects and influencing the design, bridging fine art to decorative art.

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Origins of art nouveau | europeana. Accessed October 18, 2025.
“Make Your Day.” TikTok. Accessed October 20, 2025.
“Alphonse Mucha - 172 Artworks - Painting.” www.wikiart.org. Accessed October 17, 2025.
Britannica Editors          Encyclopaedia Britannica’s editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree.... “Alphonse Mucha.” Encyclopædia Britannica, September 13, 2025

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This piece Job by Alponse Mucha was made in 1896 created using lithography, a form of print making. Job was created in the style of art nouveau. He dedicated a lot of time to the style, and his works were pivotal to the art nouveau movement. Alphonse Mucha created so much using this style it created his own style called "Le Style Mucha". He produced all different forms of art nouveau style work like, advertisements, jewellery, theatre sets and series of posters. Other many artists made all different kinds of forms from the art nouveau style as well." He first became prominent as the principal advertiser of the actress Sarah Bernhardt (https://www.britannica.com/biography/Sarah-Bernhardt) in Paris. He designed the posters for several theatrical productions featuring Bernhardt, beginning with Gismonda (1894), and he designed sets and costumes for her as well. Mucha designed many other posters and magazine" Britannica Editors          Encyclopaedia Britannica’s editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree.... “Alphonse Mucha.” Encyclopædia Britannica, September 13, 2025. https://www.britannica.com/biography/Alphonse-Mucha. 

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Expressing through a feeling not focused on solid structures.

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In this composition it uses form to create it's subjects from lines, basic shapes and the different brush strokes that are used. The buildings, bushes, trees, and the mountains shows the basic shapes through the composition. The depth and accuracy in the landscape comes from the use of colours in this piece. His use of colour is exaggerated from the natural colours that would appear in the landscape. The added saturation to the colour adds expression and depth to the scene. Through the mountains the colouring is used to show the height and structures of the different shapes throughout. James Voorhies
October 1, 2004 Cézanne abandoned his thickly encrusted surfaces and began to address technical problems of form and color by experimenting with subtly gradated tonal variations, or “constructive brushstrokes,” to create dimension in his objects.https://www.metmuseum.org/essays/paul-cezanne-1839-1906

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My first featured work was Étretat by Claude Monet, my second is Mont Sainte- Victoire by Paul Cèzanne. The style of Étretat is impressionism, the piece is a replica of the scene he was seeing with exact colours, movement, and time. Mont Sainte- Victoire is post impressionism, giving more freedom over exact shape, movement, and colours.

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Voorhies, James. “Paul Cézanne (1839–1906).” The Metropolitan Museum of Art, October 1, 2004
French, Paul Cézanne. “Paul Cézanne - Mont Sainte-Victoire.” The Metropolitan Museum of Art. Accessed October 5, 2025.

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This piece is Mont Sainte- Victorie (1895) by Paul Cèzanne. The piece is a movement of post impressionism; his work added to impressionism while rejecting its limitations. Cèzanne used unique techniques of taking structures or subjects down to its basic forms and shapes, as you can see in the buildings and nature of this piece. He also played with colour in his work, while retaining the natural colours of what he is creating but saturating the colours as well. Cèzanne enjoyed making his work based on feeling and expression rather than focusing on the integrity of his subjects. Many people were inspired by his art and helped the movement of post impressionism. https://www.metmuseum.org/art/collection/search/435878

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"the untold stories of countless victims being brought to light through art"

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This art piece strays from the norm in the lectures of covering mostly mediterranean art, and covers topics related to one of the most tragic events in indigenous Canadian history. This piece gathers multiple objects rooted in the tragedy that was residential schools, and relates to the overall visual culture of our time by it being representative of the decade long crime against indigenous communities (1). It serves as a reminder that residential schools undeniably happened and claimed the lives of many, and traumatized those who survived.

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The impact this artwork has had on visual culture, is that it repurposed the pieces from residential schools and reclaimed them to share the tragic story and experiences of the victims and survivors of residential school.

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(1)Newman, Carey. “The Witness Blanket.” The Witness Blanket, 2014. https://witnessblanket.ca/. 

 (2)“The Witness Blanket.” Canadian Museum of History, May 8, 2025. https://www.historymuseum.ca/exhibitions/witness-blanket. 

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The Witness Blanket is worthy of being in this timeline because it covers the scary reality that was residential schools by compiling over 880 objects tied to residential schools and displaying them to bring attention to various stories of residential school victims (1). The contents of the witness blanket range from braids from indigenous victims, to pieces of residential schools which survive to this day (1).

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Self-portrait of the greatest swordsman in history.

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Musashi's impact on visual culture can likely be measured more from his adaptations in manga, video games, and anime rather than his own art's impact. Particularly, Takehiko Inoue's work on the manga Vagabond, which depicts Musashi's life with alterations to it. Musashi's own art mostly consists of various birds he likely observed on his travels(1). Among his other known pieces is an artpiece of a man, presumably his friend(1), watching chickens fight. Musashi's impact on history is spread throughout many fields. Philosophy, swordsmanship, but most importantly,y this, his impact on visual culture.

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This piece and my previous have vastly different art styles. Veronese's alter piece is done in a European style, and while subjective, I believe it shows more technical skill. The other is a self-portrait of a man who was a warrior first and an artist second.

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Thehistorianshut. “Besides Being a Deadly Swordsman and Duelist, Miyamoto Musashi Was Also a Skilled Painter.” The Historian’s Hut, October 6, 2022. https://thehistorianshut.com/2017/11/07/besides-being-a-deadly-swordsman-and-duelist-miyamoto-musashi-was-also-a-skilled-painter/.  Evangelista        Fencing master., Nick Forrest. “Miyamoto Musashi.” Encyclopædia Britannica, October 10, 2025. https://www.britannica.com/biography/Miyamoto-Musashi-Japanese-soldier-artist. 
Thehistorianshut. “Besides Being a Deadly Swordsman and Duelist, Miyamoto Musashi Was Also a Skilled Painter.” The Historian’s Hut, October 6, 2022. https://thehistorianshut.com/2017/11/07/besides-being-a-deadly-swordsman-and-duelist-miyamoto-musashi-was-also-a-skilled-painter/. 

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The work is done in a style common for that era in Japan's history. It depicts the artist wielding two swords while wearing white and red clothing. Musashi is a notable figure, his most famous feat being his 61 undefeated duels(2). Not only is he an artist and the greatest swordsman, but he is also an author and philosopher(2). His legacy alone makes him more than worthy of inclusion in the timeline. This work is not Musashi's only piece, but it is his most notable. Strangely, I find his other art shows his skill more. 

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deep dive

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This painting connects to visual culture by the Romantic movements surrounding the piece. It parallels the rise of landscape art in Europe and the increasing use of natural imagery in ways to symbolize human psychology. The connection between this work and visual culture is through the portrayal of how throughout human history humans have battled with the idea of us as a species being either the dominant and most significant species or if we’re just as insignificant as anything else, a talking point that still has discussion today. The paintings inviting nature forces the viewer to feel and experience the figures' personal reflections, turning the artwork into a conversation/thinker piece. Its focus on mood and atmosphere and human isolation defines the Romanticism era and how it endured through western influences up until today.

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The differences between my featured work and this one is that for Wanderer above the Sea of Fog location doesn't really matter as much, it is assumed to be europe based on the figures attire and Friedrichs influence but compared to Liberty Leading the People where that artworks location and setting really mattered as it was a political piece, the location for this one is much less irrelevant focusing much more on the nature and scale.

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Wanderer Above the Sea of Fog | Caspar David Friedrich, History, Description, & Facts | Britannica
"Wanderer Above the Sea of Fog" by Caspar David Friedrich

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disclaimer: I know we talked about this piece in class but it really stood out to me and I wanted to do a deeper dive on it independently
Wanderer above the Sea of Fogs is an iconic image for the Romantic Era. It represents humanity's awe and triumph over the grand escape of nature. Friedrich's use of fog to emphasize the unknown vastness  of the landscape which can make an individual reflect about their place in the world in the grand scheme of things.. The composition of the painting having the viewer behind the subject further pushes this notions of contemplation and a sense of unease and uncertainty. It captures the mindset of the shift that happened during the Enlightenment period from the 17th and 18th century where people really took a step back to question and perceive things to a point they had not done before.

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Street art of a nurse with a superman mask

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This artwork relates back to how context and important events change perceptions of a piece. The fact that the nurse is wearing a mask is not out of the ordinary because nurses had been wearing masks before Covid. However the time this was painted, right when the pandemic started, changes the context of what the mask means (3). This piece could have been made at any time period nurses looked like this, but because it was painted right after lockdown started and thus was perceived as a topical message.

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Covid really highlighted how important healthcare workers are, and in any other era it's less likely muralists would have taken time to paint a piece about a nurse. Essential workers weren't acknowledged much as it was, and that normally isn't a common theme in graffiti art. This piece likely wouldn't have existed at all if lockdown hadn't happened and it added an under appreciated group to visual culture.

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1. Eller, Matthew. “Fake’s New Mural ‘Super Nurse’ Available for Free Download.” StreetArtNews, March 25, 2020. https://streetartnews.net/2020/03/fakes-new-mural-super-nurse-available-for-free-download.html. 
2. Lakritz, Talia. “14 Photos of Uplifting Street Art Spreading Hope during the Pandemic.” Business Insider. Accessed October 23, 2025. https://www.businessinsider.com/street-art-coronavirus-pandemic-photos-2020-5. 
3. iamfake. “Super Nurse! 😷.” Instagram. Accessed October 23, 2025. https://www.instagram.com/p/B-ACb_4lMCf/?igsh=bnJ0bGJkcmthNG53. 

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This piece deserves to be in the timeline because it is well painted using realism and symbolism to highlight the bravery and hardship essential workers went through during lockdown and how much help they provided (1). The title Super Nurse intends to represent healthcare workers as heroes, and although it's simple it does a good job to acknowledge them and get that point across clearly with contrast in colour. This work has also been used in multiple compilation articles about uplifting art during the pandemic which in my opinion reinforces how impactful it was (2).

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Photograph of a portion of the Berlin Wall showing Dmitri Vrubel's "My God, Help me survive this deadly love," painted in 1990.

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The (Rise and) Fall of the Berlin Wall makes Berlin an epicenter of graffiti street art

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The Berlin Wall became both a record of the political views of those in West Germany (the East German side of the wall was not painted until after the wall came down in 1989) and a public installation of a newly pioneered form of necessarily minimalist art that gave rise to the urban street art scene of today (1). Pieces of the wall are on display all over the world, and there is a 1.3km section of the wall from the eastern side that remains standing, as a massive public art gallery called the East Wall (3).

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By the time the wall came down in 1989, the graffiti on it had established an underground street art scene of accessible art, and art as a form of political protest. Banksy, who we've discussed in class, has followed suit, creating several pieces of graffiti on Israel's West Bank barrier as a form of political activism (4). 

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1. “Art and the Berlin Wall - The Cold War | IWM.” Imperial War Museums, 2025. https:www.iwm.org.uk/history/berlin-wall-30-art-and-the-berlin-wall. 
2. Dundon, Alice. “10 Iconic Murals on the Berlin Wall.” The Culture Trip. June 20, 2025. Accessed October 22, 2025. https://theculturetrip.com/europe/germany/articles/10-iconic-murals-on-the-berlin-wall.

3. Jones, Phil. “The Art on the Berlin Wall: Sentiments of East and West Berlin.” The Collector. February 19, 2021. Accessed October 22, 2025. https://www.thecollector.com/art-on-the-berlin-wall/.

4. Kim, Adela. “Banksy and the Wall | Arts | the Harvard Crimson.” Www.thecrimson.com. March 26, 2014. Accessed October 22, 2025. https://www.thecrimson.com/column/the-art-of-protest/article/2014/3/26/the-art-of-protest-banksy/.

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The Berlin Wall made Berlin an epicenter of street art and graffiti as people on the west side of the wall, unhappy with the division, began painting on it as an act of political resistance. This appears to have begun with French artist Thierry Noir, who risked his life avoiding the detection of the wall's armed guards to paint large, colorful abstract faces on the wall (3). The German people, as well as artists from all over the world, soon began contributing art to it. I was nine years old when the wall came down, and I remember watching the news and seeing people hacking into the wall to take pieces to keep and/or sell. Berlin still has a massive urban street art culture today.

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What Is Love - the show that sparked a wave

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The rise of Hallyu connects to ideas in visual culture such as globalization, media, and how visual language can shape identity. Like Western pop culture once did, Hallyu demonstrates how images, media, and technology can travel across borders and influence people through film, music, and fashion. It represents a turning point where East Asia became a cultural origin point, challenging Western dominance in visual narratives. Through music videos, film, cosmetics, fashion, and digital design, Korea changed how visual culture circulates globally. This era helped transform Korean visual culture as something interactive and global, where fans, creators, and technology all play a part in spreading the wave (3)(4).

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The rise of Hallyu transformed visual culture by bringing Korean creativity into the digital era. It introduced a unique blend of traditional motifs and futuristic visuals with clean lines, bright colors, and high-tech imagery that feel emotional and modern. Through platforms like YouTube and Netflix, Korean culture spread worldwide, changing how art is made, shared, and experienced. Fans became active participants, and collaboration across fashion, film, beauty, and design created a distinct global aesthetic. This movement redefined visual storytelling and built a sense of connection and community across cultures. Hallyu established Korea as a leader in global pop culture and a major influence in shaping today’s visual trends (5).

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https://kccuk.org.uk/en/about-korea/culture-and-arts/hallyu-korean-wave/      https://www.90daykorean.com/hallyu/         https://www.vam.ac.uk/articles/the-hallyu-origin-story#vam_body                                               https://www.aijcrnet.com/journals/Vol_5_No_5_October_2015/19.pdf                           https://pursuit.unimelb.edu.au/articles/have-you-been-taken-by-the-korean-wave-yet

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(1) “Hallyu (Korean Wave).” KCCUK. Accessed October 22, 2025. https://kccuk.org.uk/en/about-korea/culture-and-arts/hallyu-korean-wave/.          (2) Toyryla, Laura. “Hallyu – Everything You Need to Know about the Korean Wave.” 90 Day Korean, January 31, 2025. https://www.90daykorean.com/hallyu/.                   (3) “The Hallyu Origin Story · V&A.” Victoria and Albert Museum. Accessed October 22, 2025. https://www.vam.ac.uk/articles/the-hallyu-origin-story#:~:text=Seeking%20to%20avoid%20dissent%2C%20Park,and%20Korean%20dramas%20and%20films.&text=By%20the%20end%20of%20the,consumers%20of%20cutting%2Dedge%20technology.           (4) Kim, Bok-rae. “Past, Present and Future of Hallyu (Korean Wave) .” AIJCR, October 2015. https://www.aijcrnet.com/journals/Vol_5_No_5_October_2015/19.pdf.                                                                      (5) Grincheva, Dr Natalia. “Have You Been Taken by the Korean Wave Yet?” Pursuit by the University of Melbourne, December 20, 2024. https://pursuit.unimelb.edu.au/articles/have-you-been-taken-by-the-korean-wave-yet. 

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This poster for What Is Love promotes the 1991 Korean television drama that became a huge hit in China in 1997 (1). The soft pastel background and hand-drawn elements give it a warm, nostalgic feeling, while the black-and-white portraits of the main characters capture everyday family life. A visual tone that resonated deeply with audiences across Asia. After its broadcast, Chinese media first used the term “Hallyu” to describe the sudden craze for Korean entertainment (2). This show marks the beginning of Korea’s global cultural influence and the birth of the Korean Wave.

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A legend in its barest form.

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Despite its short lived history, fauvism arose in France during the early 20th century (Rewald 2004).  Making headway in the Impressionism movement, Matisse was considered one of the founders of fauvism, introducing a new use of colour (Wikipedia 2025).  Unnatural brush strokes and colours emphasizing certain aspects of the work in ways mostly unseen before this point. Despite its largely abstracted forms and unrealistic colour choices, Icarus shows that we can sacrifice realism for geometric forms and blended value for flat geometric shapes without losing the impact and emotions evoked through this piece. 

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Credited as the leader of the Fauvism movement, Henri Matisse emphasized bold use of colour and expressionism over the more representational focus still held within the Impressionist movement. By boiling it down to the barest elements of colour and shape, Matisse creates balanced and innovative art unheard of before his time. 

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“Henri Matisse - Icarus, Plate VIII From the Illustrated Book ‘Jazz’ - the Metropolitan Museum of Art,” n.d. https://www.metmuseum.org/art/collection/search/337069. Rewald, Sabine. “Fauvism.” The Metropolitan Museum of Art, October 1, 2004. https://www.metmuseum.org/essays/fauvism. Wikipedia contributors. “Fauvism.” Wikipedia, October 18, 2025. https://en.wikipedia.org/wiki/Fauvism.

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Icarus (1947) by Henri Matisse is a 16.5x10.25 inch illustration. Originally created using cut out pieces of paper painted with gouache, later reprinted using pochoir to be included in Jazz, an illustration book. (Metropolitan Museum of Art n.d.) Matisse reimagined what it meant to use form and colour in unique ways to create striking compositions. Describing his process as “drawing with Scissors,” (Metropolitan Museum of Art n.d.). Painting and using pochoir to place an emphasis on bold colour choices that convey many deeper meanings. Beginning during World War II Matisse went through a surgery that greatly affected his mobility and ability to create, leading him to turn to using cutouts to create his works. Despite their bright colours and whimsical forms, Icarus represents many forms, the Greek myth, the trapeze artist, and potentially even Matiss himself (Metropolitan Museum of Art n.d.). 

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Roentgenizdat, bone records, or Ribs, etc

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Roentgenizdat, bone records, or Ribs, etc

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Sex, drugs, rock’n’roll, and the underground black market of banned music in the Soviet Union

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These pieces are important to the development of visual culture because of how they were monumentally important to the stiliagi and their fight against strict censorship, not by rioting in the streets but by bootlegging music, using discarded x-rays and makeshift recording equipment to hold secret parties in dance halls (1). They rejected the “acceptable” fashion, music, and dance of the Soviet government in favor of the western culture of the time with their distinct ‘greaser’- esque aesthetic (2), infuriating the rest of Russian society. Their music was integral to their identity, without this secret trade of music on ribs, there would not be the stiliagi, especially not in the way that was as influential as they were. 

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The strict censorship of the USSR forced artists to adapt and evolve their methods of creating and distributing their work to the equally censored consumer. Artists used methods like roentgenizdat to quietly help lead the revolution by showing the Communist party that the creative fervor inherent to human nature can only be contained for so long. 

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These pieces should be in the timeline because they were a key part of the development of the resistance culture of the stiliagi, a youth counterculture movement focused on self-expression (largely inspired by the emerging rock’n’roll and ‘hipster’ movements developing in west around the same time) during the heavily censored, anti-Western society of the USSR (2). The stiliagi and other music smugglers would record banned music and transfer it onto discarded x-ray plates from hospitals (1). Although the images of bones were a side effect of the material, it created a distinct look that emphasized the danger and excitement of the underground trade, and became an iconic symbol of the stiliagi and their resistance.

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(Invented by) Ruslan Bugasloviski and Boris Taigi (3)

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Renaissance

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The renaissance took many art ideas from ancient Greece that focused more on symmetry, idealized human forms , mythology and art techniques . Along with ancient Greece they also took art ideas from ancient Rome which focused on realism, naturalism, and portraiture(4) . Some things that haven’t been covered in visual culture include naturalism and humanism. Naturalism had a huge role in the progression of art because it was the representation on the accurate depiction of details. Along with naturalism there was humanism, which is a way of thinking and living that puts humans at the center of concern (5).

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The renaissance had a huge transformative and revolutionary impact on art by shifting art techniques , purpose ,  and the main subject from spiritual to the human and natural world(6). It also focused on Chiaroscuro which meant that they focused more on the strong contrasts of lightness and darkness to give more dimensionality to objects. Along with the focus on values, artists focused more on anatomical accuracy which was driven by humanism and scientific inquiry (6). The artists in that time period took inspiration from ancient Greece and Rome where the human form was a primary subject. 

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1) “Renaissance Art.” Wikipedia, October 6, 2025. https://en.wikipedia.org/wiki/Renaissance_art. 

2) Cartwright, Mark. “Renaissance Art.” World History Encyclopedia, November 10, 2020. https://www.worldhistory.org/Renaissance_Art/. 

3) Art, National Gallery of. “The Impact of Classical Antiquities on Renaissance Art.” Italian Renaissance Learning Resources. Accessed October 22, 2025. https://www.italianrenaissanceresources.com/units/unit-7/essays/impact-of-classical-antiquities-on-renaissance-art/. 

4) Hummel Author, Follow Me  Anita Louise. “Greek and Rome’s Influence on Renaissance Art.” Anita Louise Art, December 18, 2024. https://anitalouiseart.com/greek-and-rome-influence-on-renaissance-art/. 

5) “Humanism Explained in Simple Terms: A Beginner’s Guide - about Humanism.” Inside Political Science, February 20, 2025. https://abouthumanism.com/humanism-in-simple-terms/. 
6) Bing. Accessed October 22, 2025. https://www.bing.com/search?q=the%2Brenaissance%2Bwhen%2Bwas%2Bit%2B&FORM=HDRSC1. 

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It deserves to be on the timeline because it was shown and marked as the period of rebirth in many aspects of art. From the 14th century to the 17th century , the renaissance was a huge shift from abstract and non-representational art towards naturalism , humanism, and the revival of classical ideals (1). It was characterized by a renewed interest in philosophies of ancient Greece and Rome(2) . Along with the shift in art styles, they also expanded their art techniques by adding linear perspectives to create dimensionality. And it influenced many popular people, including Leonardo Da Vinci (3). 

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FBI post it notes?

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This piece does not fit in with the recent lectures, how ever it does play the important role of how in the visual world the works can be taken and used for different intents then what the designer had in thought. (1) An important and crucial thing to have in mind as a designer.

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This piece had an impact during the events of 9/11 through the use of aiding in communications during the research of the attack on the field. (1,2)

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1 
Kaplan, Howard. “The Art of Remembering 9/11.” Smithsonian American Art Museum, September 8, 2021. https://americanart.si.edu/blog/art-remembering-911. 
2
“Modern Head.” Wikipedia, August 17, 2025. https://en.wikipedia.org/wiki/Modern_Head. 

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The Modern head is a statue made of stainless steel painted blue, it stands 940 cms tall, 590 cm wide, and 20 cm thick. It has its place in this timeline because of its resilience and use in the fall of the world trade centers in 2001, when the FBI had begun to use its base as a way to pass along information to the other members digging through the rubble. (1,2) 

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(above) pages 82-83 of the Guinness book of world records 2014 Gamers edition(1)

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Companies sink or swim in a sea of their own games.

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The bread and butter of any video game was and will always be player interaction. However, the rate at which companies were rushing to produce games at the time meant that interacting with many of these games was a negative experience(2). If that wasn’t bad enough there were many companies like Quaker Oats(2) and Purina Dog food(2,3) who held no respect for the medium as anything more than another means of marketing. This mentality flooded the market with an abundance of games that felt rushed, boring and were often unenjoyable experiences for the player.

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Since video gaming has always held a place in my heart I wanted to find a way to work it into the timeline. To that end, the gaming crash was one of the first things to come to mind since I remembered reading about it when I was a kid(1)

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Reference 1: Guinness book of world records Gamer's edition 2014, page 82-83 (must be "borrowed", but doing so is free):
https://archive.org/details/guinnessworldrec0000guin/page/82/mode/2up
Reference 2: Bug Splat:
https://blog.bugsplat.com/great-video-game-crash-1983

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The Gaming Crash of 83 was a decisive milestone within the gaming industry which marked its turning point from simple fad to long term form of entertainment by almost killing it. The cause had multiple factors(1,2) but the main factor at play was oversaturation. There were little to no limiting factors on who could make games for a console, resulting in a slew of third party developers producing rushed, poorly made slop that flooded the market all at once. This culminated in the industry stagnating(2) until 1986 when Nintendo released the NES with much stricter regulation on which games would be published for it, assuring a higher standard of quality by using a specially designed chip to ensure that only authorized games could run on their console.

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Guiness book of world records 2014 gamer's edition page 82-83.JPG

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Peace

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Some connections I have made between Banky’s CND Soldiers and the content from our Visual Culture class are the posters we made and some discussion points. The posters we made are similar because they portray a message meant for people to see and there is a definite connection between the constructivist posters and CND Soldiers. They are connected because they have a similar colour palette and both are accessible imagery that is politically themed but they have polar opposite messaging. Constructivist posters originated from Russia in the early 20th century to promote propaganda to build a soviet society (3) whereas Banksy’s CND Soldiers was created in protest to the war in Iraq. 

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Banksy’s CND Soldiers was created in protest to the war in Iraq and it had a big impact on visual culture by challenging and redefining how political art is created, spread and consumed. It marked a moment where anti war imagery entered the mainstream art market alongside high end street art. It changed perceptions of graffiti from being a form of vandalism to a real form of cultural commentary. 

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1 - Laboureau, Sebastien. 2021. “CND Soldiers, 2005.” Banksy Explained. May 15. https://banksyexplained.com/cnd-soldiers-2005/

2 - MyArtBroker. 2025. “CND Soldiers by Banksy – Background & Meaning.” MyArtBroker. https://www.myartbroker.com/artist-banksy/series-cnd-soldiers

3 - International Poster Gallery. 2025. “Constructivist Posters.” International Poster Gallery Style Primers. Accessed October 20, 2025. https://www.internationalposter.com/style-primers/constructivist-posters/

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CND Soldiers was created by Banksy in London in 2005. It was a street mural that transitioned to a screen print in colours on wove paper and the dimensions are 70cm by 50cm or 27 ½ inches by 19 ½ inches(1). This piece combines visual culture with political activism. It portrays two soldiers crouching down looking around them being cautious of their surroundings. One is braced with an assault rifle while the other is holding a paint brush painting the peace sign which originally symbolized the British campaign for Nuclear Disarmament (CND) of 1957 (1).    

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Russian symbolism and the madness of an artist

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Vrubel was largely considered among the most important of the Russian symbolists because of his unique style (2), using pallet knives to create an almost mosaic-like effect (1). The symbolists (specifically the 2nd wave, of which Vrubel was most closely associated, despite mostly being in his own lane(2)) were inspired by mysticism, traditional Russian orthodox artwork, and an emphasis on the inner world (1), creating works as a means to respond to the growing political tension of pre-revolution Russia (1). Russian symbolism developed independently of the wider European symbolism around the same time (4) and worked as part of the bridge between the traditional pasts and the ever changing modern world (1).

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The biggest visual difference between Primordial Chaos and The Demon Downcast is that Klimt focused on truly non-representational paintings, while Vrubel still used representational imagery, just in nonsensical and disjointed ways. Also, Vrubel was in a significantly more tense political situation compared to Klimt, which heavily influenced his work. 

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Vrubel’s “Demon” artworks were a key part of the Russian symbolist movement, and combined a realism-based style using objects familiar to the audience with illogical placements, creating an uncanny feeling. He used the demon more closely to the Greek definition, “soul”, instead as a figure of evil (2). Vrubel struggled with mental illness throughout his life, some attributing his decline to be caused by The Demon Downcast and his unhappiness with how the final work appeared in the exposition of Mir Iskusstva, where he would continue to obsessively alter the painting (3). Despite not being well liked by contemporary critics, he still saw wide recognition for his contribution to the arts (1). Despite the fame in his time, the average person (at least in N. America/W. Europe) has likely not heard of him unless they have studied eastern European art movements.

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if strawberry shortcake was an 1800's english diva.

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The red pelisse definitely had function ingrained into its design, but also had a beautiful and elegant form. Form and function are in harmony with each other in this article of clothing. Designing a piece of clothing to compensate for the less functional fabrics used in women's fabrics is a brilliant use of unifying art and technology in the fashion industry (3). This piece in particular also provides minimal ornamentation, but still complements the aesthetic of whatever dress may be worn underneath, such as the black and white polka dot dress worn by the mannequin (1).

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One of the largest differences between my featured work and this piece is the amount of decoration used in the design. Additionally the bold choice of colour used in this earlier garment also contrasts the pastels from the newer 1800's garment. 

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(1) Museum, Victoria and Albert. “Pelisse: Unknown: V&A Explore the Collections.” Victoria and Albert Museum: Explore the Collections, December 15, 1999. https://collections.vam.ac.uk/item/O13824/pelisse-unknown/. 

(2)Franklin, Harper. “1800-1809.” Fashion History Timeline, June 25, 2020. https://fashionhistory.fitnyc.edu/1800-1809/. 

(3)Libes, Kenna. “Pelisse.” Fashion History Timeline, June 1, 2020. https://fashionhistory.fitnyc.edu/pelisse/. 

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This hand sewn silk pelisse should be in the timeline not only because of how it is visually striking, but also because it had been done entirely by hand (1). A pelisse was typically worn over top of lightweight dresses, therefore they were not exactly easy to make as each one usually must have been very fitted and tailored for the garments worn underneath as well as to the wearer (3). The piece is extremely interesting to me as it looks bare yet it still had much work and dedication put into the design, proving that the simplest of things can still be complex.

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Colourful wall mural of a large fish

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This mural relates back to when we discussed how artists create meaning behind their pieces. This mural is based on connection to nature(2) and life born from it and the bright colours and greens convey it well. Vibrant colours are often used to convey life and I think this mural added a lot of life to the wall it was done on. This mural was painted for the function of connection, to bring the community together and include the local wildlife within the town. I think this was done very well using so many patterns and colour combinations to add detail and substance to the work.

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Both pieces ive chosen draw inspiration from the world around them and the area they were done in. My featured piece is reminiscent of other graffiti art done around urban areas like new york, whereas this piece looks more like a traditional painting and takes inspiration from fish species found in the local area in Bracebridge Ontario. (3) The intentions behind both works are different aswell because my featured art is a mural done by a graffiti crew, wheras this mural was done on commission. (4)

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(1) Pancini, Rachel. “Jacquie Comrie Selected to Create Bracebridge’s New Large-Scale Mural  .” My Muskoka Now, August 14, 2025. https://www.mymuskokanow.com/145254/news/community/jacquie-comrie-selected-to-create-bracebridges-new-large-scale-mural/. 

(2) Downtown Bracebridge BIA. “We All Come from Water.” Facebook, September 18, 2025. https://www.facebook.com/100064530016487/videos/discover-bracebridges-newest-public-art-piece-we-all-come-from-water-by-jacquie-/1264525499021197/. 

(3) “Town of Bracebridge Unveils New Downtown Mural, We All Come from Water.” Town of Bracebridge, September 12, 2025. https://www.bracebridge.ca/news/posts/town-of-bracebridge-unveils-new-downtown-mural-we-all-come-from-water/. 

(4) “Bio.” TATS Cru - NYC Graffiti Artists. Accessed October 9, 2025. https://www.tatscru.biz/bio/. 

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I think this mural is worthy of being included in the timeline because it uses colour and form in a very fluid way that is still extremely detailed. The meaning behind the mural is to bring calm and healing through nature (1), and in my opinion it achieves that well with its use of movement and colour. There are lots of connections to nature with the many vibrant colours included and they add a very bright rendering quality I like. The intention behind it is overall very positive and I think it's just a great piece. It is also a fairly recent addition to the world of public art and from the perspective that public art is meant to bring passion and life to an area I believe that its purpose has greatly shaped the final product into the colourful piece it became.

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The great dance

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I dont believe it has been covered in the lectures, how ever it has played a great role in the evolution of visual culture for bringing the viewers gaze into the culture of the indiginous people. Without it i feel we could still not have a clear communication of how even such quick and subtle dances can be rather important to groups of people. (https://en.wikipedia.org/wiki/Buffalo_dance)

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  Between the different stylizations, use of colors, and mediums it gives a broad range of the techniques used. 
  This piece uses water color for its medium unlike my featured work that used oil on canvas. Another thing to point out is that this piece also is an objectional art compared to my featured work being non-objectional.

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I chose the buffalo dance at Zie (https://www.denverartmuseum.org/en/object/1932.240), a water color on paper (10x19 inches). I believe it fits into our timeline for its communication of the indigenous culture and its ties to nature. 

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Ma Pe Wi (Velino Herrera), Zia, 1902-1973

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The Ulrich Vollmer Collection of Japanese Pottery- Diameter: 9.8cm (4cm) 

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Not all things stay broken

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Korean Buncheong ware evolved from the famed celadon traditions of the Goryeo dynasty, essentially similar in clay and glaze but less processed and refined, and more expressive in character. An inlay technique using white slip to decorate under glaze gave buncheong ware its distinctive style and each region of Korea had its own characteristics. Gyeongsang was known for precise stamped patterns, Jeolla for freehand sgraffito designs, and Chungcheong for their bold iron-painted motifs (3). Where the Goryeo celadon ceramics represented elegance and control, Buncheong was bold and embodied experimentation and spirit, turning everyday ceramics into something deeply human and full of life. This transition is intricately linked to the establishment of the Joseon dynasty, when there was a shift in state beliefs from Buddhism to Confucianism. "This significant ideological transformation influenced the aesthetics of the time, leading to a preference for minimalism, elegance, and reduction of elaborate adornments in artworks" (4). 

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Both The Tiger and Magpie (Hojakdo) and this Buncheong tea bowl reflect Korean culture but in very different ways. The Hojakdo is bold, colorful, and satirical, made to communicate social commentary and humor through symbolism. The Buncheong bowl, on the other hand, expresses beauty through simplicity and imperfection. Its soft, natural tones and Kintsugi repairs highlight resilience and renewal, while Hojakdo uses exaggerated imagery to challenge authority. One speaks loudly while the other seemingly whispers. Together, they show the range of Korean visual expression from folk storytelling to philosophical reflection, and how both art forms continue to carry emotional and cultural depth long after their time.

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1. McPherson, Robert. “A Rare Korean Buncheong Stoneware Teabowl, 16th or 17th Century.” Robert McPherson Antiques. Accessed October 8, 2025. https://orientalceramics.com/product/korean-bowl/. 

2. Potter, Potter. “History of Korean Pottery: From Goryeo to Joseon.” POTTER POTTER, September 20, 2024. https://potter-potter.com/blogs/story/history-of-korean-pottery-from-goryeo-to-joseon. 

3. Lee, Soyoung. “Joseon Buncheong Ware: Between Celadon and Porcelain.” The Metropolitan Museum of Art, October 1, 2003. https://www.metmuseum.org/essays/joseon-buncheong-ware-between-celadon-and-porcelain. 

4. Yoon, Sung Yong, and Hyonjeong  Kim Han. “Perfectly Imperfect.” Exhibiting Perfectly Imperfect: Korean Buncheong Ceramics | Perfectly Imperfect. Accessed October 8, 2025. https://buncheong.denartmus.org/intro/. 

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This piece is a Korean Buncheong tea bowl that was carefully repaired using a traditional Japanese mending technique called Kintsugi, where cracks are filled with a mixture of lacquer and powdered gold, silver, or platinum (1). This cup/bowl is glazed in soft grey with small floral motifs and circular inscriptions using a white slip coating technique called sanggam/mishima (2). I think the colors and design gives it a quiet and understated beauty, especially with the striking contrast with the golden cracks throughout. Buncheong stoneware is a very distinctive part of Korean art history, marking about 200 years where the aesthetic for both high-status and everyday use ceramics started to change between the Goryeo and Joseon dynasties. 

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A rare find from an elusive country, The Miracle of Chong Chon River Paints North Korea in a different light

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The Miracle of Chong Chon River Connects to our previous Lectures by utilizing something called 'Socialist Realism' which portrays one or more member of the countries working middle class as a sort of hero being faced with a difficult challenge and rising to the occasion(2) so as to paint the difficult lives of the average citizen as a noble part of something bigger then themselves. In the case of The Miracle of Chong Chon River, its title implies that these people are working to physically dig out the river itself, and in turn shape the very landscape. 'Socialist Realism' would also tie into week 3s 'Function and Form' Lecture due to its clear representation of systems within a communist country as well as the self reflection through admitting to the countries hardships while still painting them in a positive light(2).

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When I started on this project, I struggled with finding a piece of artwork that wasn't from America so I decided to look for something North Korean since they can’t legally leave the country, and when they do they usually stick to South Korea since they speak the same language

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(1) Yonhap Interview by: By Woo Jae-yeon
https://m-en.yna.co.kr/view/AEN20170717009900315
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(2) Socialist Realism by: The Editors of the Encyclopedia of Britannica
https://www.britannica.com/art/Socialist-Realism

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The Miracle of Chong Chon River is a particularly unique piece because the county it originates from, North Korea, is an isolated dictatorship which prefers to minimize contact with the outside world. As such, finding artworks from North Korea is a difficult task but what little we do see, has been almost completely unaffected by the changes of the outside world for roughly 70 years(1). What's more, while still propaganda in nature, the art created within North Korea's borders goes well beyond simply praising their glorious leader and instead sometimes ventures into glamorizing the actions of the working class.

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Dante and Virgil in the Ninth Circle of Hell

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Dante and Virgil in the Ninth Circle of Hell

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The End of Dante and Virgil’s Journey Through the Inferno.

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As discussed in class, there is a difference between looking and seeing. The bridge between these two lies within the context of the source material. Understanding the story of the Divine Comedy, specifically Dante’s Inferno, allows for a deeper understanding. The dark blue barren landscape contrasts our typical idea of hell. Instead opting to represent the lack of warmth or love with an endless glacial landscape (Narrative Painting 2019). What it lacks in landscape it makes up with the figures depicted, writhing in pain, not a single one standing or even eye level with the two formerly mentioned figures. Despite the inherently religious context, any viewer can see and feel the emotions Doré intended to provoke.

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While both contain very obvious primary figures, the mood of Stanczyk is created through the expression of the clown himself rather than the expressions of those around him. Despite dominating the canvas, our eyes are drawn away from Virgil and Dante and focused on the figures around them. 

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Admin. “Gustave Doré, Dante and Virgil in the Ninth Circle of Hell, 1861.” Narrative Painting, July 4, 2024. https://narrativepainting.net/gustave-dore-dante-and-virgil-in-the-ninth-circle-of-hell-1861/. 

Artvee. “Dante and Virgil in the Ninth Circle of Hell - Artvee,” n.d. https://artvee.com/dl/dante-and-virgil-in-the-ninth-circle-of-hell/.

Wikimedia Commons contributors, "File:Gustave Doré - Dante et Virgile dans le neuvième cercle de l'Enfer.jpg," Wikimedia Commons, https://commons.wikimedia.org/w/index.php?title=File:Gustave_Dor%C3%A9_-_Dante_et_Virgile_dans_le_neuvi%C3%A8me_cercle_de_l%27Enfer.jpg&oldid=1069126045

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Dante and Virgil in the Ninth Circle of Hell (1861) is a full colour oil painting on a 10.3ft by 14,7ft canvas (Wikimedia 2025.) Despite wood-engraving being the primary medium used by the French artist, Doré captures the gravity and emotion of the situation as the two reach the ninth and final circle of Hell (Artvee “Dante and Virgil in the Ninth Circle of Hell.”) We can see Virgil gazing out upon the many figures, twisting and contorting in eternal pain. Beside him Dante observes the scene, not willing to stray far from his guide. Doré does an unbelievable job at bringing Dante’s words to life with this piece, showing the unimaginable conditions experienced by those in the final circle of hell. 

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Blue

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A connection I make between the Visual Culture lectures and Yves Klein’s Untitled Blue Monochrome painting is the use of minimalism in the painting. This painting also plays a role in the evolution of visual culture by how it challenges the traditional ways we think about representation and the purpose of art itself. By using a single colour for his painting he removes any figuration or symbolism and makes the blue colour itself the subject not using it as a tool to depict something else. He helped pave the way for conceptual art. 

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The main difference I see between Andy Warhol's Campbell’s Soup Cans and Yves Klein's Untitled Blue Monochrome is what they represent. Yves’s work is based around the idea of minimalism and self reflection whereas Andy Warhol’s work celebrates mass production and pop culture.

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1. “Blue Monochrome, 1961,” The Museum of Modern Art, accessed October 8, 2025, https://www.moma.org/collection/works/80103.


2. “Untitled Blue Monochrome (IKB 82),” The Guggenheim Museum, accessed October 8, 2025, https://www.guggenheim.org/artwork/5638.


3. Yves Klein, accessed October 8, 2025, https://www.yvesklein.com/en/yves-klein/

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I chose Yves Klein’s Untitled Blue Monochrome painting. This work is a dry pigment in polyvinyl acetate on cotton plywood and the dimensions are 6’ 4 ⅞” by 55 ⅛” or 195.1cm by 140cm created in 1961 (1).  It is one of many similar blue monochrome paintings he has created. It is worthy of being included on this timeline because it represents a transitional moment in the evolution of visual art in the 20th century. Yves Klein was a French artist who believed beauty existed everywhere but in a state of invisibility and he used the colour blue to try and capture immateriality and the infinite (3). 

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Oil on panel, 67 cm (26.3 in) tall x 51 cm (20 in) wide. 

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Adulthood

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This art piece played a huge role in the movement of surrealism. It was a bold approach to a painting because surrealism wasn't popular until the late 1940’s(2). Giuseppe challenged societal norms by using his imagination to create portraits, yet he still kept a deep meaning behind each one of his paintings (3) . Each painting represented the cycle of life and nature, going from youth to old age. The one thing we haven’t gone over yet in visual culture is that this is a manneristic approach to a painting, with a certain realistic and composite quality to it (2) .

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The major differences between my two chosen art pieces are the art styles and how they created their art pieces. Giuseppe's medium was on paper and he also used a more cheeky and mannerist approach . While my featured art piece was a subtractive art approach and the medium was stone (4) .

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Giuseppe Arcimboldo.” Louvre Shop. Accessed October 8, 2025. https://boutique.louvre.fr/en/products/400885-giuseppe-arcimboldo-1527-1593/. 4

“Surrealism.” Wikipedia, October 8, 2025. https://en.wikipedia.org/wiki/Surrealism.  3

Giuseppe Arcimboldo. Accessed October 8, 2025. https://giuseppe-arcimboldo.org/.  2 

“Arcimboldo Paintings, Bio, Ideas.” The Art Story. Accessed October 8, 2025. https://www.theartstory.org/artist/arcimboldo-giuseppe/. 1

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Giuseppe Arcimboldo deserves to be on the timeline because he was known as one of the grandfathers of surrealism(1). He was a renowned artist, known for his composite approaches to art pieces by using everyday items, including food to create distinct portraits of people. Not only was he popular but influenced many people including Salvador Dali (4) . He was ahead of his time period by creating peculiar and imaginative portraiture , including the painting I chose, titled summer . Along with the painting I chose, he created 3 other paintings that signified each season (1)

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Self portrait, gelatin silver print, 4 39/64 in. x 3 15/32 in. Detroit, Michigan, Detroit Institute of Arts

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Claude Cahun challenged gender identity and expression norms in 1927 Europe

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The reason I chose this piece over other work by Cahun is because I kept seeing an homage to it in the form of a self portrait by Gillian Wearing, whose masked self portraits we studied in class. Artists don't tend to pay tribute to works by other artists unless said works are of some import, and this series of self portraits by Cahun expressed a freedom of expression that was brave and bold in the 1920s, and which would still resonate today. Cahun's work wasn't well known until the 1980s (1), despite utilizing innovative techniques and subject matter. 

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Done in the US and Europe, the obvious differences are medium and content. Sobel used paint, while Cahun’s medium was photography. Sobel's work was impressionistic, non-representational, and innovative in its technique, while Cahun's was representational and innovative in its messaging, intended to challenge the viewer’s ideas of gender and identity.

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1. Blumberg, Naomi. Claude Cahun: French writer, photographer, Surrealist, and performance artist. Encyclopaedia Britannica. 2018. Accessed October 5, 2025. https://www.britannica.com/biography/Claude-Cahun

2. Martinez, Jacqueline. Claude Cahun: The Androgynous Surrealist Artist. 2020. Accessed October 5, 2025. https://www.thecollector.com/claude-cahun/

3. Hergé. 2019. Wikipedia contributors. Wikipedia. Wikimedia Foundation. https://en.wikipedia.org/wiki/Herg%C3%A9

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Claude Cahun was a queer surrealist photographer who explored and challenged concepts of gender and identity in work and in life, during a time when this was radical. This self portrait from 1927 features them in a bodysuit, chest seemingly bound, with the words, "I am in training / don't kiss me," and the suggestion of a male chest on the fabric. They hold a barbell referencing popular cartoon characters by Hergé (3). A hairstyle similar to the male hairstyles of the time, alongside feminine-leaning makeup, further confuses the subject's gender. The viewer is left to wonder at its ambiguity, causing them to question ideas of gender identity and expression.

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Claude Cahun (born Lucy Renee Mathilde Schwob)

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Designer unknown. Morning dress. Printed silk, silk gauze, velvet. London: Victoria & Albert Museum.

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Its giving if historical Effie Trinket, and yes, the actual name is just "Dress".

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This Victorian era dress’s form has little function to it, in addition to that this dress’s role in visual culture today is as a reminder that historically women were commonly known to be viewed as objects or decoration. The decoration over function type design only serves to prove this. This dress can also be seen as an expression of class identity, separating the wealthy from the peasants. Having the privilege to be able to wear such opulent clothes back then speaks volumes on what social class would have worn this dress.

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The overall opulence of the dress alone had drawn me to it, along with its light pastel golden orange colours and floral patterns. The laced umbrella and hat also give an overall joyous vibe imagining it being worn today. This dress also gave me Effie Trinket meets historical rich woman meets drag queen.

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Museum, Victoria and Albert. “Dress: Unknown: V&A Explore the Collections.” Victoria and Albert Museum: Explore the Collections. Accessed September 19, 2025. https://collections.vam.ac.uk/item/O15542/dress-unknown/. 

Franklin, Harper. “1890-1899.” Fashion History Timeline, August 1, 2019. https://fashionhistory.fitnyc.edu/1890-1899/. 

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This radiantly golden 1890’s Italian dress is worthy of being included in the timeline because of how it is representative of what many wealthy people may have worn in the past in western European society. It is made with silk and velvet, two very sought after fabrics in the fashion world. In the past it was made and worn to show beauty and social status, considering its use being fashionable day wear. Its design is purely decorative and serves little function in most of its appearance. 

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Repetition in movement and elements capturing time in a moment

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The Étretat was very inspirational and the series helped play a role in the creation of impressionism in art. People enjoyed his work because it felt like he was capturing time rather than just a scene. The series of paintings were very influential for the time. The cliffs where he made the series was already a popular place for artist and other creatives to hangout and escape from their lives. Now the series has impacted tourism in Étretat at the cliffs because people go there just to see where he created the work.

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Originally, I was attracted to the series because of the movement in repetition. I appreciate the lighting in them it always effects the pieces, sometimes dark, sometimes brighter with lots of shadow depending on where the sun is coming from. I also like how when the wind and waves are harsh you can really tell.

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“Monet and Auburtin at Étretat: L’Aiguille, Porte d’aval, and Porte d’amont - Google Arts &Culture.” Google. Accessed September 13, 2025.  “Make Your Day.” TikTok. Accessed September 13, 2025.

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This series is repetitive but different due to the movement in nature. I choose the Étretat by Claude Monet. He did ninety different finished canvas paintings of the cliffs in Étretat. He did so many because he was obsessed with the way the cliff view looked at different times, making a fleeting moment into life. Even though the series are at the same location they are all very different because of the way he painted in the moment. The different elements always effected the images like, the colours, the wind, waves, lighting and shadows. In the 18th century this type of style wasn't usual so lots of people were inspired.

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Oil on panel 39 2/5 × 39 2/5 in | 100 × 100 cm, Museo Nacional del Prado

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A look into Bosch, Religion, and Surrealism

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One of the things we learned within Visual arts is the idea of artwork being abstract vs representational. I believe Bosch’s artwork can be seen as both abstract and representational. This is because of how Bosch’s art depicts things that do exist, but are stretched with imagination and shown to be abstract, non-existent.  With time, different religious perspectives, and unknowable factors, the meaning of this piece may change. This piece plays a significant role in the evolution of surrealism and the portrayal of religion within art.

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A conversation with my father, where I asked unrelenting questions on anything and everything I could think of. My father is Christian, and I’ve often had a hard time understanding religion and the importance of it to him. He suggested I looked into Bosch, and the moment I saw it in the library, I knew I had to take the chance.

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Silver, Larry. Hieronymus Bosch, 2006. 
Gotthardt, Alexxa. “Hieronymus Bosch’s ‘Garden of Earthly Delights,’ Explained | Artsy.” Arsty, October 2019. https://www.artsy.net/article/artsy-editorial-decoding-boschs-wild-whimsical-garden-earthly-delights. 

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One of the most notable things about Bosch, is the fact that he is said to be one of the first artists to spark the idea of surrealism. With fantastical creatures, such as what looks to be fairies and fish people, The Hayfair and most of Bosch’s pieces represent a religious, Christian perspective. Within this particular painting  it is said to depict hell, Eden and earth. Most of Bosch’s artwork is known for having highly religious themes, such as the idea of an afterlife, sin, and fear. Another important observation is the trifold-like design, called a triptych. I believe this deserves to be included into the timeline due to how it helped start a new style of art, showed a religious perspective, and because it’s disturbing to observe.

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Oil on 222.3 x 251 cm canvas, National gallery of Canada

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Church altar piece of Jesus Christ.

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 This piece itself did not have much influence on the evolution of visual culture. The same cannot be said for the artist. Paolo was an influential Italian painter. The majority of his works depict historical, biblical, and mythological scenes. His influence has waned since the 20th century, but before then his works were sought-after pieces by many. Paolo has at least three works under the same or similar names to this one. However, having spent much time looking at his work, I can safely say this one stands out from the rest. The incomplete nature of the piece hints at something even greater.

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Upon being tasked with choosing an entry, my mind immediately went to this piece.It has a commanding presence that demands your attention. The incredible work by Cailari is a staple of our national gallery. more than worth the trip to Ottawa.

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This piece is a fragment of a larger mural. It is the only fragment large enough to be considered its own painting. During an onsite visit in 2024, upon entering the immense room filled with beautiful paintings and masterfully crafted sculptures, this piece caught my attention. I was immediately drawn to this painting. The piece itself is actually the largest fragment of a mural commissioned by two brothers for a church in a town called Lendinara. The missing pieces depict the two brothers who commissioned them and the archangel Michael. In the original mural, the archangel is as much a centerpiece of the altarpiece as Christ is. The original altar piece was 7 meters tall. I believe this piece is worthy of inclusion due to its status as the centerpiece of one of the largest rooms in the National Gallery and its awe-inspiring visual impact.

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A "Tiger and Magpie" from the Joseon Dynasty (1392-1910)

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"Hojakdo", The OG Derpy and Sussie

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This painting of the magpie and tiger is meant to symbolize the strict social hierarchy and norms of the Joseon Dynasty in a satirical manner. The tiger represents authority and oppressive power, whereas the magpie symbolizes good news, offering a playful satire of the ruling authorities. This allowed for the common people to express both hope and critique through art. It was during the Joseon Dynasty that the Minhwa folk art tradition of the tiger and magpie became a central theme during the golden era of Korean painting and a rise of handicrafts and artwork that created an everlasting unique Korean identity that is still carried through into today’s Korean modern culture. 

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I was drawn to this particular piece not only because it’s a part of Korean culture, but the fact that this kind of folk art left such an impact that it is still prevalent today. I loved the reinterpretation of Derpy the Tiger and Sussie the Magpie in K-Pop Demon Hunters, adding to the spread of Hallyu,  or the “Korean Wave”, referring to the global craze for Korean culture. 

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http://koreantempleguide.com/hojak-do-tiger-and-magpie-painting-%ED%98%B8%EC%9E%91%EB%8F%84/.                                                                                                   https://artlierjib.blog/2025/07/10/durpy-haetae-hojakdo/.                                                      https://human.libretexts.org/Bookshelves/Art/A_World_Perspective_of_Art_History%3A_1400CE_to_the_21st_Century_%28Gustlin_and_Gustlin%29/02%3A_The_Growth_of_European_Incursion_%281600_CE__1700_CE%29/2.06%3A_Joseon_Dynasty_%28Late_15th_century_-_1868%29.                          

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Quarrington, Dale. “Hojak-Do - Tiger and Magpie Painting: 호작도 - Dale’s Korean Temple Adventures.” Korean Temple Guide, July 13, 2023. http://koreantempleguide.com/hojak-do-tiger-and-magpie-painting-%ED%98%B8%EC%9E%91%EB%8F%84/.                                               Moon, Sophia. “Durpy, Haetae & Hojakdo.” ArtlierJib’s, July 10, 2025. https://artlierjib.blog/2025/07/10/durpy-haetae-hojakdo/.                              Gustlin, Deborah, and Zoe Gustlin. “2.6: Joseon Dynasty (Late 15th Century - 1868).” Humanities LibreTexts, May 25, 2022. https://human.libretexts.org/Bookshelves/Art/A_World_Perspective_of_Art_History%3A_1400CE_to_the_21st_Century_%28Gustlin_and_Gustlin%29/02%3A_The_Growth_of_European_Incursion_%281600_CE__1700_CE%29/2.06%3A_Joseon_Dynasty_%28Late_15th_century_-_1868%29. 

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The Tiger and Magpie (Hojakdo) is a notable style of Minhwa, meaning “painting of the people” or “popular painting” in Korean folk art. Dating back to the 17th century, Minhwa was mainly created by anonymous, untrained artists. Known for bright colors and simple compositions, these works used symbolism, humor, and folk tales to reflect Korean political culture. In this Hojakdo, the tiger is portrayed as absurd, while the magpie appears noble. This example from the Joseon Dynasty depicts a tiger with shining yellow eyes and an open mouth beneath a defiant magpie perched on a pine tree above, ready to fly away at a moment’s notice. 

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Oil on Canvas, 53 × 37 cm, The Hilma af Klint Foundation

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Spiritualism, abstraction, and an unknown pioneer

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Hilma af Klint’s work as a whole connects to the lecture about representational vs abstract, and reminded me of our discussion regarding how many of the Bauhaus works seem like they would be significantly more modern than they are. This is because when I was first observing her work, I expected it to be much later in the larger art timeline than the early 1900s. Her work and the philosophy behind it were key to the abstract art movement, even if mostly retroactive. The work itself also reminded me of the discussion about yonic art.

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Hilma af Klint’s work and recognition as the first abstract artist is significant because of how often women are excluded from art history narratives, especially when it comes to them being considered important figures. Primordial Chaos as a series would have been revolutionary had af Klint felt it could have been understood and appreciated as it should have been by the world.

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“Hilma Af Klint: Paintings for the Future.” The Guggenheim Museums and Foundation. Accessed September 17, 2025. https://www.guggenheim.org/exhibition/hilma-af-klint.      “About.” Hilma af Klint Foundation, January 5, 2023. https://hilmaafklint.se/about-hilma-af-klint/. 

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Hilma af Klint began creating abstract, non-representational works around 1906, many years before the likes of Wassily Kandinsky or Kazimir Malevich. Af Klint was not recognized as the first abstract artist until the 1980s, as she stipulated that her work could not be exhibited until 20 years after her death. Because of this only recent recognition as being foundational to the timeline of abstract art, her name still remains largely unknown to the wider public. Like those she preceded, her work was based on the idea of disconnecting from physical reality and instead focusing on the mind and spirit. In Primordial Chaos, af Klint’s first series of paintings, she uses a series of spirals to create a feeling more than a form. It's a feeling of chaos and uncertainty, but also strangely calm. The yonic nature of the painting is also clear, perhaps creating a message of how femininity is inherently tied to the creation of life.

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carving on limestone, 147cm x 82cm, 1240-1260, south-west India .

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Durga Mahisasuramardini, the goddess and protector of evil.

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This artwork was made after the neolithic age , showing the advancement of art materials to communicate clearly through their carvings. They told a story to the audience without words by using a realistic approach and making it representational to get a clear image . Not to mention the way the artist carved it with such precise smooth cuts that it showed how much he respects it and wants to show off the beauty of the woman in the center. All eyes are on her and I can only assume that she was the epitome of beauty in that time period because she was known as a goddess.

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The way they depicted the female, making her as the protector instead of the little man in the corner who is cowering caught my eye. Because all throughout history the stereotypes were that the men are the protectors and this art piece shows the opposite.

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Museum, Victoria and Albert. “Durga Mahishasuramardini: Unknown: V&A Explore the Collections.” Victoria and Albert Museum: Explore the Collections, February 2000. https://collections.vam.ac.uk/item/O25015/durga-mahishasuramardini-figure-group-unknown/.                  Gatha, Moni. “The Various Durga-Mahishasuramardini Pratimas as Seen through the Ages – a Pictorial Depiction.” Moni Gāthā, January 2, 2023. https://monidipa.net/2023/01/02/the-various-durga-mahishasuramardini-pratimas-seen-through-the-ages/. 

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The intricate detailing throughout this artwork deserves its praises for the craftsmanship that it took to make it during the time period where they had limited resources . The artist carved every tiny detail from the woman that's dressed religiously to the animals that are around her. This carving has a man that is depicted as small and is shrinking away from a goddess who is bigger which throughout the decades of its discovery, would’ve impacted society a lot due to sexism .  The texture is smooth and it seems to be contained but it still feels busy. The way the artist carved it made the main focal point stick out while the shadows and light sources somewhat swallowed the secondary figures.

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Victoria and Albert Museum: Explore the Collections

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The goddess Durga, the sakti or female energy of Shiva, in her ferocious form as the slayer of the buffalo demon Mahisa. Durga is represented in her eight-armed aspect, wielding the sacred weapons used against the forces of evil. The demon is seen emerging from his buffalo guise as Durga's trisula (trident) pierces his body. The goddess is eight-armed and holds the supernatural weapons of the gods, notably the bana, chakra, khadga and trisula in her right arms and the dhanus, ghanta and khetaka in her upper left hands, pressing Mahisa's head with the remaining hand. The demon is pierced by Durga's trident as he emerges from the dying buffalo form. Two other demons (asuras) are shown - one is pierced by an arrow and the other receives a thrust from Durga's sword. The goddess wears elaborate ornaments including a ratna mukuta, karas, yajna pavita, katibandha, makara kindalas and rings, bracelets, armlets and anklets. Behind the group is makara torana with kirttimukha at the top.

The Hoysalas established their capital at Halebid early in the 11th century and endowed many major temples in southern Karnataka. Their flamboyant sculptural style derived from the late Calyuka traditions and flourished throughout the 12th and 13th centuries. This sculpture was presented to the seventh Viscount Powerscourt whilst in Karnataka in 1861. The precise provenance of this sculpture is not recorded but close parallels can be seen in the sculptures at Sadasiva Temple, Nuggihalli, southeast of Halebid.

Categories

Title

Durga Mahishasuramardini (generic title)

Materials and techniques

Brief description

Durga Mahishasuramardini, limestone, southern Karnataka, India, mid-13th century

Physical description

The goddess is eight-armed and holds the arrow ( bana), discus ( chakra), sword ( khadga) and trident ( trisula) in her right arms and the bow ( dhanush), bell ( ghanta) and shield ( khetaka) in her upper left hands, pressing Mahesha's head with the remaining hand. The demon is pierced by Durga's trident as he emerges from the dying buffalo form. Two other asuras are shown - one is pierced by an arrow and the other receives a thrust from Durga's sword. The goddess wears elaborate ornaments including a jewelled crown ( ratna mukuta), bangles ( karas),a sacred thread ( yajna pavita), a hip girdle ( katibandha), earrings decorated with makaras (makara kundalas) and rings, bracelets, armlets and anklets. Behind the group is makara torana with kirttimukha at the top.

Dimensions

Height: 147cm

Width: 82cm

Depth: 37cm

Gallery label

(06/06/2011)

Durga as Mahisasuramardini

About 1240-60
Hoysala period

The goddess Durga represents the shakti or female energy of the
god Shiva. Her eight arms wield sacred weapons against the forces
of evil. Here she is shown in her ferocious form as the slayer of the
shape-shifting demon Mahishasura. She kills him as he emerges
from his buffalo guise.

The flamboyant style of the figure is characteristic of the Hoysala
dynasty which endowed many major temples in southern
Karnataka.

Metamorphosed impure limestone
South-west India (Hassan district, Karnataka, Deccan)

Museum no. IS.77-1965

Past Gallery Labels
(1988-2007)

DURGA AS MAHISASURAMARDINI
Metamorphosed impure limestone
Hassan district, Karnataka, Deccan
Hoysala style, mid-13th century

The goddess Durga, the sakti or female energy of Siva, in her ferocious form as the slayer of the buffalo demon Mahisasura. Durga is represented in her eight-armed aspect, wielding the sacred weapons used against the forces of Evil. The demon is seen emerging from his buffalo guise as Durga's trident (trisula) pierces his body. The Hoysalas established their capital at Halebid early in the 11th century and endowed many major temples in southern Karnataka. Their flamboyant sculptural style derived from the late Calyuka traditions and flourished throughout the 12th and 13th centuries. This sculpture and the accompanying Surya (IS 76-1965) were presented to the seventh Viscount Powerscourt in 1861. Their provenance is unrecorded but close parallels can be seen in the sculptures at Sadasiva Temple, Nuggihalli, south-east of Halebid.

IS 77-1965

Object history

Purchased in 1965 from Mrs G. Slazenger, the owner of the Powerscourt Estate in County Wicklow, Ireland. The Slazenger family purchased the Powerscourt Estate from the Wingfield family in 1961. The 7th Viscount Powerscourt (1836-1904) described in his history of the house how he acquired two pieces of Indian sculpture while on a sporting tour in the state of Mysore in 1861. He relates how he asked Captain Johnston, who accompanied him on this tour and was at the time the Commissioner of Irrigation for Mysore, 'to get me a specimen or two of these beautiful works of art and he sent me these two [IS.76 and 77-1965, Surya and Durga] saying that he had persuaded the Brahmin in charge of the temple to allow them to be taken away'. Lord Powerscourt thought that they probably came from Halebid, but their provenance remained unrecorded. John Guy recognised close parallels with the sculptures at Sadsiva Temple, Nuggihalli, south-east of Halebid.

Historical context

The goddess Durga, the shakti or female energy of Shiva, in her ferocious form as the slayer of the buffalo demon Mahishasura. Durga is represented in her eight armed aspect, wielding the sacred weapons used against the forces of evil. The demon is seen emerging from his buffalo guise as Durga's trident ( trisula) pierces his body. The Hoysalas established their capital at Halebid early in the 11th century and endowed many major temples in southern Karnataka. Their flamboyant sculptural style derived from the late Chalyuka traditions and flourished throughout the 12th and 13th centuries.

Summary

The goddess Durga, the sakti or female energy of Shiva, in her ferocious form as the slayer of the buffalo demon Mahisa. Durga is represented in her eight-armed aspect, wielding the sacred weapons used against the forces of evil. The demon is seen emerging from his buffalo guise as Durga's trisula (trident) pierces his body. The goddess is eight-armed and holds the supernatural weapons of the gods, notably the bana, chakra, khadga and trisula in her right arms and the dhanus, ghanta and khetaka in her upper left hands, pressing Mahisa's head with the remaining hand. The demon is pierced by Durga's trident as he emerges from the dying buffalo form. Two other demons (asuras) are shown - one is pierced by an arrow and the other receives a thrust from Durga's sword. The goddess wears elaborate ornaments including a ratna mukuta, karas, yajna pavita, katibandha, makara kindalas and rings, bracelets, armlets and anklets. Behind the group is makara torana with kirttimukha at the top.

The Hoysalas established their capital at Halebid early in the 11th century and endowed many major temples in southern Karnataka. Their flamboyant sculptural style derived from the late Calyuka traditions and flourished throughout the 12th and 13th centuries. This sculpture was presented to the seventh Viscount Powerscourt whilst in Karnataka in 1861. The precise provenance of this sculpture is not recorded but close parallels can be seen in the sculptures at Sadasiva Temple, Nuggihalli, southeast of Halebid.

Bibliographic references

Viscount Powerscourt, K.P., P.C. A Description and History of Powerscourt , Mitchell and Hughes, London, 1903

Willis, M., ed, India: the Art of the Temple, Shanghai, Shanghai Museum, 2010. p.254, ill. No. 2:50, pp. 202-3, ISBN 978-7-5479-0092-5

India: The Art of the Temple, Shanghai Museum, 2010, No. 2:50

Guy, John,ed, La Escultura en los Templos Indios: El Arte de la Devoción, Barcelona ,Fundacion 'La Caixa', 2007. p.111, cat.71. ISBN 9788476649466

Guy, John,Indian Temple Sculpture, London, V & A Publication, 2007, p.159,pl.180. ISBN 9781851775095

In the image of man : the Indian perception of the universe through 2000 years of painting and sculpture : [exhibition / organized by Catherine Lampert assisted by Rosalie Cass]. London: Weidenfeld and Nicolson :in association with the Arts Council of Great Britain, 1982 Number: 0297780719, 0297781243 (pbk.) p. 219, cat. no. 450

Ayers, J. Oriental Art in the Victoria and Albert Museum, London 1983, ISBN 0-85667-120-7 p. 63

Irwin, John C., Indian Art, Victoria and Albert Museum, London: H. M. Stationery Office, 1968 pl. 17

Irwin, John; Indian Art: Victoria & Albert Museum departmental guide, H.M.S.O. ISBN 0 905209117, 1978 fig 9, p. 9

Accession number

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Durga Mahishasuramardini | Unknown | V&A Explore The Collections

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Durga Mahishasuramardini, limestone, southern Karnataka, India, mid-13th century

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Colourful Graffiti Mural on a Brick Wall

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This piece fits into the modern era of visual culture, as graphic styles have become popular in the past few decades compared to the wider timeline in art history. The Graffiti artstyle is similar to graphic design in the sense that it often takes text and warps it in different ways to create interesting visuals. I also believe it plays a role with how it shows visual culture can evolve and change into many different things. Graffiti art is a good example of how vastly different some artstyles can look because it is so different from the realistic European portraits or cave paintings.  

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I've always been drawn to the kind of bright colours and stylized designs of graffiti because it reminds me of graphic design. I think it’s such an interesting style, the use of warping letters and incorporating colours is incredible and it has its own beauty to it.

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“Murals.” TATS Cru - NYC Graffiti Artists. Accessed September 17, 2025. https://www.tatscru.biz/project/new-york-city-graffiti-murals/. “Art Crimes: New York 139.” Art crimes: New York 139. Accessed September 17, 2025. https://www.graffiti.org/nyc/newyork_139.html. 

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I believe this mural is worthy of being included in the timeline because graffiti is an art form that is underrated in my opinion. It is often done on public structures which is less favourable but this form of art is born from rebellion and creates something beautiful from that. It demonstrates a clear example of modern design elements incorporated in a non-uniform piece. The exaggerated shapes of the font distort the text to the point of being unreadable, but that draws the eye to the colours, values and intersecting lines.

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b. 1866, Moscow; d. 1944, Neuilly-sur-Seine, France

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A bird, a key, maybe a plane, no its modernism.

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it has its connection through modernism, along with the sharing an artist of a piece we looked at in last class who had made the "several circles". So between that and the artist themself helped forge the path for visual culture to be where its at today.

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I was drew to it by the way it had me mesmerized and thinking of how the artist has left it open to interoperation for what the subject is.

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Kandinsky, Vasily. “Vasily Kandinsky: Upward.” The Guggenheim Museums and Foundation, 2023. https://www.guggenheim.org/artwork/2019. Kandinsky, Vasily. “Vasily Kandinsky: Upward.” The Guggenheim Museums and Foundation, 2023. https://www.guggenheim.org/artwork/2019. 

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The way it invokes the thought process on the way it is designed as a non representational piece of art made within the realm of modernism makes me believe this is worthy of being on the timeline.

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114 x 75,9 cm enamel on canvas, The New York Museum of Modern Art (MoMA), New York City, USA

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Janet Sobel's drip painting style of Abstract Expressionism shines bright in "Milky Way," before Jackson Pollock ever attempts and becomes famous for the same technique.

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Sobel was self taught and didn't begin painting until she was in her 40s. She would lay on the floor in her apartment and listen to music while she painted, allowing the music to inspire her. It was a joyful process or exploration and discovery for her, and she came up with her own techniques. For Milky Way and her other similarly styled pieces, she would drip paint onto the surface of her work using a glass dropper, and then blow it or use her vacuum to push the paint around the canvas. Jackson Pollock saw her work in an exhibition, and was inspired to try the technique, which was then attributed to him while she drifted into obscurity.

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I was drawn to Janet Sobel as an artist before I chose this specific piece because I would like our timeline to reflect the "real" history of art. I find it deeply infuriating that (in particular) white male artists have gained so much recognition for contributions and innovations that did not always originate with them. Too many influential women and BIPOC folks have effectively been erased from history, and this assignment felt like an opportunity to shine a light on someone who deserved some spotlight. Of Sobel's work, I find Milky Way the most beautiful and intriguing. The colors, the hint of lips and an eye peeking through the cloud of white paint on the surface, and specifically the swirls and webs that draw the eye around the canvas.  

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Sweeney, Kim. "The Forgotten Female Artist: Janet Sobel’s Struggle within the Abstract Expressionist Movement." The Artifice, April 13, 2014. https://the-artifice.com/janet-sobel-abstract-expressionist-movement/

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Hill, Isabella. "Janet Sobel: Forgotten Female Artist Who Influenced Jackson Pollock." Daily Art Magazine, 24 February 2025. https://www.dailyartmagazine.com/janet-sobel-forgotten-female-artist/
Janet Sobel Milky Way 1945. MoMA. Last modified 2025. Accessed September 16, 2025. https://www.moma.org/collection/works/80636

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I chose Janet Sobel's Milky Way for the timeline after searching for female artists whose work was influential, but whose names are not well known. Milky Way is a 1945 painting that displays a painting technique later utilized and attributed to Jackson Pollock, though he saw this piece and others by Sobel in an exhibition before he used the technique himself. Milky Way is 44 7/8 x 29 7/8", enamel on canvas, and has a muted but colorful ground, with white paint splattered and swirled on top. You can almost make out a woman's face underneath the galaxy of lighter paint that forms the foreground, almost as if she is being viewed from beyond and through the Milky Way. 

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You may not rest now, there's tourists nearby

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When I saw Benches Around the Lake, my thoughts were not directed to the rules it follows, but towards the rules that it breaks. These benches were intentionally designed to make sitting on them harder, theoretically sidelining function in favour of more unorthodox designs. The artist claims that the intention of this piece is to encourage socialization between the people using them, but most of the benches are too far apart to be used by more then one group. But all those curves and dips would do wonders for keeping homeless people from sleeping on them. So while the benches might not be great for what you think they do, their bright colours and fun shapes excel at hiding a more somber purpose.

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In truth, I was initially just looking for an example of hostile architecture, but this seemed like more interesting alternative until I popped onto to google maps and noticed that I was still doing hostile architecture. Really goes to show how prominent it's becoming in public spaces.

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Benches Around the Lake is a series of benches circling a lake at the Indianapolis Museum of Art. These benches twisted into unorthodox shapes that dip into the ground to give the impression that they're all connected. What makes this set interesting, is how sharply it deviates from our understanding of what a bench should be. But it's not just the shape of the bench that's been altered, as all those dips and curves would make these benches rather uncomfortable to sleep on. As such, these benches are a great example of how art can be used to keep out homeless people, without turning everyone else away.

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Oil on 88cm x 120cm canvas, National Museum, Warsaw, Poland. 

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Stańczyk (during a ball at the court of Queen Bona in the face of the loss of Smolensk)

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Stańczyk (during a ball at the court of Queen Bona in the face of the loss of Smolensk)

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Satire and Emotion as a Political Device for Social Change.

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The paintings done by Matejko give us a significant understanding of visual culture in Poland during this moment of national unrest. Stanczyk (1862) played a particularly impactful role in the portrayal of the cultural sentiments held by those in Poland during the attacks they faced, specifically at the hands of Moscow. The separation of Stanczyk and the other party-goers representing the Polish nobles, turning a blind eye to the state of the nation in an attempt at self preservation. Stanczyk representing the people of Poland and the struggle to choose between fighting back or remaining silent. A literal and metaphorical representation of the emotional and physical battle polish nationals faced during this time.

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Through a song of the same name, I discovered the history of Stanczyk and Jan Matejko. The emotions of the painting were noticeable upon first viewing, but it was the hidden symbolism and the endless amount of possible interpretations that kept me intrigued.

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Enger, Reed. 2022. “Stańczyk.” Obelisk Art History. September 28, 2022. https://www.arthistoryproject.com/artists/jan-matejko/stanczyk/. Piper, Rhiannon. “Behind the Painting: Unveiling the Layers of Meaning in Stańczyk — Rhiannon Piper.” Rhiannon Piper, July 21, 2025. https://www.rhiannonpiper.com/articles/behind-the-painting-unveiling-the-layers-of-meaning-in-staczyk.

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Matejko was known for his historical and political works, highlighting his deep interest and involvement in Polish history. Not only is this specific piece a technical masterpiece, containing an absurd amount of detail and texture; within it also hides a great deal of clues hinting at cultural and political events of the time. Both Matejko and Stanczyk remain influential in their own ways. Matejko for his ability to capture emotion and detail creating immortalised historical moments with his art. As well as Stanczyk, both the potentially real jester and the painting, using satire and the preconceived notions surrounding jesters to make a statement regarding the inequalities brought upon others by those in power.

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Campbell's Soup Cans by Andy Warhol

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Andy Warhol’s Campbell’s Soup Cans had an important role in the evolution of visual culture by changing what art can be. By making a soup can, something that is typically a very mundane normal household item, into a subject for fine art he crossed paths between pop culture and high art which made art more accessible and relatable to everyday life. The repetition in the paintings was a metaphor for the industrial process, criticizing but also celebrating the rise in consumerism in post war America. It foresaw a world full of images, logos, and advertising and helped shift visual culture towards branding and mass media.

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This work had an enormous impact on our world today. Andy Warhol’s Campbell’s Soup Cans was one of the first pieces of art to shift how we thought about art and branding. In a world hyper fixated on marketing and fighting for our attention, image is everything and Campbell’s Soup Can had a lot to do with that. Campbell's wasn't initially pleased with Warhol’s work but eventually they embraced it which helped them to become a staple in pop culture.   

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Delagrange, Julien. “Campbell’s Soup Cans: Andy Warhol Explained - Cai.” Contemporary Art Issue - Platform, Publisher & Gallery on Contemporary Art, May 30, 2025. https://www.contemporaryartissue.com/andy-warhol-explained-campbells-soup-cans/. 
“Andy Warhol. Campbell’s Soup Cans. 1962 | Moma.” MoMA. Accessed September 16, 2025. https://www.moma.org/collection/works/79809. 

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Andy Warhol’s Campbell’s Soup Cans is a collection of thirty two hand painted paintings of Campbell soup cans. The canvases are 20 inches in height and 16 inches in width or 51cm in height and 41 cm in width. The thirty two paintings are identical with slight variations in the text that depict realistic red and white Campbell soup cans on a white background. I believe this work is worthy of being included on the time line because it is one of the most well known and most influential pieces of art in the pop art movement of the 1960s. 