THE CRITICAL PROCESS Thinking Some More about the Chapter Questions

CHAPTER 1 Andy Warhol’s Race Riot, 1963 the god’s chest and stomach muscles, which have been sculpted with Warhol seems most interested in the second traditional role of the great attention to detail, and in the extraordinary horizontality of the artist: to give visible or tangible form to ideas, philosophies, or feelings. outstretched left arm. Lyon presents herself to the viewer in the same He is clearly disturbed by the events in Birmingham. By depicting the terms. Rather than a passive object of display, Lyon is an active ath- attack on Martin Luther King, Jr., in the traditional red, white, and lete. By presenting herself in this way, Lyon asserts the power of the blue colors of the American flag, he suggests that these events are not female and implicitly argues that the female body has been “condi- just a local issue but also a national one. Thus, to a certain degree, he tioned” not so much by physical limitations as by culture. also reveals a hidden truth about the events: All Americans are impli- cated in Bull Connor’s actions. Perhaps he also wants us to see the world CHAPTER 5 Jeffrey Shaw’s The Legible City, 1989–91 in a new way, to imagine a world without racism. The second red panel The idea that reality might in some way be “virtual” suggests that its underscores the violence and anger of the scene. As horrifying as the space is somehow both “real” and not. That is, this space is mechani- events are, it is possible to imagine a viewer offended not by the police cal and electrical, other than human, and “apparent” but not tangible, actions but by Warhol’s depiction of them, his willingness to treat such as if in another dimension. It is two-dimensional insofar as it is creat- events as “art.” ed out of two-dimensional images. It is three-dimensional insofar as we enter it physically. If in experiencing such spaces we seem to move in CHAPTER 2 Two representations of a Treaty Signing at and through a two-dimensional image, this space must be totally illu- Medicine Lodge Creek sory. It suggests that we exist, or at least can exist, within illusion. The Taylor’s version of the events is the more representational by traditional entertainment possibilities of such spaces are limitless and exciting, Western standards, Howling Wolf’s the more abstract. In many ways, but in the wrong hands, such spaces could be used as devices of social however, Howling Wolf’s version contains much more accurate infor- manipulation and control. mation. Formally, they are very different. As a reporter, Taylor tries to convey the actual grove of trees under which the treaty signing CHAPTER 6 Tony Cragg’s Newton’s Tones/New Stones, 1982 ceremony occurred. It seems as important to him to represent the Cragg’s plastic pieces are arranged in a spectrum like that created by a trees and grasses accurately as the people present at the scene, but the prism. Not only light but also our whole material world passes through scene could be anywhere. In contrast, by portraying the confluence of Cragg’s prism. These fragments of everyday things are the “new stones” Medicine Lodge Creek and the Arkansas River, Howling Wolf of postindustrial culture, a plastic conglomerate of debris. “Newton’s describes the exact location of the signing ceremony. Taylor focuses his tones” are the colors of the spectrum itself. The irony of Cragg’s piece, attention on the U.S. government officials at the center of the picture, of course, is that color transforms this waste into a thing of beauty, a suggesting their individual importance. The Native Americans in work of art. The aesthetic beauty of this work is at odds with the mate- Taylor’s picture are relegated to the periphery of the action. Even in rial from which it is made. the foreground, their individual identities are masked in shadow. From Taylor’s ethnocentric perspective, the identities of the Native Americans CHAPTER 7 Bill Viola’s Room for St. John of the Cross, 1983 present is of no interest. In contrast, Howling Wolf’s aerial view shows The simple geometric architecture of the small cell contrasts dramati- all those present, including women, equally. Each person present is cally with the wild natural beauty of the scene on the large screen. The identified by the decoration of the dress and tipis. Women are valued former is closed and contained, classically calm, the latter open and and important members of the society. Their absence in Taylor’s work chaotic, romantically wild. The former is still and quiet, the latter suggests that women have no place at important events. In fact, it is active and dynamic. The larger room, lit only by the screen image, possible to argue that Taylor’s drawing is about hierarchy and power, seems dark and foreboding. The cell, lit by a soft yellow light, seems while Howling Wolf’s is about equality and cooperation. inviting. Time is a factor in terms of our experience of the work. If we approach the cell, our view of the screen is lost. When we stand back CHAPTER 3 Suzanne Lacy’s Whisper, the Waves, the Wind, from the cell, the rapid movement on the screen disrupts our ability to 1993–94 pay attention to the scene in the cell. The meditative space of the cell Lacy’s work clearly gives tangible form to her feelings about the experi- stands in stark contrast to the turbulent world around it. And yet the ences of aging women in America. By isolating them on a beach, sepa- cell represents captivity, the larger room freedom, both real freedom rated from those who need to hear them, she underscores their isolation. and the freedom of imaginative flight. In doing so, she also represents the experience of aging in America, the experience of being caught between the culture’s compassion for the CHAPTER 8 Claude Monet’s The Railroad Bridge, Argenteuil, 1874 aging and its willingness to ignore them. The image of these women, in Monet uses one-point linear perspective to create the bridge. A grid- white, in this setting, also helps us to understand the beauty of their like geometry is established where the bridge’s piers cross the horizon aging, a fact that we might otherwise ignore, and thus Lacy helps us and the far riverbank. The wooden support structure under the bridge understand our world in a new way, eliciting not only our admiration but echoes the overall structure of grid and diagonals. In this the picture is also a certain hope for our own endurance, the dignity of our own mat- classical. But countering this geometry is the single expression of the uration. The stark contrast between the orderliness and “civilized” qual- sail, a curve echoed in the implied line that marks the edge of the ity of the tables on the beach and the natural “wildness” of the shoreline bushes at the top right. A sense of opposition is created by the alter- suggests the power of the human imagination to transform our prejudices nating rhythm of light to dark established by the bridge’s piers and in through art. the complementary color scheme of orange and blue in both the water and the smoke above. The almost perfect symmetrical balance of the ISBN CHAPTER 4 Zeus, or Poseidon, c. 460 BCE, and painting’s grid structure is countered by the asymmetrical balance of 0-558-55180-7 Robert Mapplethorpe’s Lisa Lyon, 1982 the composition as a whole (its weight seems to fall heavily to the In the Greek bronze, the submission of the male body to the discipline right). There are two points of emphasis, the bridge and the boat. We of a mathematical geometry is especially evident in the definition of seem to be witness to the conflicting forces of nature and civilization.

526 The Critical Process A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. CHAPTER 9 David Hammons’s Out of Bounds, 1995–96 CHAPTER 14 Martin Puryear’s Ladder for Booker T. Washington, 1996 This work reflects Hammons’s sense of social responsibility. It also Made of a sapling that probably could bear little or no actual weight, captures something of his sense of humor, playing, as it does, with tra- Puryear’s ladder is purposefully dysfunctional. Not only does this ditional notions of what might constitute good drawing. Certainly a impracticality serve to announce the piece as a work of art, it under- basketball is a much less refined tool than, say, a fine brush or a scores the difficulty of the struggle faced by Booker T. Washington, graphite pencil. And dirt is an almost defiantly coarse medium in each rung on the social ladder that, metaphorically speaking, ascends which to draw. One would imagine that he would find the fact that to equal rights, becoming smaller and smaller and more and more frag- this drawing is now in the collection of the Museum of Modern Art ile. The “artificial perspective” thus created suggests a “vanishing deeply ironic—even funny. point” somewhere in the future, where the two sides of the ladder (white and black in American culture?) come together—a point, as we CHAPTER 10 Andy Warhol’s Marilyn Monroe, 1967, and know, that is a visual illusion. And yet, because Puryear has forced the San Francisco Silverspot, 1983 perspective—it recedes, that is, into space, far too dramatically—it Marilyn Monroe died a suicide in 1963, as much an endangered suggests that the point where the difference between the races might species as the Silverspot butterfly: a human being whose identity had vanish (that racial “vanishing point”) might be nearer than it appears. been stripped, reducing her to an “image,” whose real personality and humanity meant almost nothing to anyone. But Warhol understands CHAPTER 15 Taos Pueblo, 1000–1450, and Moshe Safdie’s that being transformed into a media image might have its positive Habitat, 1967 effects as well, that where Marilyn was destroyed by Hollywood image- The walls of Safdie’s Habitat abut the walls of adjoining units, as in making, the Silverspot might be saved. His color makes Marilyn and Native American pueblos, just as Safdie also uses the roofs of units to the butterfly garish, but it draws attention to the plight of both. And provide outdoor living space for the unit above. Safdie’s Habitat is, both are images that challenge their viewers to change, images that however, decidedly modern in its look, creating a sense of visual vari- confront our collective indifference. ety absent in Native American pueblo design. This variety is made possible by technological advancements, specifically the use of rein- CHAPTER 11 Fred Tomaselli’s Airborne Event, 2003 forced concrete and steel cable construction techniques. Like Le Almost by definition, the medium of collage, which Tomaselli can be Corbusier’s Domino Housing Project, Safdie’s design is modular and said to take to almost new heights, suggests the artificiality of our per- almost infinitely expandable, both sideways and upward. Any combi- ceived environment, a world in which almost all visual experience is nation of windows and walls can be hung on the frame. Internal divi- constructed and manipulated by others, a world in which our “highs” sions can be freely designed in an endless variety of ways. It differs are no longer naturally, but instead artificially, induced. If in Fra from Le Corbusier’s Project in the variety of elevations it presents to Andrea Pozzo’s Glorification of St. Ignatius (Fig. 286) St. Ignatius soars the viewer despite the uniformity of its parts, creating a sense of the toward heaven, in the contemporary world, Tomaselli suggests, such individuality of each unit within the broader community. religious transcendence is increasingly only attainable by artificial (i.e., drug-induced) means. CHAPTER 16 Trevor Field and Ronnie Stuiver’s PlayPump, 1996 The audience for design is twofold: manufacturers, who see the designer CHAPTER 12 Jeff Wall’s A Sudden Gust of Wind, 1993 as key to making their products attractive to consumers, and the con- The greatest transformation is that the pastoral world of the Hokusai sumers themselves, who respond, often subconsciously, or at least with- print has been replaced by what appears to be an industrial wasteland. out thinking very much about it, to the product’s “look.” Thus, one of the The businessmen, of course, have created this landscape. No mountain things that distinguishes the art audience from the design audience is the could be seen in Wall’s work, even if there were one. The sky is thick level of thought that the two audiences bring to the work. Art audiences with what appears to be pollution. There is nothing spiritual about this tend to be much more thoughtful audiences, less susceptible to trends in place. Wall’s photograph is like a “still” from a motion picture. It fashion. One of the special difficulties faced by the designer is the need implies that we are in the midst of a story. But what story? How can we to appeal to a mass, relatively unthinking audience. An artist needs to ever know what is “really” happening here? Knowing that Wall has find one person who responds to his or her work. Designers have to completely fabricated the scene, we recognize that, in fact, nothing is appeal to as many people as possible. Thus, the art market tends to value “really” happening here. Wall’s is a world of complete illusion, in which the unique object, while the marketplace values objects with broad, even meaning flies away as surely as the papers on a sudden gust of wind. mass, appeal. The PlayPump must appeal to the children who use it, and the advertising on its side to the consumers in the community, but Field CHAPTER 13 Zhang Huan’s To Raise the Water Level in a Fishpond, and Stuiver’s work is not about the product as a marketable commodity. 1997, and Berlin Buddha, 2007 Their concern was to create a product that served as a sustainable solu- The human body in Zhang Huan’s To Raise the Water Level in a Fishpond tion to a community need. is sculptural in the sense that it possesses three-dimensional mass and Zhang Huan uses it to alter space, however imperceptibly. The piece CHAPTER 21 Olafur Eliasson’s The Weather Project, 2003 also relates to earthworks in the sense that it alters the landscape, if The questions raised by Eliasson’s work about the function of art today again imperceptibly. But in the very modesty of its impact on the envi- and the place of the museum will only be answered in the future, ronment, it is an amusing parody of the monumental aspirations of through your own experiences. But they invite you, as a viewer and earthworks in general. To Raise the Water shares with Berlin Buddha an participant in the world of art, to consider such questions every time emphasis on the temporal qualities of sculpture—the fact that we expe- you visit a museum or gallery. The idea is to end by asking questions, rience it over a limited duration of time and yet appreciate its power not answering them: Why am I here, in the museum? you should won- long after its physical presence has ended. Seated across from the more der. Why does it matter? What have I learned about who we are as permanent mold that made it, Berlin Buddha suggests that the creative humans? Why am I drawn to this space? to this work? to this line, or process is one of constant transformation and change. color, or form? 0-558-55180-7 ISBN The Critical Process 527

A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Glossary Words appearing in italics in the definitions are also defined in the glossary. absolute symmetry Term used when each half of a composition is arch A curved, often semicircular architectural form that spans exactly the same. (page 143) an opening or space built of wedge-shaped blocks, called abstract In art, the rendering of images and objects in a stylized voussoirs, with a keystone centered at its top. (page 354) or simplified way, so that though they remain recognizable, architrave In architecture, the lintel, or horizontal, weight-bearing their formal or expressive aspects are emphasized. Compare beam, that forms the base of the entablature. (page 353) both representational and non objective art. (page 26) Art Deco A popular art and design style of the 1920s and 1930s Abstract Expressionism A painting style of the late 1940s and associated with the 1925 Exposition Internationale des Arts early 1950s, predominantly American, characterized by its ren- Décoratifs et Industriels Modernes in Paris and characterized dering of expressive content by abstract or nonobjective means. by its integration of organic and geometric forms. (page 391) (page 510) Art Nouveau The art and design style characterized by undulat- abstraction A work that to a greater or lesser degree does not ing, curvilinear, and organic forms that dominated popular resemble what the eye sees. See abstract. (page 26) culture at the turn of the century, and that achieved particu- acropolis The elevated site above an ancient Greek city con- lar success at the 1900 International Exposition in Paris. ceived as the center of civic life. (page 353, 420) (page 389) acrylic A plastic resin that, when mixed with water and pig- assemblage An additive sculptural process in which various and ment, forms an inorganic and quick-drying paint medium. diverse elements and objects are combined. (page 302) (page 242) asymmetrical balance Balance achieved in a composition when actual weight As opposed to visual weight, the physical weight of neither side reflects or mirrors the other. (page 145) material in pounds. (page 143) atmospheric perspective A technique, often employed in land- additive process (1) In color, the fact that when different hues of scape painting, designed to suggest three-dimensional space in colored light are combined, the resulting mixture is higher in the two-dimensional space of the picture plane, and in which key than the original hues and brighter as well, and as more forms and objects distant from the viewer become less distinct, and more hues are added, the resulting mixture is closer and often bluer or cooler in color, and contrast among the various closer to white. (2) In sculpture, the process in which form is distant elements is greatly reduced. (page 94) built up, shaped, and enlarged by the addition of materials, as auteurs Film directors who are considered the “authors” of their distinguished from subtractive sculptural processes, such as carv- work. (page 275) ing. (pages 107, 287) axonometric projection A technique for depicting space, often adobe A mixture of earth, water, and straw formed into sundried employed by architects, in which all lines remain parallel mud bricks. (page 383) rather than receding to a common vanishing point as in linear aerial perspective See atmospheric perspective. (page 94) perspective. (page 84) ambulatory A covered walkway, especially around the apse of a balance The even distribution of weight, either actual weight or church. (page 432) visual weight, in a composition. (page 143) amphitheater A building type invented by the Romans (literally balloon-frame Another name for wood-frame construction that meaning a “double theater”), in which two semicircular the- came into usage because early skeptics believed that houses aters are brought face to face. (page 354) built in this manner would explode like balloons. (page 360) analogous colors Pairs of colors, such as yellow and orange, that Baroque A dominant style of art in Europe in the seventeenth are adjacent to each other on the color wheel. (page 109) century characterized by its theatrical, or dramatic, use of light animation In film, the process of sequencing still images in rapid and color, by its ornate forms, and by its disregard for classical succession to give the effect of live motion. (page 274) principles of composition. (page 471) animism The belief in the existence of souls and the convic- barrel vault A masonry roof constructed on the principle of the tion that nonhuman things can also be endowed with a soul. arch, that is, in essence, a continuous series of arches, one (page 11) behind the other. (page 354) aperture The opening that determines the quantity of light basilica In Roman architecture, a rectangular public building, admitted by a camera lens. (page 265) entered through one of the long sides. In Christian architec- apse A semicircular recess placed, in a Christian church, at the ture, a church loosely based on the Roman design, but entered end of the nave. (page 357) through one of the short ends, with an apse at the other end. (page 431) aquatint An intaglio printmaking process in which the acid bites around powdered particles of resin, resulting in a print with a Bauhaus A German school of design, founded by Walter Gropius granular appearance. The resulting print is also called an in 1919 and closed by Hitler in 1933. (page 395)

aquatint. (page 210) bilateral symmetry Term used when the overall effect of a com- ISBN arbitrary color Color that has no realistic or natural relation to position is one of absolute symmetry, even though there are the object that is depicted, as in a blue horse or a purple cow, clear discrepancies side to side. (page 143) 0-558-55180-7 but that may have emotional or expressive significance. binder In a medium, the substance that holds pigments together. (page 117) (pages 176, 222)

528 Glossary A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. buon fresco See fresco. (page 223) combine-painting Robert Rauschenberg’s name for his works of burin A metal tool with a V-shaped point used in engraving. (page high-relief collage. (page 250) 205) complementary colors Pairs of colors, such as red and green, that burning A photographic technique that increases the exposure are directly opposite each other on the color wheel. to areas of the print that should be darker. Compare dodging. (page 111) (page 265) composition The organization of the formal elements in a work burr In drypoint printing, the ridge of metal that is pushed up by of art. (page 29) the engraving tool as it is pulled across the surface of the plate connotation The meaning associated with or implied by an and that results, when inked, in the rich, velvety texture of the image, as distinguished from its denotation. (page 227) drypoint print. (page 210) Constructivism A Russian art movement, fully established by calotype The first photographic process to use a negative image. 1921, that was dedicated to nonobjective means of communica- Discovered by William Henry Fox Talbot in 1841. (page 258) tion. (page 393) canon (of proportion) The “rule” of perfect proportions for the Conté crayon A soft drawing tool made by adding clay to human body as determined by the Greek sculptor Polykleitos graphite. (page 178) in a now lost work, known as the Canon, and based on the idea content The meaning of an image, beyond its overt subject matter; that each part of the body should be a common fraction of the as opposed to form. (page 29) figure’s total height. (page 158) contour line The perceived line that marks the border of an cantilever An architectural form that projects horizontally from object in space. (page 57) its support, employed especially after the development of rein- contrapposto The disposition of the human figure in which the forced concrete construction techniques. (page 364) hips and legs are turned in opposition to the shoulders and capital The crown, or top, of a column, upon which the chest, creating a counter-positioning of the body. (page 293) entablature rests. (page 353) core of the shadow The darkest area on a form rendered by Carolingian art European art from the mid-eighth to the early means of modeling or chiaroscuro. (page 97) tenth century, given impetus and encouragement by cornice The upper part of the entablature, frequently decorated. Charlemagne’s desire to restore the civilization of Rome. (page 353) (page 441) cross-cutting In film technique, when the editor moves back and cartoon As distinct from common usage, where it refers to a forth between two separate events in increasingly shorter drawing with humorous content, any full-size drawing, subse- sequences in order to heighten drama. (page 272) quently transferred to the working surface, from which a paint- Two or more sets of roughly parallel and overlap- ing or fresco is made. (page 173) cross-hatching ping lines, set at an angle to one another, in order to create a cast iron A rigid, strong construction material made by adding sense of three-dimensional, modeled space. See also hatching. carbon to iron. (page 359) (page 100) cast shadow In chiaroscuro, the shadow cast by a figure, darker crossing In a church, where the transepts cross the nave. than the shadowed surface itself. (page 97) (page 357) casting The process of making sculpture by pouring molten Cubism A style of art pioneered by Pablo Picasso and Georges material—often bronze—into a mold bearing the sculpture’s Braque in the first decade of the twentieth century, noted for impression. See also lost-wax process. (page 297) the geometry of its forms, its fragmentation of the object, and ceramics Objects formed out of clay and then hardened by firing its increasing abstraction. (page 499) in a very hot oven, or kiln. (pages 296, 322) Dada An art movement that originated during World War I in a chiaroscuro In drawing and painting, the use of light and dark number of world capitals, including New York, Paris, Berlin, to create the effect of three-dimensional, modeled surfaces. and Zurich, which was so antagonistic to traditional styles and (page 97) materials of art that it was considered by many to be “anti-art.” chinoiserie Literally “all things Chinese,” a style of art based on (page 504) Chinese designs popular in Europe in the eighteenth century. daguerreotype One of the earliest forms of photography, (page 480) invented by Louis Jacques Mandé Daguerre in 1839, made on a cire-perdue See lost-wax process. (page 298) copper plate polished with silver. (page 256) closed palette See palette. (page 114) De Stijl A Dutch art movement of the early twentieth century close-up See shot. (page 271) that emphasized abstraction and simplicity, reducing form to coiling A method of ceramic construction in which long, ropelike the rectangle and color to the primary colors—red, blue, and strands of clay are coiled on top of one another and then yellow. (page 392) smoothed. (page 323) delineation The descriptive representation of an object by means collage A work made by pasting various scraps or pieces of mate- of outline or contour drawing. (page 177) rial—cloth, paper, photographs—onto the surface of the denotation The direct or literal meaning of an image, as distin- composition. (page 244) guished from its connotation. (page 227) colonnade A row of columns set at regular intervals around the diagonal recession In perspective, when the lines recede to a building and supporting the base of the roof. (page 353) vanishing point to the right or left of the vantage point. (page 80) color wheel A circular arrangement of hues based on one of a didacticism An approach to making art emphasizing its ability to number of various color theories. (page 106) teach and, particularly, elevate the mind. (page 230) column A vertical architectural support, consisting of a shaft dodging A photographic technique that decreases the exposure topped by a capital, and sometimes including a base. of selected areas of the print that the photographer wishes to be

0-558-55180-7 (page 353) lighter. Compare burning. (page 265) ISBN Glossary 529 A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. dome A roof generally in the shape of a hemisphere or half-globe. foreshortening The modification of perspective to decrease dis- (page 356) tortion resulting from the apparent visual contraction of an drums The several pieces of stone used to construct a column. object or figure as it extends backward from the picture plane at (page 352) an angle approaching the perpendicular. (page 86) drypoint An intaglio printmaking process in which the copper or form (1) The literal shape and mass of an object or figure. zinc plate is incised by a needle pulled back across the surface, (2) More generally, the materials used to make a work of art, leaving a burr. The resulting print is also called a drypoint. the ways in which these materials are used in terms of the for- (page 210) mal elements (line, light, color, etc.), and the composition that earthenware A type of ceramic made of porous clay and fired at results. (page 29) low temperatures that must be glazed if it is to hold liquid. fresco Painting on plaster, either dry (fresco secco) or wet (buon, (page 326) or true fresco). In the former, the paint is an independent layer, earthwork An environment that is out-of-doors. (page 290) separate from the plaster proper; in the latter, the paint is chemically bound to the plaster, and is integral to the wall or In filmmaking, the process of arranging the sequences of editing support. (page 223) the film after it has been shot in its entirety. (page 271) fresco secco See fresco. (page 224) edition In printmaking, the number of impressions authorized by the artist made from a single master image. (page 194) frieze The part of the architrave between the entablature and the cornice, often decorated. (pages 288, 353) elevation The side of a building, or a drawing of the side of a building. (page 353) frontal An adjective used to describe any object meant to be seen from the front. (page 287) embossing In metalworking, the raised decoration on the surface of an object. The reverse of repoussé. (page 341) frontal recession In perspective, when the lines recede to a vanishing point directly across from the vantage point. (page 80) embroidery A traditional fiber art in which the design is made by needlework. (page 332) frottage The technique of putting a sheet of paper over tex- tured surfaces and then rubbing a soft pencil across the paper. encaustic A method of painting with molten beeswax fused to (page 126) the support after application by means of heat. (page 222) full shot See shot. (page 271) engraving An intaglio printmaking process in which a sharp tool called a burin is used to incise the plate. The resulting print is functional objects Items intended for everyday use. (page 320) also called an engraving. (page 205) Futurism An early twentieth-century art movement, character- entablature The part of a building above the capitals of the ized by its desire to celebrate the movement and speed of mod- columns and below the roof. (page 353) ern industrial life. (page 502) entasis The slight swelling in a column design to make the col- gesso A plaster mixture used as a ground for painting. (page 227) umn appear straight to the eye. (page 352) glazing In ceramics, a material that is painted on a ceramic object environment A sculptural space that is large enough for the that turns glassy when fired. (page 322) viewer to move around in. (pages 290, 348) golden section A system of proportion developed by the ancient etching An intaglio printmaking process in which a metal plate Greeks obtained by dividing a line so that the shorter part is to coated with wax is drawn upon with a sharp tool down to the the longer part as the longer part is to the whole, resulting in a plate and then placed in an acid bath. The acid eats into the ratio that is approximately 5 to 8. (page 159) plate where the lines have been drawn, the wax is removed, Gothic A style of architecture and art dominant in Europe from and then the plate is inked and printed. The resulting print is the twelfth to the fifteenth century, characterized, in its archi- also called an etching. (page 205) tecture, by features such as pointed arches, flying buttresses, and a Expressionism An art that stresses the psychological and emo- verticality symbolic of the ethereal and heavenly. (page 443) tional content of the work, associated particularly with gouache A painting medium similar to watercolor, but opaque German art in the early twentieth century. See also Abstract instead of transparent. (page 240) Expressionism. (page 500) grattage A technique developed by Max Ernst in which the can- extreme close-up See shot. (page 271) vas is prepared with one or more layers of paint, placed over Fauves The artists of the early twentieth century whose work textured objects, and then scraped over. (page 127) was characterized by its use of bold arbitrary color. Their green architecture An architectural practice that strives to name derives from the French word meaning “wild beasts.” build more environmentally friendly and sustainable building. (page 500) (page 374) firing The process of baking a ceramic object in a very hot oven, grid A pattern of horizontal and vertical lines that cross each or kiln. (page 296, 322) other to make uniform squares or rectangles. (page 65) flashback A narrative technique in film in which the editor cuts groined vault A masonry roof constructed on the arch principle to episodes that are supposed to have taken place before the and consisting of two barrel vaults intersecting at right angles to start of the film. (page 272) each other. (page 354) fluting The shallow vertical grooves or channels on a column. ground A coating applied to a canvas or printmaking plate to pre- (page 352) pare it for painting or etching. (pages 209, 222) flying buttress On a Gothic church, an exterior arch that opposes Happenings Spontaneous, often multimedia, events conceived

the lateral thrust of an arch or vault, as in a barrel vault, arching by artists and performed not only by the artists themselves but ISBN inward toward the exterior wall from the top of an exterior often by the public present at the event as well. (page 313) 0-558-55180-7 column or pier. (page 358) hatching An area of closely spaced parallel lines, employed in focal point In a work of art, the center of visual attention, often drawing and engraving, to create the effect of shading or different from the physical center of the work. (page 150) modeling. See also cross-hatching. (page 99)

530 Glossary A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Hellenism The culture of ancient Greece. (page 421) linocut A form of relief printmaking, similar to a woodcut, in high (haut) relief A sculpture in which the figures and objects which a block of linoleum is carved so as to leave the image to remain attached to a background plane and project off of it by be printed raised above the surface of the block. The resulting at least half their normal depth. (page 288) print is also known as a linocut. (page 203) highlights The spot or one of the spots of highest key or value in literati A tendency in Chinese calligraphy and ink painting that a picture. (page 97) celebrates the personality of the erudite artist, as opposed to hue A color, as found on a color wheel. (page 107) the artist’s technique. (page 462) iconoclasts Literally “image breakers,” those who, taking the lithography A printmaking process in which a polished stone, Bible’s commandment against the worship of “graven” images often limestone, is drawn upon with a greasy material; the sur- literally, wished to destroy images in religious settings. (pages face is moistened and then inked; the ink adheres only to the 25, 434) greasy lines of the drawing; and the design is transferred to dampened paper, usually in a printing press. (page 211) iconography The study or description of images and symbols. (page 32) load-bearing In architecture, construction where the walls bear the weight of the roof. (page 351) impasto Paint applied very thickly to canvas or support. (page 124) local color As opposed to optical color and perceptual color, the actual hue of a thing, independent of the ways in which colors implied line A line created by movement or direction, such as might be mixed or how different conditions of light and atmos- the line established by a pointing finger, the direction of a phere might affect color. (page 116) glance, or a body moving through space. (page 58) long shot In film, a shot that takes in a wide expanse and many impression In printmaking, a single example of an edition. characters at once. (page 271) (page 194) lost-wax process A bronze-casting method in which a figure Impressionists The painters of the Impressionist movement in is molded in wax and covered with clay; the whole is fired, nineteenth-century France whose work is characterized by the melting away the wax and hardening the clay; and the result- use of discontinuous strokes of color meant to reproduce the ing hardened mold is then filled with molten metal. effects of light. (page 492) (page 298) infrastructure The systems that deliver services to people—water low (bas) relief A sculpture in which the figures and objects supply and waste removal, energy, transportation, and commu- remain attached to a background plane and project off of it by nications. (page 378) less than one-half their normal depth. (page 288) installation An environment that is indoors. (page 290) Mannerism The style of art prevalent especially in Italy from intaglio Any form of printmaking in which the line is incised about 1525 until the early years of the seventeenth century, into the surface of the printing plate, including aquatint, dry- characterized by its dramatic use of light, exaggerated point, etching, engraving, and mezzotint. (page 204) perspective, distorted forms, and vivid colors. (page 469) intensity The relative purity of a color’s hue, and a function of mass Any solid that occupies a three-dimensional volume. its relative brightness or dullness; also known as saturation. (page 76) (page 107) matrix In printmaking, the master image. (page 194) intermediate colors The range of colors on the color wheel between each primary color and its neighboring secondary colors; medium (1) Any material used to create a work of art. Plural yellow-green, for example. (page 107) form, media. (2) In painting, a liquid added to paint that makes it easier to manipulate. (pages 107, 169, 222) International Style A twentieth-century style of architecture and design marked by its almost austere geometric simplicity. medium shot See shot. (page 271) (page 368) megaliths From the Greek meaga meaning “big,” and lithos, in-the-round As opposed to relief, sculpture that requires no meaning “stone.” A huge stone used in prehistoric architec- wall support and that can be experienced from all sides. ture. (page 410) (page 290) metalpoint A drawing technique, especially silverpoint, popular investment In lost-wax casting, a mixture of water, plaster, and in the fifteenth and sixteenth centuries, in which a stylus with powder made from ground-up pottery used to fill the space a point of gold, silver, or some other metal was applied to a inside the wax lining of the mold. (page 299) sheet of paper treated with a mixture of powdered bones (or lead white) and gumwater. (page 176) iris shot In film, a shot that is blurred and rounded at the edges in order to focus the attention of the viewer on the scene in the mezzotint An intaglio printmaking process in which the plate is center. (page 271) ground all over with a rocker, leaving a burr raised on the sur- face that if inked would be rich black. The surface is subse- keystone The central and uppermost voussoir in an arch. quently lightened to a greater or lesser degree by scraping away (page 354) the burr. The resulting print is also known as a mezzotint. kiln An oven used to bake ceramics. (page 296) (page 210) kinetic art Art that moves. (page 123) mihrab A niche set in the wall of a mosque indicating the direc- kiva In Anasazi culture, the round, covered hole in the center of tion of Mecca. (page 436) the communal plaza in which all ceremonial life took place. minbar A stepped pulpit for a preacher on the qibla wall of a (page 350) mosque (page. 436) line A mark left by a moving point, actual or implied, and varying Minimalism A style of art, predominantly American, that dates in direction, thickness, and density. (page 56) from the mid-twentieth century, characterized by its rejection linear perspective See one-point linear perspective and two-point of expressive content and its use of “minimal” formal means.

0-558-55180-7 linear perspective. (page 513) ISBN Glossary 531 A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. mixed media The combination of two or more media in a single extension, the range of colors used by the artist. In this last work. (page 243) sense, a closed or restricted palette is one employing only a few modeling In sculpture, the shaping of a form in some plastic colors and an open palette is one using the full range of hues. material, such as clay or plaster; in drawing, painting, and (page 108) printmaking, the rendering of a form, usually by means of pan In film, a shot in which the camera moves across the scene hatching or chiaroscuro, to create the illusion of a three- from one side to the other. (page 272) dimensional form. (page 97) pastel (1) A soft crayon made of chalk and pigment; also, any Modernism Generally speaking, the various strategies and direc- work done in this medium. (2) A pale, light color. tions employed in twentieth-century art—Cubism, Futurism, (page 180) Expressionism, etc.—to explore the particular formal properties patina In sculpture, a chemical compound applied to bronze by of any given medium. (page 510) the artist; it then forms on the surface after exposure to the ele- monotype A printmaking process in which only one impression ments. (page 301) results. (page 218) pattern A repetitive motif or design. (page 123) montage In film, the sequencing of widely disparate images to pencil A drawing tool made of graphite encased in a soft wood create a fast-paced, multifaceted visual impression. cylinder. (page 178) (page 272) pendentive A triangular section of a masonry hemisphere, four of mosaic An art form in which small pieces of tile, glass, or stone which provide the transition from the vertical sides of a build- are fitted together and embedded in cement on surfaces such as ing to a covering dome. (page 434) walls and floors. (page 432) perceptual color Color as perceived by the eye. Compare local mosque In Islam, the place of worship. (page 436) color. (page 116) naturalism A brand of representation in which the artist retains performance art A form of art, popular especially since the late apparently realistic elements but presents the visual world from 1960s, that includes not only physical space but also the a distinctly personal or subjective point of view. (page 27) human activity that goes on within it. (page 277) nave The central part of a church, running from the entrance photogenic drawing With the daguerreotype, one of the first two through the crossing. (page 357) photographic processes, invented by William Henry Fox Talbot negative shape or space Empty space, surrounded and shaped so in 1839, in which a negative image is fixed to paper. (page 256) that it acquires a sense of form or volume. (pages 76, 77) pigments The coloring agents of a medium. (page 176) Neoclassicism A style of the late eighteenth and early nine- planographic printmaking process Any printmaking process in teenth centuries that was influenced by the Greek Classical which the print is pulled from a flat, planar surface, chief among style and that often employed Classical themes for its subject them lithography. (page 211) matter. (page 481) platform The base upon which a column rests. (page 353) nonobjective art Art that makes no reference to the natural plein-air painting Painting done on-site, in the open air. world and that explores the inherent expressive or aesthetic (page 116) potential of the formal elements—line, shape, color—and the formal compositional principles of a given medium. (page 26) pointed arch An arch that is not semicircular but rather rises more steeply to a point at its top. (page 358) nonrepresentational art See nonobjective art. (page 26) polychromatic A color composition consisting of a variety of oblique projection A system for projecting space, commonly hues. (page 114) found in Japanese art, in which the front of the object or build- ing is parallel to the picture plane, and the sides, receding at an Pop Art A style arising in the early 1960s characterized by empha- angle, remain parallel to each other, rather than converging as sis on the forms and imagery of mass culture. (page 512) in linear perspective. (page 84) porcelain The type of ceramic fired at the highest temperature oculus A round, central opening at the top of a dome. (page 356) that becomes virtually translucent and extremely glossy in fin- ish. (page 326) oil paint A medium using linseed oil as a binder that became par- ticularly popular beginning in the fifteenth century. (page 231) position In the art process, a method of establishing space in a two-dimensional work by placing objects closer to the viewer linear perspective one-point linear perspective A version of in lower and objects farther away from the viewer higher in the vanishing point composition which there is only one in the . picture. (page 84) (page 80) post-and-lintel construction A system of building in which two open palette See palette. (page 114) posts support a crosspiece, or lintel, that spans the distance optical painting (Op Art) An art style particularly popular in between them. (page 351) the 1960s in which line and color are manipulated in ways Post-Impressionism A name that describes the painting of a that stimulate the eye into believing it perceives movement. number of artists, working in widely different styles, in (page 133) France during the last decades of the nineteenth century. order In Classical architecture, a style characterized by the design (page 496) of the platform, the column, and its entablature. (page 353) postmodernism A term used to describe the willfully plural and original print A print created by the artist alone and that has eclectic art forms of contemporary art. (pages 166, 402, 515)

been printed by the artist or under the artist’s direct supervi- primary colors The hues that in theory cannot be created from ISBN sion. (page 194) a mixture of other hues and from which all other hues are cre- outline The edge of a shape or figure depicted by an actual line ated—namely, in pigment, red, yellow, and blue, and in 0-558-55180-7 drawn or painted on the surface. (page 57) refracted light, red-orange, green, and blue-violet. (page 106) palette Literally, a thin board, with a thumb hole at one end, print Any one of multiple impressions made from a master image. upon which the artist lays out and mixes colors, but, by (page 194) 532 Glossary A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. proof A trial impression of a print, made before the final edition is be orange, green, and violet; in refracted light, yellow, run, so that it may be examined and, if necessary, corrected. magenta, and cyan. (page 106) (page 195) serif type Letter forms that have small lines at the end of the let- proportion In any composition, the relationship between the ter’s main stroke. (page 394) parts to each other and to the whole. (page 156) serigraphs Also known as silkscreen prints, in which the image is qibla The wall of a mosque that, from the interior, is oriented in the transferred to paper by forcing ink through a mesh; areas not direction of Mecca, and that contains the mihrab. (page 436) meant to be printed are blocked out. (page 216) radial balance A circular composition in which the elements shade A color or hue modified by the addition of another color, project outward from a central core at regular intervals, like the resulting in a hue of a darker value, in the way, for instance, that spokes of a wheel. (page 149) the addition of black to red results in maroon. (page 101) realism Generally, the tendency to render the facts of existence, shadow The unlighted surface of a form rendered by modeling or but, specifically, in the nineteenth century, the desire to chiaroscuro. (page 97) describe the world in a way unadulterated by the imaginative shaft A part of a column. (page 353) and idealist tendencies of the Romantic sensibility. (page 26) shape A two-dimensional area, the boundaries of which are mea- rebars Steel reinforcement bars used in reinforced concrete. sured in terms of height and width. More broadly, the form of (page 364) any object or figure. (page 76) registration In printmaking, the precise alignment of impressions shell system In architecture, one of the two basic structural sys- made by two or more blocks or plates on the same sheet of tems, in which one basic material both provides the structural paper, used particularly when printing two or more colors. support and the outside covering of a building. (page 351) (page 203) shot In film, a continuous sequence of film frames, including a full reinforced concrete Concrete in which steel reinforcement bars, shot, which shows the actor from head to toe, a medium shot, or rebars, are placed to both strengthen and make concrete less which shows the actor from the waist up, a close-up, showing brittle. (page 364) the head and shoulders, and an extreme close-up, showing a por- relief (1) Any sculpture in which images and forms are attached tion of the face. Other shots include the long shot, the iris shot, to a background and project off it. See low relief and high relief. the pan, and the traveling shot. (page 271) (2) In printmaking, any process in which any area of the plate silkscreen Also known as a serigraph, a print made by the process not to be printed is carved away, leaving only the original sur- of serigraphy. (page 216) face to be printed. (pages 195, 287) simultaneous contrast A property of complementary colors when Renaissance The period in Europe from the fourteenth to the placed side by side, resulting in the fact that both appear sixteenth century characterized by a revival of interest in the brighter and more intense than when seen in isolation. (page arts and sciences that had been lost since antiquity. (page 451) 111) repetition See pattern and rhythm. (page 162) sinopie The cartoon or underpainting for a fresco. (page 177) replacement process A term for casting, by, for instance, the sizing An astringent crystalline substance called alum brushed lost-wax process, in which wax is replaced by bronze. (page 299) onto the surface of paper so that ink will not run along its repoussé In metalworking, a design realized by hammering the fibers. (page 199) image from the reverse side. (page 341) skeleton-and-skin system In architecture, one of the two basic representational art Any work of art that seeks to resemble the structural systems, which consists of an interior frame, the world of natural appearance. (page 26) skeleton, that supports the more fragile outer covering of the restricted palette A selection of colors limited in its range of building, the skin. (page 351) hues. (page 114) slab construction A method of ceramic construction in which rhythm An effect achieved when shapes, colors, or a regular clay is rolled out flat, like a pie crust, and then shaped by hand. pattern of any kind is repeated over and over again. (page 162) (page 322) rocker A sharp, curved tool used in the mezzotint printmaking slip Liquid clay. (page 323) process. (page 210) solvent A thinner that enables paint to flow more readily and Rococo A style of art popular in the first three-quarters of the that also cleans brushes; also called vehicle. (page 222) eighteenth century, particularly in France, characterized by spectrum The colored bands of visible light created when sun- curvilinear forms, pastel colors, and light, often frivolous sub- light passes through a prism. (page 106) ject matter. (page 479) springing The lowest stone of an arch, resting on the supporting Romanesque art The dominant style of art and architecture in post. (page 356) Europe from the eighth to the twelfth century, characterized, in star In the popular cinema, an actor or actress whose celebrity architecture, by Roman precedents, particularly the round arch alone can guarantee the success of a film. (page 273) and the barrel vault. (page 441) stippling In drawing and printmaking, a pattern of closely placed Romanticism A dramatic, emotional, and subjective art arising in dots or small marks employed to create the effect of shading or the early ninteenth century in opposition to the austere disci- modeling. (page 204) Neoclassicism pline of . (page 484) stoneware A type of ceramics fired at high temperature and thus saturation See intensity. (page 107) impermeable to water. (page 326) scale The comparative size of an object in relation to other stopping out In etching, the application of varnish or ground objects and settings. (page 156) over the etched surface in order to prevent further etching as scarification Decorative effects made by scarring the body. the remainder of the surface is submerged in the acid bath. (page 449) (page 209)

0-558-55180-7 secondary colors Hues created by combining two primary colors; storyboards Panels of rough sketches outlining the shot in pigment, the secondary colors are traditionally considered to sequences of a film. (page 274) ISBN Glossary 533 A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. stupa A large, mound-shaped Buddhist shrine. (page 429) triumphal arches Roman arches designed for triumphant armies stylobate The base, or platform, upon which a column rests. (page to march through, usually composed of a simple barrel vault 353) enclosed within a rectangle, and enlivened with sculpture and subject matter The literal, visible image in a work of art, as decorative engaged columns. (page 425) distinguished from its content, which includes the truss In architecture, a triangular framework that, because of its connotative, symbolic, and suggestive aspects of the image. rigidity, can span much wider areas than a single wooden beam. (page 20) (page 361) sublime That which impresses the mind with a sense of grandeur tunnel vault See barrel vault. (page 354) and power, inspiring a sense of awe. (pages 26, 485) tusche A greasy material used for drawing on a lithography stone. subtractive process (1) In color, the fact that, when different (page 216) hues of colored pigment are combined, the resulting mixture is two-point linear perspective A version of linear perspective in lower in key than the original hues and duller as well, and as which there are two (or more) vanishing points in the more and more hues are added, the resulting mixture is closer composition. (page 82) and closer to black. (2) In sculpture, the process in which form tympanum The semicircular arch above the lintel over a door, is discovered by the removal of materials, by such means as often decorated with sculpture. (page 442) carving, as distinguished from additive sculptural processes, such vanishing point In linear perspective, the point on the horizon line as assemblage. (pages 107, 287) where parallel lines appear to converge. (page 80) support The surface on which the artist works—a wall, a panel of vanitas A kind of still-life painting designed to remind us of the wood, a canvas, or a sheet of paper. (page 222) vanity, or frivolous quality, of human existence. (page 234) Surrealism A style of art of the early twentieth century that vantage point In linear perspective, the point where the viewer is emphasized dream imagery, chance operations, and rapid, positioned. (page 80) thoughtless forms of notation that expressed, it was felt, the vehicle See solvent. (page 222) unconscious mind. (page 505) virtual reality An artificial three-dimensional environment, symbols Images that represent something more than their literal sometimes called hyperspace or cyberspace, generated through meaning. (page 32) the use of computers, that the viewer experiences as real space. symmetrical When two halves of a composition correspond to one (page 92) another in terms of size, shape, and placement of forms. visual weight As opposed to actual weight, the apparent “heavi- (page 143) ness” or “lightness” of a shape or form. (page 143) tapestry A special kind of weaving, in which the weft yarns are of voussoir A wedge-shaped block used in the construction of an several colors that the weaver manipulates to make a design or arch. (page 354) image. (page 332) warp In weaving, the vertical threads, held taut on a loom or technologies Technologies, literally, are “words” or “discourses” frame. (page 332) (from the Greek logos) about a “techne” (from the Greek word for art, which in turn comes from the Greek verb tekein, “to wash Large flat areas of ink or watercolor diluted with water and make, prepare, or fabricate”). In art, then, any medium is a applied by brush. (page 187) techne, a means of making art. (page 169) watercolor A painting medium consisting of pigments suspended in a solution of water and gum arabic. (page 238) technology The materials and methods available to a given cul- ture. (page 348) weaving A technique for constructing fabrics by means of inter- lacing horizontal and vertical threads. (page 332) tempera A painting medium made by combining water, pigment, and, usually, egg yolk. (page 227) weft In weaving, the loosely woven horizontal threads, also called the woof. (page 332) temperature The relative warmth or coolness of a given hue; hues in the yellow-orange-red range are considered to be wet-plate collodion process A photographic process, developed warm, and hues in the green-blue-violet range are considered around 1850, that allowed for short exposure times and quick cool. (page 109) development of the print. (page 259) tenebrism From the Italian tenebroso, meaning murky, a height- wood engraving Actually a relief printmaking technique, in ened form of chiaroscuro. (page 97) which fine lines are carved into the block, resulting in a print consisting of white lines on a black ground. The resultant print tensile strength In architecture, the ability of a building material is also called a wood engraving. (page 201) to span horizontal distances without support and without buck- ling in the middle. (page 351) woodcut A relief printmaking process, in which a wooden block is carved so that those parts not intended to print are cut away, tesserae Small pieces of glass or stone used in making a mosaic. leaving the design raised. The resultant print is also called a (page 433) woodcut. (page 195) texture The surface quality of a work. (page 123) wood-frame A true skeleton-and-skin building method, com- time and motion The primary elements of temporal media, linear monly used in domestic architecture to the present. (page 360) rather than spatial in character. (page 123) woof See weft. (page 332) A color or hue modified by the addition of another color tint Zone system A framework for understanding exposures in pho- resulting in a hue of a lighter value, in the way, for instance, tography developed by Ansel Adams, where a zone represents that the addition of white to red results in pink. (page 101) the relation of the image’s (or a portion of the image’s) bright- ISBN transept The crossarm of a church that intersects, at right angles,

ness to the value or tone that the photographer wishes it to 0-558-55180-7 with the nave, creating the shape of a cross. (page 357) appear in the final print. Thus each picture is broken up into traveling shot In film, a shot in which the camera moves back to zones ranging from black to white with nine shades of gray in front or front to back. (page 272) between—a photographic gray scale. (page 264)

534 Glossary A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Pronunciation Guide

No pronunciation guide is perfect, and this one is like all others. It is meant solely to assist North American an—man, tan readers in pronouncing, with some assurance that they will not be embarrassed, unfamiliar names and phrases. ay—day, play Foreign names and phrases, particularly, are not rendered here with perfect linguistic accuracy. Many of the aw—draw, saw subtleties of French pronunciation are ignored (in part because many North Americans cannot hear them), ah—that, cat as are the gutteral consonants of German and its related languages. The guide suggests, for instance, that eh—pet, get er—her, fur Vincent van Gogh be pronounced “van GOH”—a perfectly acceptable North American pronunciation that ih—fit, spit wholly ignores the throaty glottal click of the the Dutch “g.” Even among scholars, there is often disagree- oh—toe, go ment about how a name is pronounced. We have tried to offer alternatives in such instances. ohn—phone, tone ow—cow, now A simplified phonetic system has been employed. Some of the less obvious conventions are listed at the right. uh—bud, fuss eye—sky, try

Abakanowicz, Magdalena mahg-daw-LAY-nuh aw-baw-kaw-NOH-vich Dali, Salvador sal-vaw-DOHR DAW-lee or daw-LEE Abramovic, Marina eh-BRAHM-oh-vitch Daumier, Honoré ohn-ohr-AY dohm-YAY Akhenaton aw-keh-NAH-ten David, Jacques Louis jawk loo-EE daw-VEED Anthemius of Tralles ahn-THAY-mee-us of TRAW-layss Degas, Edgar ed-GAWR deh-GAW Aphrodite ahph-roh-DYE-tee Déjeuner sur l’herbe, Le luh day-joon-AY ser LAIRB architrave ARK-ih-trayv de Kooning, Willem VILL-um duh KOON-ing Baca, Judith F. BAW-CAW Delacroix, Eugène you-JEHN duh-law-KRWAW Balla, Giacomo JAH-coh-moh BAW-law Delaunay, Sonia de-law-NAY Barela, Patrocinio pah-troh-CHEE-nee-oh baw-RELL-uh Demoiselles d’Avignon, Les lay duh-mwoi-ZELL dah-veen-YON Basquiat, Jean-Michel jawn mee-SHELL boss-kee-AW Djingareyber Mosque jin-gah-REY-bur Bel Geddes, Norman bel geh-DEES Donatello dohn-aw-TAY-loh Benin beh-NEEN Dubuffet, Jean jawn doo-boo-FAY Bernini, Gianlorenzo jawn-loh-REN-soh behr-NEE-nee Duchamp, Marcel mar-SELL doo-SHAW(n) Bonheur, Rosa buhn-ER Dürer, Albrecht AWL-breckt DYUR-er Bonnard, Pierre pee-AIR boh-NAWR El Greco ell GRAY-koh Borromini, Francesco frahn-CHAY-skoh bore-oh-MEE-nee Eliasson, Olafur OH-luh-fur eh-LEE-aw-son Botticelli, Sandro SAN-droh boh-tee-CHEL-lee El Lissitzky ell lih-ZITZ-kee Boucher, François frahn-SWAH boo-SHAY entasis EN-taw-sis Braque, Georges jorjh BRAHK Fauve fohv Breuer, Marcel mar-SELL BROO-er Fleury, Sylvie flur-EE Bronzino brawn-ZEEN-oh Fragonard, Jean-Honoré jawn oh-noh-RAY fraw-goh-NAWR Buglaj, Nikolai boog-lye Frankenthaler, Helen FRANK-en-thawl-er burin BYOOR-in Friedrich, Caspar David FREED-rik Cai Guo-Qiang t’cheye gwoh chang frieze freez Caillebotte, Gustave goos-TAWV kye-BAWT Gaudí, Antoni ahn-TOH-nee gow-DEE camera obscura KAM-er-aw ob-SKOOR-uh Gauguin, Paul goh-GAN Caravaggio caw-raw-VAW-jyoh Gehry, Frank GAIR-ee Carracci, Annibale on-NEE-ball-ay car-RAW-chee Gentileschi, Artemisia ar-tay-MEES-jyuh jen-till-ESS-kee Cartier-Bresson, Henri on-REE car-TEE-ay Bress-OH(n) Géricault, Théodore tay-oh-DOHR jeh-ree-COH Cassatt, Mary kaw-SAWT gesso JESS-oh Cellini, Benvento bin-vin-OOT-oh chel-EEN-nee Giorgione gee-or-gee-OH-nay Cézanne, Paul say-ZAN Giotto gee-YAW-toh Chartres SHAR-tr’ Giovanni da Bologna joh-VAWN-ee daw bo-LOHN-yaw Chauvet shoh-VAY Gislebertus geez-lay-BARE-tuss Cheng Sixiao jong see-SHO Goethe, Wolfgang von GUH-tuh chiaroscuro kee-ar-oh-skoor-oh Gómez-Peña, Guillermo ghee-AIR-moh GOH-mes PAIN-yuh Chihuly, Dale chih-HOO-lee gouache gwawsh Chirico, Giorgio de JOR-gee-oh day kee-ree-coh Goya, Francisco de frawn-SEES-coh day GOY-yaw Christo KRIS-toh Guernica GARE-nee-caw cire perdue seer payr-DOO Guo Xi gow zee Coatlicue coh-ah-TLEE-cooeh haut-relief OH ree-leef contrapposto kohn-traw-POH-stoh Hesse, Eva hess Corbusier, Le luh kor-boo-SEE-ay Höch, Hannah HOHK Courbet, Gustave goos-TAWV koor-BAY Hokusai, Katsushika kat-s’-SHEE-kaw HOH-k’-sye Daguerre, Louis Jacques Mandé loo-ee JAWK man-DAY daw-GAYR Hung Liu hung loo 0-558-55180-7 ISBN Pronunciation Guide 535 A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. impasto im-PAW-stoh Pozzo, Fra Andrea fraw an-DRAY-uh POHTS-zoh Ingres, Jean Auguste Dominique jawn oh-GOOST dohm-een-EEK Puryear, Martin purr-yur AING-r’ Quarton, Enguerrand in-gher-AWN kwar-TON intaglio in-TAWL-yoh Raphael RAF-fye-ell, or RAFF-yell ka kaw Rauschenberg, Robert ROW-shen-burg Kahlo, Frieda FREE-duh KAW-loh Rembrandt van Rijn rem-BRANT fahn RINE Kandinsky, Wassily vaw-SEE-lee kan-DIN-skee Renoir, Pierre-August pee-ayr oh-GOOST rehn-WAHR Kaprow, Allan KAP-roh Rietveld, Gerrit GARE-it REET-felld Kirchner, Ernst airnst KEERCH-nair Rococo roh-coh-COH Knossos KNAW-sohs Rodchenko, Alexander rohd-CHINK-oh Koetsu, Hon’ami HOHN-aw-mee ko-ET-zoo Rodin, Auguste oh-GOOST roh-DAN Kollwitz, Käthe KAYT-eh KOHL-vitz Rogier van der Weyden roh-JEER van dur VYE-den Kusama, Yayoi yah-YOY KOO-saw-maw Rubens, Peter Paul ROO-bins Kwei, Kane KAYN KWAY Saarinen, Eero EER-roh SAWR-uh-nen Laocoön lay-AW-coh-un Safdie, Moshe MOSH-uh SAWF-dee Lascaux las-COH St. Denis san deh-NEE Lê, An-My awn-mee lay St. Sernin san sayr-NAN Ledoux, Claude-Nicolas klawd-NEE-coh-law leh-DOO St. Vitale san vee-TAHL-ay Léger, Fernand fair-NAN LAY-zhay santos SAWN-tohs Leonardo da Vinci lay-oh-NAHR-doh daw VEEN-chee (in the U.S., Seurat, Georges jorjh suh-RAW often lee-oh-NAHR-doh duh VIN-chee) Shen Zhou shen joh Liang Kai lee-ong kye Shonibare, Yinka YINK-uh shoh-nee-BAR-ay Limbourg lam-BOOR(g) Sikander, Shahzia shaw-ZEE-uh sih-KAWN-dur Loewy, Raymond LOH-ee Siqueiros, David Alfaro see-KAYR-ohs Lorrain, Claude klodh lor-REHN Sirani, Elisabetta ay-leez-eh-BAY-tuh seer-AW-nee Magritte, René reh-NAY ma-GREET Steir, Pat steer Malevich, Kasimir kaw-zee-MEER MAW-lay-veech Stieglitz, Alfred STEEG-litz Manet, Edouard ayd-WAHR ma-NAY stupa STOO-paw Mantegna, Andrea awn-DRAY-uh mawn-TAYN-yaw Teotihuacán tay-OH-tee-hwaw-CAWN Mapplethorpe, Robert MAYP-’l-thorp tesserae TESS-er-ee Marey, Etienne-Jules ay-TEE-an jool ma-RAY Tiepolo, Giovanni Battista gee-oh-VAWN-ee baw-TEES-taw tee-EH- Masaccio maw-SAW-chee-oh poh-loh Matisse, Henri on-REE ma-TEESE Tintoretto teen-toh-RAY-toh Maya MYE-yaw Titian TEE-shan, or TISH-an Mesa Verde MAY-suh VAYR-day Toorop, Jan YAWN tour-AWP mezzotint MET-soh-tint Toulouse-Lautrec, Henri de awn-REE deh too-LOOS loh-TREK Michelangelo mye-kel-AN-jel-oh; also mee-kel-AN-jel-oh Toyo, Sesshu ses-SHOO toy-yoh Mies van der Rohe, Ludvig LOOD-vig meese van dur ROH(uh) trompe l’oeil trump LOY mihrab MEE-rawb Tutankhamun toot-an-KAW-mun Milhazes, Beatriz bee-aw-TREEZ mill-YAW-zees Uelsmann, Jerry OOLS-mawn Mondrian, Piet PAYT MOHN-dree-awn Ukeles, Mierle merl YOU-kell-ees Monet, Claude klodh moh-NAY Ukiyo-e OO-kee-oh-ee Morimura, Yaumasa mor-ih-moo-rah Utamaro, Kitagawa kee-taw-GAW-waw oo-taw-MAR-oh Morisot, Berthe BAYR-t’ mohr-ee-SOH Vallayer-Coster, Anna AWN-naw val-law-YAH cohs-TAY Mpungi um-PUNG-ee Van Doesburg, Théo TAY-oh van DOHS-burg mudra muh-DRAW Van Eyck, Jan YAWN van IKE Muybridge, Eadweard ED-ward MY-bridj Van Gogh, Vincent van GOH Mycenae my-SEEN-ay or my-SEEN-ee vanitas VAWN-ee-taws Ndiritu, Grace en-dare-EE-too Van Ruisdael, Jacob YAW-cub van ROYS-dawl Neri, Manuel man-WHALE NAY-ree Vasari, Giorgio gee-OR-gee-oh va-SAHR-ee Neshat, Shirin shur-EEN nay-CHAWT Velázquez, Diego dee-YAY-goh vay-LAWSS-kess Nolde, Emile ay-MEEL KNOWL-d’ Vermeer, Jan YAWN vare-MEER Olmec OHL-mek Vigée-Lebrun, Elisabeth ay-leez-eh-BETT vee-SJAY leh-BROH(n) Paik, Nam June NAWM joon PIKE Viola, Bill vee-OH-luh Piero della Francesca pee-AYR-oh DAY-law frawn-CHEE-skaw Voulkos, Peter VOOL-kohs Piéta pee-ay-TAW voussoir voo-SWAWR plein air PLEHN-air Willendorf VILL-en-dohrf Pollaiuolo poh-LYE-you-oh-loh Wodiczko, Krzysztof KRIST-off woh-DEESH-koh Pollock, Jackson PAWL-uck Xu Wei shoo way Polykleitos pawl-ee-KLY-tohs Yanagi, Yukimori yah-NAH-ghee Pont du Gard pohn doo GAHR Zhang Huan jong hwahn Poussin, Nicolas nee-coh-LAW poo-SAN ISBN 0-558-55180-7

536 Pronunciation Guide A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Index

All references are to page numbers. Italic numbers indicate Lovell, Whitfield, 189, 189 an illustration. Marshall, Kerry James, 518–519, 519 Puryear, Martin, 76, 76, 345, 345, 346, 346 Ringgold, Faith, 17, 17, 337, 337 A Saar, Alison, 517, 517–518 Abakanowicz, Magdalena, Backs in Landscape, 340, 340 Saar, Bettye, 517, 517 Abbey Church of Saint-Denis, 33, 330, 330, 443 Saar, Lezley, 517 Aboriginal art, 28, 170–171, 514 After the Bath, Woman Drying Her Hair (Degas), 269, 269 Abramovic, Marina After the Bath, Woman Drying Herself (Degas), 180, 181 The House with the Ocean View, 315, 315 Ahearn, Johan, Pat, 5, 5 Imponderabilia, 314, 314–315 Air Liner Number 4 (Bel Geddes and Koller), 398, 398 Absolute symmetry, 143 Airborne Event (Tomaselli), 252, 253 Abstract art, 26, 27–28, 167 Airflow, Chrysler, 398, 398 Abstract expressionism, 510–512 Akbar, 5–6 Abstraction, Porch Shadows (Strand), 87, 87, 261 Alba Madonna, The (Raphael), 174–175, 175 Accident (Rauschenberg), 216, 216 Albers, Anni Acropolis, The, Athens, 420, 420 pattern and repetition use by, 340 ACROS Building (Ambasz), 375, 375 Wall Hanging, 336, 336 Acrylic paint, 242–243 Ali, Laylah, Untitled, 164, 164 Active seeing, 16–17 Allegory of Painting, The (Vermeer), 169, 169 Activism, 47–54. See also Politics; Social commentary Allora, Jennifer, Hope Hippo, 523, 523 Actual texture, 124–125 Altarpieces Adam and Eve (Dürer), 206, 206–207, 207 The Ecstasy of St. Theresa (Bernini), 472, 472 Adams, Ansel The Ghent Altarpiece (van Eyck), 14, 14, 15, 25 Moonrise, Hernandez, New Mexico, 265, 265 Maestà Altarpiece (Duccio), 80, 80–81 Zone System by, 264–265 The Mérode Altarpiece (Campin), 232, 232–233 Additive process, 107, 107, 287, 296–297 Ambasz, Emilio, ACROS Building, 375, 375 Adoration of the Magi, The (Tiepolo), 186, 187 America (Yanagi), 17, 17, 283 Aegean civilizations, 418–419 America Tropical (Siqueiros), 160 Africa Rifting: Lines of Fire: Namibia/Brazil (Papageorge), 524, 524 American Modern dinnerware (Wright), 399, 399 African art American Modernism, 509–510. See also Modern art architecture as, 449–450 Amiens Cathedral, 357, 357 art history of, 438, 449–450, 467 Amitabha Budda, 33 ceremonial/feast-making spoon, 77, 77–78 Anasazi architecture, 350, 350–351 color value in, 104–105, 105, 106 Angel Appearing to the Shepherds, The (Rembrandt van Rijn), 208, 209 cross-cultural contact impacting, 467, 494, 495 Animal Spirit Channeling Device for the Contemporary Shaman (Feodorov), figures, 11, 11, 14 149, 149 kente cloth, 129, 129–130 Animal style, 128, 440–441 masks, 11, 12–13, 13, 31, 31, 467, 467 Animation, 190–191, 274 Nigerian funerary shrine cloth, 105, 105 Animism, 11 religion influencing, 438, 449–450 Annie G. Cantering, Saddled (Muybridge), 254, 254 sculpture as, 298, 302–303 Annunciation, The from Mérode Altarpiece (Campin), 232, 232–233 social commentary in, 519, 524 Annunciation and Visitation, 445, 445 textiles, 105, 129–130, 138 Annunciation of the Death of the Virgin from Maestà Altarpiece (Duccio), African artists 80, 80–81 Field, Trevor, 407, 407 Anthemius of Tralles, 434 Kentridge, William, 190–191, 191 Antheneum (Meier), 376, 376 Kwei, Kane, 7, 7 Antin, Eleanor, Minetta Lane—A Ghost Story, 308, 308 Ofili, Chris, 42, 42 Apollinaire, Guillaume, 112 Papageorge, Georgia, 524, 524 Apollo Belvedere, 31, 31 Samba, Chéri, 58, 59, 519, 519 Apollodorus, Column of Trajan, 426, 426 Shonibare, Yinka, 340, 340–341 Apotheosis of Homer Vase (Wedgwood), 320, 321 Stuiver, Ronnie, 406–407, 407 Apoxyomenos (The Scraper) (Lysippos), 421, 421–422 African-American art Apple computer logo, 402, 402–403 civil rights portrayed in, 17, 18, 517 Applebroog, Ida, Emetic Fields, 148, 148 color value in, 104, 104, 105 Aquatint, 210–211 iconography of heroism in, 37 Arapaho Ghost Dance dress, 495, 495 Lovell portrayal of, 189, 189 Arbitrary color, 117 postmodern, 516–519 Arch of Titus, The, 425, 425 social commentary in, 17, 18, 517–519 Archer, Frederick, 259, 264–265 African-American artists Arches, 354–358 Ahearn, Johan, 5, 5 Architecture Basquiat, Jean-Michel, 36, 37, 37, 40 African, 449–450 Bearden, Romare, 110, 111, 244–245, 245 Anasazi, 350–351 Buchanan, Beverly, 184, 184–185, 185 arches, vaults, and domes in, 354–358, 443–444 Hammons, David, 192, 192 Arts and Crafts movement impact on, 384–385 Lawrence, Jacob, 162, 162, 164, 241, 241 Avant-Gardes influence on, 392–393 0-558-55180-7 ISBN Index 537

A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Architecture (continued) Rococo, 479–480 axonometric projection in, 84 Roman, 423–427 Baroque, 471–473 Romanesque art, 441–442 Byzantine influence on, 431–435 Romanticism, 484–487 cast-iron construction in, 359 Surrealism, 505–506 Christian influence on, 356–358, 360–361, 431–435, 442–445, twentieth and twenty-first centuries, 498–525 449–450, 471–473 Art in America (Diehl), 90 community life and, 376–382 Art market, 40–41 Egyptian, 349 Art Nouveau, 389–390 eighteenth and nineteenth century, 477 Art of Painting, The (Vasari), 220 environment of, 349–350, 364, 366–367, 374 Artists. See also artists by name frame construction in, 360–362 as activists, 47–54 (See also Politics; Social commentary) Gothic, 443–445 characteristics of, 3 Greek, 351–353, 420 form given to immaterial by, 11, 14–15 green, 9, 374–375 functional object/structure adaptation by, 7–10 Hindu influence on, 446 reception of art of, 43–46 Islamic influence on, 436–439 roles of, 4–15 Italian, 354–358, 471–472 value of art of (See Value of art) Japanese, 448 view/perspective of, 3–15, 18 light in, 93–94, 443–444 visual records by, 5–7 load-bearing construction in, 351 Arts and Crafts Movement, 384–388. See also Crafts Mesoamerican, 417, 463–466 Arts in Public Places Program, 47 Native American, 350–351, 382–383 Ashbee, C. R., 362 negative space in, 78 Assemblage, 302–305 Neoclassical, 482 Assumption and Consecration of the Virgin (Titian), 58, 59 overview of, 347–348 Assurnasirpal II Killing Lions, 412, 412 post-and-lintel construction in, 351–353 Asymmetrical balance, 145–148 principles of design in, 142–144, 159 Athens (Cartier-Bresson), 264, 264 Roman, 354–358, 425–426 “Atlas” Slave (Michelangelo), 291, 291 Romanesque, 441–442 Atmospheric (aerial) perspective, 94–96 steel-and-reinforced-concrete construction in, 362–373 Audience. See Viewers technology used in, 351–373 Augustus of Primaporta, 424–425, 425 Architecture for Humanity, 406–407 Aunt Billie from Uncle Clarence’s Three Wives (Lanfear), Arena Chapel, 225 338, 338–339 Aristotle, 459 Australian artists Armani, Georgio exhibition, 41, 41 Motna, Erna, 28, 28 Armory Show (1913), New York City, 44–45 Shaw, Jeffrey, 92, 92 Arneson, Robert, Case of Bottles, 296, 296 Australian/Aboriginal art, 28, 28, 170, 170–171, 514 Art appreciation, 3. See also Value of art; Visual literacy Austrian artists: Bayer, Herbert, 396, 396 Art Deco, 391, 391 Automobiles, 398, 398, 400–401, 401. See also Highways L’Art Décoratif, Moscow-Paris (Rodchenko), 394, 394 Autumn Rhythm (Pollock), 134, 134 Art history/periods Avant-Gardes movement, 391–395 Abstract expressionism, 510–512 Axonometric projection, 84 Aegean civilizations, 418–419 Aztec civilization, 464–465 African, 438, 449–450, 467 American Modernism, 509–510 B Baroque, 471–476 Baca, Judith F. Chinese, 416, 427–428, 446–447, 460–462 The Great Wall of Los Angeles, 243, 243 cross-cultural contact in, 460, 467, 480–481, 494–495, 513–516 La Memoria de Nuestra Tierra, 160, 160–161, 161 Cubism, 499–500 scale and proportion by, 158, 160, 160–161, 161 Dada, 504–505 Backs in Landscape (Abakanowicz), 340, 340 earliest art, 408–411 Baker, Josephine, 97 Egyptian, 413–415 Balance eighteenth and nineteenth century, 477–497 asymmetrical, 145–148 Fauves, The, 500 contrapposto (counter-balance), 293 Futurism, 502–503 as principle of design, 143–149 German expressionism, 500–501 radial, 149 Gothic art, 443–445, 451–452 symmetrical, 143–144 Greek, 419–422 Balla, Giacomo, Dynamism of a Dog on a Leash, 502, 502 Impressionist art, 492–494 Ballet Mécanique (Léger), 270–271, 271 Indian, 416, 429, 446 Banana Flower (O’Keeffe), 177, 177 Japanese, 448, 462–463 Barber Shop (Lawrence), 162, 162, 164 Mannerist style, European, 469–470 Bardon, Geoff, 28 Mesoamerican, 417, 463–466 Barela, Patrocinio, Nativity, 291, 291 Mesopotamian, 411–412 Baroque art, 471–476 Mexican, 417, 463–465, 506–507 Barr, Alfred H., Jr., 365 Minimalism, 513 Bars and String-Pieced Columns (Pettway), 336, 336 multiculturalism, 521–524 Basket of Apples, The (Cézanne), 55, 55–56 Neoclassicism, 481–484 Basquiat, Jean-Michel politics and painting, 506–508 Charles the First, 36, 37

Pop art, 512–513 iconographic images by, 37, 37 ISBN Post-Impressionism, 496–497 Untitled, 40

Postmodernism, 513–524 valuation of art by, 40 0-558-55180-7 Realism, 488–491 Bath, The (Cassatt), 201, 201 religions influencing, 416, 429, 430–450, 452–460, 462–463, 469–474 Bathers (Fragonard), 479, 479 Renaissance, 451–460 Bathers, The (Seurat), 496, 496

538538 Index A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Batman: The Dark Knight Returns (Miller), 190 Brownian motion (Robert Brown), 132 Battle of Anghiari (da Vinci), 458 Brunelleschi, Filippo, 453 Battle of Cascina (Michelangelo), 458 Brunsell Residence (Bowman), 374, 374 Battleship Potemkin (Eisenstein), 272, 272 Buchanan, Beverly Baudelaire, Charles, 490 Monroe County House with Yellow Datura, 185, 185 Bauhaus magazine cover (Bayer), 396, 396 Ms. Mary Lou Furcron’s House, deserted, 184, 184 Bauhaus movement, 395–396 Richard’s Home, 184, 184 Bayard (Condict) Building (Sullivan), 363, 363 Buddhism Bayer, Herbert, Bauhaus magazine cover, 396, 396 art history and, 429, 446, 448, 462–463 Beard, Richard, Maria Edgeworth, 256–257, 257 Diamond Sutra on, 193 Bearden, Romare fresco on, 224 The Dove, 244–245, 245 iconography representing, 33 She-ba, 110, 111 shrines to, 429 Beat the Whites with the Red Wedge (Lissitzky), 393, 393 Buffalo Kachina, 494, 495 Bel Geddes, Norman, Air Liner Number 4, 398, 398 Buglaj, Nikolai, “Race”ing Sideways, 104, 104 Belgian artists: Magritte, René, 19, 20, 505 Bulatov, Eric, Happy End, 82, 82 “Bench” (Puryear), 345, 345 Bulfinch, Charles, Harrison Gray Otis House, 361, 361 Benito, Edouardo Garcia, Vogue magazine cover, 391, 391 Bungalows, 362 Bent-Corner Chest (Kook) (Heiltsuk), 344, 344 Burgee, John, College of Architecture, University of Houston, 347, Berlin Buddha (Zhang Huan), 318–319, 319 347–348, 348 Bernini, Gianlorenzo Burghers of Calais, The (Rodin), 300, 300–301, 302 The Cornaro Family in a Theater Box, 472, 472 Burial at Ornans (Courbet), 488–489, 489 David, 130–131, 131 Burial of Count Orgaz, The (El Greco), 470, 470 The Ecstasy of St. Theresa, 472, 472 Burj Al-Arab (Wills-Wright), 373, 373 St. Peter’s basilica colonnade, 471, 471, 477 Burj Dubai (Smith), 371, 373, 373 Beta Ghiorghis (House of Saint George), 449, 449–450 Burke, Edmund, Inquiry into the Origin of Our Ideas of the Sublime and the Bierstadt, Albert Beautiful, 485 The Rocky Mountains, 26, 26–27 Burlington Zephyr, 397, 397 sublime in art of, 26, 486 Burne-Jones, Edward, 387, 387 Bilateral symmetry, 143 Bushfire and Corroboree Dreaming (Motna), 28, 28 Bing, Siegfried “Samuel,” 389 Byodo-in, Uji temple, 448, 448 Birch, The (Gladu), 362 Byzantine art, 431–435 Birchler, Alexander, Detached Building, 138–139, 139 Birth of a Nation, The (Griffith, editor), 271, 271–272 C Birth of Venus, The (Botticelli), 455–456, 456 Cabat, Rose, Onion Feelie, 326, 326 Black Face and Arm Unit (Jones), 104, 105 Cadillac Fleetwood, General Motors, 401, 401 Black Lines (Schwarze Linien) (Kandinsky), 121, 121 Café Concert (Seurat), 178–179, 179 Blackburn, Robert, 216 Cage, John, 250 Boccioni, Umberto, Unique Forms of Continuity in Space, 502, 502–503 Cai Guo-Qiang, Transient Rainbow, 106, 106 Bodhisattva, Ajanta, India, 224, 224 Caillebotte, Gustave, Place de L’Europe on a Rainy Day, 83, 83, 491 Body art, 28 Calatrava, Santiago Bologna, Giovanni da, The Rape of the Sabine Women, 290, 290 Port Authority Trans Hudson (PATH) station, 382, 382 Bonaparte, Napoleon, 482–483 Turning Torso Residential Tower, 370, 370 Bonheur, Rosa, Plowing in the Nivernais, 490, 490 Calder, Alexander Bonnard, Pierre, The Terrace at Vernon, 117, 117 La Grand Vitesse, 47, 47 Book of the Artists (Tuckerman), 26–27 Untitled, 123, 123, 506 Books, 193–194, 387. See also Manuscripts Calendars, 196, 464–465 Borromini, Francesco, San Carlo alle Quattro Fontane facade, 471, 471 Callas, Peter, 324 Boston Common at Twilight (Hassam), 147, 147–148 Calligraphy, 20, 25, 460 Botticelli, Sandro Calling of St. Matthew, The (Caravaggio), 473, 473–474 The Birth of Venus, 455–456, 456 Calotype, 258–259 Primavera, 230, 230 Calvary (Samba), 58, 59 Boucher, François, Le Chinois galant, 480, 480 Calzadilla, Guillermo, Hope Hippo, 523, 523 Boulevard du Temple, Le (Daguerre), 257, 258 Camera obscura, 256 Bowman, Obie, Brunsell Residence, 374, 374 Cameron, Julia Margaret, Portrait of Thomas Carlyle, 259, 259 Bradbury, R. E., 298 Campbell, Nancy, 213 Bradley, David, Indian Country Today, 515, 515 Campin, Robert (Master of Flémalle), The Annunciation from Mérode Brady, Matthew, 260 Altarpiece, 232, 232–233 Braids (Wyeth), 230–231, 231 Canadian artists Braque, Georges Schapiro, Miriam, 130, 130 Avante-Gardes movement influence of, 392 Wall, Jeff, 284–285, 285 collage by, 244 Cara Grande feather mask, 111, 111 Houses at L’Estaque, 498, 499 Carambola (Milhazes), 30, 30–31 Violin and Palette, 499, 499 Caravaggio, The Calling of St. Matthew, 473, 473–474 Brauntuch, Troy, Untitled (Shirts 2), 523, 523 Carolingian art, 441 Brazilian art/artists Carrà, Carlo, 502 Cara Grande feather mask, 111, 111 Carracci, Annibale, Landscape with Flight into Egypt, 475, 475 Milhazes, Beatriz, 30, 30–31 Cars, 398, 398, 400–401, 401. See also Highways Salgado, Sebastião, 262, 262–263 Cartier-Bresson, Henri, Athens, 264, 264 Breton, André, 505 Carving, 291–295 Breuer, Marcel, Armchair, 395, 395–396 Case of Bottles (Arneson), 296, 296 Bridge House (Cutler), 374–375, 375 Cassandre, A. M., Dubonnet poster, 394, 394–395 Bridge over a Pool of Water Lilies (Monet), 493, 493 Cassatt, Mary Bronzino, Venus, Cupid, Folly and Time (The Exposure of Luxury),470, 470 The Bath, 201, 201 Brooke, Sandy, Paestum, 182, 182 The Coiffure, 99, 99–100

0-558-55180-7 Brown, Trisha, Walking on the Wall, 277, 277 In the Loge, 102, 102, 103 ISBN Index 539 A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Cassatt, Mary (continued) Renaissance art depiction of, 452–460 light/dark contrasting by, 99, 99–100, 102, 102–103, 103 stained-glass art depicting, 32, 149, 149, 330, 330 The Map, 210, 210 tempera depicting, 227, 227, 230, 230 study for painting In the Loge, 102 Christo, The Gates, 1, 1–3, 2, 4 Young Mother, Daughter, and Son, 181, 181 Christopher, Karen, 317 Casting, 297–302, 416, 427 Chronophotographs, 45, 45 Cast-iron construction, 359 Chrysler Airflow, 398, 398 Cathedral of Notre-Dame, Chartres, 358 Church, Frederic, The Heart of the Andes, 486–487, 487 Cave painting, 170–171, 408–409 Citizen Kane, 274, 274 Cellini, Bienvenuto, Saliera (salt cellar), Neptune (sea), and Tellus (earth), Civil rights movement, 17, 18, 517 341, 341–342 Clark, Kenneth, 31 Celmins, Vija, Untitled (Ocean), 179, 179 Claude (Claude Lorrain), A Pastoral Landscape, 476, 476 Central Chinese Television building (Koolhaus and Scheeren), 370, 371 Clear Channel illustration (Ede), 406, 406 Central Park, New York City Close, Chuck, Stanley (large version), 118, 118–119, 119 creation of, 2, 376–377, 377 Close-ups, 87, 271 The Gates in, 1, 1–3, 2, 4 Clothing, 8, 8, 41, 340–341, 341, 495, 495. See also Fiber art Ceramic art, 296, 296–297, 297, 322–329, 480. See also Pottery Cluny, church at, 442 Cézanne, Paul Coatlicue, 465, 465 The Basket of Apples, 55, 55–56 Coffin Orange, in the Shape of a Cocoa Pod (Kwei), 7, 7 The Large Bathers, 497, 497 Coiffure, The (Cassatt), 99, 99–100 Mme. Cézanne in a Red Armchair, 88–90, 89 Cóilin and Patricia (Patterson), 249, 249 Mont Sainte-Victoire and the Viaduct of the Arc River Valley, 497, 497 Colbert, Jean-Baptiste, 477 retrospective of, 498 Cole, Henry, 384 Still Life with Cherries and Peaches, 496–497, 497 Colin, Paul, Figure of a Woman, 97, 97 Chahut, La (The Can-Can) (Seurat), 112, 113, 496 Collage, 244–247, 252, 253 Chalk and charcoal, 177–178 [collection] (Flanagan), 91, 91 Champion vacuum cleaner (Staubsauger), 399, 399 College of Architecture, University of Houston (Johnson and Burgee), Chaplin, Charlie, 273, 273 347, 347–348, 348 Charlemagne, 440–441 Cologne Cathedral, 444, 444 Charles the First (Basquiat), 36, 37 Color Chartres Cathedral, France, 32, 32, 149, 149, 443, 443–444 American Modernism use of, 509–510 Chauvet cave painting, 408, 408–409 arbitrary, 117 Cheng Sixiao, Ink Orchids, 460, 460 basic vocabulary of, 106–108 Chiaroscuro, 97, 97–99, 98 culture reflected through, 104, 104–105, 105, 120–121 Chicago, Judy, The Dinner Party, 328, 328–329 drawing materials highlighting, 180–191 Chihuly, Dale, Rotunda Chandelier, 330–331, 331 emphasis and focal point created using, 150–155 Chinese art The Fauves’ use of, 500 architecture as, 446–447 in fluorescent light, 94 art history of, 416, 427–428, 446–447, 460–462 intensity of, 107–108 ceramics as, 326, 480 intermediate, 107 cross-cultural contact with, 460, 480–481, 494 light and, 94, 107, 107, 116–117, 122, 122 pottery as, 409–410 local, 116 printmaking as, 193 perceptual, 116 sculpture as, 288–289, 297, 318–319 photography, 268–269 Chinese artists pointillism use of, 112, 113, 118, 118–119, 119 Cai Guo-Qiang, 106, 106 primary, 106–107 Cheng Sixiao, 460, 460 repetition and rhythm of, 162–164 Dong Qichang, 461 in representational art, 116, 116–117, 117 Guo Xi, 447, 447, 461 schemes, 109–115 Hung Liu, 66–69, 67, 68, 69 secondary, 106–107 Liang Kai, 187, 187 symbolic use of, 120–121 Shen Zhou, 461, 461–462 use of, 106–122 Xu Wei, 238–239, 239 value, 100, 100–101, 104–105 Yin Hong, 461, 461 wheel, 106, 107 Zhang Huan, 318, 318–319, 319 Color and Information (Winters), 90, 90–91 Chinois galant, Le (Boucher), 480, 480 Color Construction (van Doesburg and van Eesteren), 84 Christian religion Colossal head, Olmec culture, 417, 417 architecture in churches of, 356–358, 360–361, 431–435, 442–445, Colosseum, The, Rome, 354, 355 449–450, 471–473 Column of Trajan (Apollodorus), 426, 426 art history of, 431–435, 439–445, 449–450, 452–460, 469–474 Columns, 352, 352–353, 353 art reflecting conflict with, 42 Comic books, 190, 190 artists’ perception of, 14, 14, 15 Community life, 376–382 Baroque art depiction of, 471–474 Composition II with Red, Blue, and Yellow (Mondrian), 509, 509–510 distrust of images in, 25 Computer art, 90–92, 282–284, 403–406 drawings depicting, 183 Conflict, 31, 42, 48–54. See also Politics; Social commentary; Tension engravings depicting, 206, 206–207, 207 Connell, Clyde, Swamp Ritual, 304–305, 305 etchings depicting, 208, 209 Considering Mother’s Mantle (McCoy), 313, 313 foreshortening in art depicting, 86, 86 Constable, John, 3 frescos depicting, 225, 225–229, 226, 228, 229 Conté crayon (Nicholas-Jacques Conté), 178 iconography representing, 32–33, 35 Content, 29, 260–264. See also Subject matter

light/dark in art depicting, 95, 104 Contingent (Hesse), 305, 305 ISBN line/linear perspective in art depicting, 59, 80, 80–81, 81 Contour lines, 57, 57

Mannerist style depicting, 468, 468–470, 469–470 Contrapposto (counter-balance), 293, 293 0-558-55180-7 manuscripts presenting, 127, 127–128 Contrast oil paintings of, 232, 232–233, 236–237, 237 of light and dark, 99, 99–100, 102, 102–104, 103, 208, 209 principles of design in art of, 144, 144, 149, 149, 151, 151 simultaneous, 111

540540 Index A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Coram, Thomas, View of Mulberry House and Street, 349, 349 David, Jacques Louis Cormont, Thomas and Renaud de, 357 The Death of Marat, 482, 482 Cornaro Family in a Theater Box, The (Bernini), 472, 472 The Death of Socrates, 70, 70, 73, 74 Cornelia, Pointing to Her Children as Her Treasures (Kauffman), Neoclassical art of, 482, 482, 483 481, 481 Study for the Death of Socrates, 71 Coronation of the Virgin (Quarton), 144, 144 David (Bernini), 130–131, 131 Corps de Dame (Dubuffet), 183, 183 David (Donatello), 452, 453 Courbet, Gustave, Burial at Ornans, 488–489, 489 David (Michelangelo), 49, 49, 456 Courtyard of the Great Mosque of Damascus, 436 Day of the Gods, The (Mahana no Atua) (Gaugin), 496, 496 Crafts. See also Arts and Crafts Movement De Chirico, Giorgio, Melancholy and Mystery of a Street, 505, 505 ceramics as, 322–329 de Heem, Jan, Still Life with Lobster, 233, 233–234 fiber art as, 332–333, 336–341 de Kooning, Elaine, Lascaux #4, 213, 213 as fine art, 321–322, 346 de Kooning, Willem, Woman and Bicycle, 511, 511 glass/glassware as, 329–332 De Stijl movement, 392 metal art as, 341–343 Dead Christ, The (Mantegna), 86, 86 as “women’s work,” 129–130, 327–329, 336–337 Death, Woman and Child (Kollwitz), 209, 209 wood, 344–345 Death of Marat, The (David), 482, 482 Cragg, Tony, Newton’s Tones/New Stones, 122, 122 Death of Sardanapalus, The (Delacroix), 72, 73 Crane, Walter, 386 Death of Socrates, The (David), 70, 70, 73, 74 Creation of Adam, The (Michelangelo), 108, 108 Degas, Edgar Criss-Crossed Conveyors—Ford Plant (Sheeler), 262, 262 After the Bath, Woman Drying Her Hair, 269, 269 Critical thinking, 3, 18 After the Bath, Woman Drying Herself, 180, 181 Cross-cultural contact, 460, 467, 480–481, 494–495, 513–516. See also The Glass of Absinthe, 491, 491 Multiculturalism Déjeuner sur l’herbe, Le (Luncheon on the Grass) (Manet), 43, 43–44, 490 Cross-cutting, 272 Delacroix, Eugène Cross-hatching, 100 The Death of Sardanapalus, 72, 73 Cruci-fiction Project, The (Gómez-Peña and Sifuentes), 50, 50 Liberty Leading the People, 488, 488 Crystal Palace, London (Paxton), 384, 385, 385 Odalisque, 483, 483–484 Cuban artists Romanticism of, 484, 485 Calzadilla, Guillermo, 523, 523 Study for the Death of Sardanapalus, 71–72, 72 Mendieta, Ana, 14–15, 15 Delaroche, Paul, 256 Cubism, 499–500 Delaunay, Robert, Premier Disque, 112, 114, 114 Culture. See also specific cultures by nationality Delaunay, Sonia, Prismes Electriques, 112, 114, 114 art reflecting, 7–9, 11, 14–15, 16–17, 31, 38–39 Deliverance (DiBenedetto), 78–80, 79 color reflecting, 104, 104–105, 105, 120–121 Demoiselles d’Avignon, Les (Picasso), 10–13, 13, 498 cross-cultural contact, 460, 467, 480–481, 494–495, 513–516 Deodorant (Wegman), 278 drawings portraying, 189–192 Deposition (van der Weyden), 454, 454–455 iconography symbolic of, 32–37 Design, principles of light/dark contrast reflecting, 99, 99–100, 102, 102–103, 103 balance as, 143–149 multiculturalism, 17, 521–524 emphasis and focal point, 150–155 nonrepresentational art reflecting, 31 overview of, 141–142 printmaking reflecting, 196–199 repetition and rhythm, 162–164 two artists’ view of same event reflecting, 38, 38–39, 39 scale and proportion, 156–161 words and images expressing, 20–25 unity and variety, 164–167 Cut with the Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Design profession Epoch of Germany (Höch), 246, 246, 247 Art Deco movement in, 391 Cutler, James, Bridge House, 374–375, 375 Art Nouveau movement in, 389–390 Arts and Crafts Movement in, 384–388 D Avant-Gardes movement in, 391–395 da Vinci, Leonardo Bauhaus movement in, 395–396 atmospheric perspective by, 94–96, 95 forties and fifties in, 400–401 Battle of Anghiari, 458 postmodern movement in, 402–406 drawing by, 173, 173–174 Streamlining movement in, 396–399 The Last Supper, 81, 81, 224, 457, 459 Detached Building (Hubbard and Birchler), 138–139, 139 Madonna and Child with St. Anne and Infant St. John the Baptist, Diagonal recession, 80 172, 173, 457 Diamond, William, 48 Madonna of the Rocks, 94–96, 95, 100–101 Diamond Sutra, 193, 193 Mona Lisa, 457, 457 DiBenedetto, Steve, Deliverance, 78–80, 79 perspective analysis of The Last Supper, 81 Dickson, Jane, Stairwell, 211, 211 A Scythed Chariot, Armored Car and Pike, 457, 457 Dickson, W. K. Laurie, 254 Study for a Sleeve, 173, 173 Die grossen blauen Pferde (The Large Blue Horses) (Marc), 501, 501 Study of Human Proportion: The Vitruvian Man, 141, 141 Diehl, Carol, Art in America, 90 Dada, 504–505 Digital photography, 270 Daftari, Fereshteh, 522 Dinner Party (Chicago), 328, 328–329 Daguerre, Louis Jacques Mandé Disasters of War, The (Goya), 484 Le Boulevard du Temple, 257, 258 Disembarkation of Marie de’ Medici at the Port of Marseilles on November 3, daguerreotype invention by, 256–258 The (Rubens), 478, 478–479 Daguerreotype, 256–258 Display piece, Yoruba culture, 302–303, 303 Dali, Salvador, The Persistence of Memory, 505, 505 Distortions of space, 85–86 Dan Flavin Art Institute, Bridgehampton, NY, 93, 94 Distributed Legible City (Shaw), 92 Dancing Shoes (Passlof), 235, 235 Djingareyber Mosque, 438, 438 Danish artists: Eliasson, Olafur, 78, 78, 525, 525 Does It Make Sense? (Design Quarterly) (Greiman), 404, 404 Daumier, Honoré Dolce Vita, La (Fellini), 275 Fight between Schools, Idealism and Realism, Domes, 356–358 489, 489 Domino Housing Project (Le Corbusier), 365, 365, 368, 392

0-558-55180-7 Rue Transnonain, 212, 212 Donatello, David, 452, 453 ISBN Index 541 A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Dong Qichang, 461 Ellison, Ralph, 244 Doryphoros (Polykleitos), 158, 158–159, 424 Embroidery, 332–333, 333 Dos Fridas, Las (Kahlo), 520, 520 Emetic Fields (Applebroog), 148, 148 Dove, The (Bearden), 244–245, 245 Emphasis and focal point, 150–155 Draftsman Drawing a Reclining Nude (Dürer), 85, 85–86 Empress of India (Stella), 513, 513 Drawing Encaustic, 222–223 in comic books/graphic novels, 190, 190 Engraving, 201–202, 205–207 dry media for, 176–182 Environment innovative media for, 188–191 architectural, 349–350, 364, 366–367, 374 liquid media for, 182–183, 187 sculptural, 290 materials, 176–191 Environmental issues, 2–3, 9, 374–375 overview of, 169–170 Ernst, Max, Forest and Dove, 126, 126–127 preparatory sketches to works of art, 170–175 Erosion and Strip Farms (Garnett), 127, 127 Drawing Lesson, Part I, Line #1 (Steir), 60, 61 Escamilla, Isidro, Virgin of Guadalupe, 131, 131 Drawing Lesson, Part I, Line #5 (Steir), 61, 61 Etching, 205, 208–209 Dream Horse (Scholder), 218, 218 Etruscan art, 423 Dreyfuss, Henry, Symbol Sourcebook: An Authoritative Guide to Euthymides, Revelers, 321, 321 International Graphic Symbols, 37 Evans, Walker, Roadside Store between Tuscaloosa and Greensboro, Drift 2 (Riley), 133, 133 Alabama, 255, 256 Drip Drop Plop (Wilson), 332, 332 Every Icon (Simon), 283 Drive-by Shooting (Greiman), 405, 405 Ewing, Susan, Inner Circle Teapot, 342, 342 Dry media Exploding Cell (Halley), 217, 217, 283 chalk and charcoal as, 177–178 Expressionism graphite as, 178–179 Abstract, 510–512 metalpoint as, 176–177 German, 500–501 oilstick as, 182, 184–185 Extreme close-ups, 87, 271 overview of, 176–182 pastel as, 180–181, 184–185 F Drypoint, 210 Fallen (Hammond), 109, 109 Dube, Nathan, S.P.I.T. (Saliva and Paper Instigating Trauma), 342, 342 Fallingwater, Kaufmann House (Wright), 366, 366–367, 367 Dubonnet poster (Cassandre), 394, 394–395 Farnsworth House (van der Rohe), 368, 368 Dubuffet, Jean, Corps de Dame, 183, 183 Fauves, The, 500 Duccio, Annunciation of the Death of the Virgin from Maestà Altarpiece, 80, Feast-making spoon (Dan people, Liberia/Ivory Coast), 77, 77–78 80–81 Federal Plaza, New York, 48 Duchamp, Marcel Fellini, Federico, La Dolce Vita, 275 The Fountain, 504, 504–505 Female Nude Back View (Gaudier-Brzeska), 57, 57 Mona Lisa (L.H.O.O.Q.), 504, 504 Feodorov, John, Animal Spirit Channeling Device for the Contemporary Nude Descending a Staircase, 44–45, 45, 503 Shaman, 149, 149 Duchess of Polignac, The (Vigée-Lebrun), 480, 480 Fiber art, 105, 129–130, 332–333, 336–341, 428. See also Clothing; Dürer, Albrecht Textiles Adam and Eve, 206, 206–207, 207 Fickle Type, The from series Ten Physiognomies of Women (Utamaro), Draftsman Drawing a Reclining Nude, 85, 85–86 198, 198 Self-Portrait, 459–460, 460 Field, Trevor, PlayPump, 407, 407 Duret, Théodore, 492 Fight between Schools, Idealism and Realism (Daumier), 489, 489 Durham, Jimmie, Headlights, 514, 514 Figure of a Woman (Colin), 97, 97 Durrer, Käti, Swatch watches, 403, 403 Figures. See also Sculpture Dynamism of a Dog on a Leash (Balla), 502, 502 minkisi minkonde, 11, 11, 14 Native American, 494, 495 E Filàs for Sale (Searles), 114, 115 Eames, Charles, Side chair, 400, 400 Film. See also Photography; Video art Eames, Ray, Side chair, 400, 400 animated, 190–191, 274 Earl, Harley, 401 editing, 271–272 Early Renaissance, 452–455 history of, 45, 254–255 Early Spring (Guo Xi), 447, 447, 461 installation art including, 308 Earthenware, 326 popular cinema, 273–275 Earthworks, 310–313. See also Ground art techniques of, 270–273, 284–285 Eastman, George, 254 Financing, 2, 41. See also Value of art Eckstein, Soho, 191 Firdawsi, Triumphal Entry from Shahnamah, 24, 25 Ecstasy of St. Theresa, The (Bernini), 472, 472 First Temple of Hera, Paestum, Italy, 352, 352 Ede, Chris, Clear Channel illustration, 406, 406 Fischli, Peter, The Way Things Go, 279, 279 Edison, Thomas, 254, 389 Five-eared ding with dragon pattern, 416, 416 Egyptian art Flagellation of Christ, The (Piero della Francesca), 454, architecture as, 349 454–455 art history of, 413–415 Flags, art depicting, 16, 16–17, 17, 276, 276, 283, 283–284 ceramics as, 323 Flanagan, Mary, [collection], 91, 91 metal art as, 341 Flashbacks, 272 relief sculpture in, 288 Flavin, Dan, untitled (in honor of Harold Joachim), 94, 94 sculpture as, 287–288, 292 Fleury, Sylvie, Serie ELA 75/K (Plumpity . . . Plump), 40, 41 Eiffel Tower/Gustave Eiffel, 359, 359 Flood (Frankenthaler), 241–243, 242 Eighteenth and nineteenth century art history, 477–497 Floral Vase and Shadow (Woodman), 326–327, 327

Eisen, Kesai, 200 Florence Cathedral, 444, 444–445 ISBN Eisenstein, Sergei, Battleship Potemkin, 272, 272 Fluorescent light, 94, 94

El Greco, The Burial of Count Orgaz, 470, 470 Flying Horse Poised on One Leg on a Swallow, 427, 427 0-558-55180-7 Eliasson, Olafur Focal point, 150–155 Suney, 78, 78 Folk art. See Crafts The Weather Project, 525, 525 Foreshortening, 86

542542 Index A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Forest and Dove (Ernst), 126, 126–127 Gone with the Wind (Menzies, art director), 274, 275 Form, 29–30, 260–264 Gonzalez-Torres, Felix, Untitled, 158, 158 Forties and fifties, 400–401 Goodman, Nelson, 16 Fountain, The (Duchamp), 504, 504–505 Gordon, Douglas, 24 Hour Psycho, 273, 273 Four Darks in Red (Rothko), 511, 511–512 Gothic art, 443–445, 451–452 Four Figures in the Desert, Korem, Ethiopia (Salgado), 262, 262–263 Gottlieb, Adolph, 47 Fragonard, Jean-Honoré, Bathers, 479, 479 Gouache, 240–241 Frame construction, 360–362 Goulish, Matthew, 316 Frankenthaler, Helen, Flood, 241–243, 242 Goya y Lucientes, Francisco de Frankl, Paul T., The Skyscraper Bookcase, 391, 391 The Disasters of War, 484 Fresh Kills Landfill, 379, 380, 381, 381 Saturn Devouring One of His Sons, 484, 484–485 Friedrich, Caspar David, Monk by the Sea, 486, 486 Grafitti-like art, 36 Frontal Passage, A from Wedgework (Turrell), 308–309, 309 Grainstack (Monet), 116, 116, 132 Frontal recession, 80 Grand Vitesse, La (Calder), 47, 47 Frottage, 126 Grande Odalisque (Ingres), 483, 483–484 Fujiwara Takanobu, Minamoto no Yoritomo, 448, 448 Grapes (Xu Wei), 239, 239–240 Functional objects/structures, 7–10. See also Crafts; Furniture Graphic design, 403–406 Funerary lid of the sarcophagus of Pacal and rubbing of lid, 464, 464 Graphic novels, 190, 190 Furniture Graphite, 178–179 Art Deco influence on, 391 Grattage, 127 Arts and Crafts Movement influence on, 386, 388 Graves, Nancy Avant-Gardes influence on, 392–393, 394 Izy Boukir, 301–302 Bauhaus movement influence on, 395–396 Variability and Repetition of Similar Forms II, 301, 301–302 forties and fifties influence on, 400–401 Gray scale, 100, 100 wood crafts as, 344–345 Great Exposition, London (1851), 384–385 Fusco, Coco, Two Undiscovered Amerindians Visit London, 52, 52–53 Great Serpent Mound, 311, 311 Fushimi Inari Shine, 3, 3 Great Stupa at Sanchi, The, 429, 429 Futurism, 502–503 Great Wall of Los Angeles, The (Baca), 243, 243 Great Wave off Kanagawa, The (Hokusai), 157, 157, 198 G Great Wild Goose Pagoda, 446–447, 447 Ganzfelds, 309 Great Zimbabwe walls/towers, 450, 450 Garden of the Dasisen-in of Daitokuji (Soami), 462, 462–463 Greek art Gardens, Japanese, 462, 462–463 architecture of, 351–353, 420 Garnett, William A., Erosion and Strip Farms, 127, 127 art history of, 419–422 Garrard, Mary D., 220 ceramics as, 323 Gates, Bill, 374–375 Roman art influenced by, 423–425 Gates, The (Christo and Jeanne-Claude), 1, 1–3, 2, 4 sculpture as, 288, 292–293, 298–299, 421–422 Gates of Hell, The (Rodin), 162–164, 163 Greek artists Gaudí, Antoni, Oak Armchair for the Casa Calvet, 344, 344–345 El Greco, 470, 470 Gaudier-Brzeska, Henri, Female Nude Back View, 57, 57 Euthymides, 321, 321 Gaugin, Paul, The Day of the Gods (Mahana no Atua), 496, 496 Lysippos, 421, 421–422 Gehry, Frank, residence design, 142, 142, 166 Polykleitos, 158, 158–159, 424 Geldzahler, Henry, 37, 40 Praxiteles, 293, 293 Gender, line associated with, 73–74, 74. See also Women Green architecture, 9, 374–375 Gentileschi, Artemisia Green Stripe, The (Madame Matisse) (Matisse), 500, 500 Judith and Maidservant with the Head of Holofernes, 97–99, 98, 151, 329 Greeting, The (Viola), 280–281, 281 Self-Portrait as the Allegory of Painting, 221, 221, 253 Greiman, April Géricault, Théodore, The Raft of the Medusa, 485, 485 Does It Make Sense? (Design Quarterly), 404, 404 German expressionism, 500–501 Drive-by Shooting, 405, 405 Ghent Altarpiece, The (van Eyck), 14, 14, 15, 25 19th Amendment commemorative stamp, 404, Giacometti, Alberto, Man Pointing, 58, 58 404–405 Giorgione, Sleeping Venus, 459, 459 Griffin bracelet, 342, 342 Giotto Griffith, D. W., 271 Lamentation, 225, 225 Gris, Juan, The Table, 244, 244 Madonna and Child Enthroned, 227, 227, 230 Gropius, Walter, 395–396 Giovanni Amolfini and His Wife Giovanna Cenami (van Eyck), 34, 35, 35 Grosman, Tatyana, 212, 216 Gislebertus, Last Judgment, 442, 442 Ground art, 28. See also Earthworks Giuliani, Rudolph W., 42 Ground Zero, 379, 382 Gladu, Christian, The Birch, 362 Guernica (Picasso), 508, 508–509 Glass, 329–332, 389–390. See also Stained-glass art Guggenheim Museum, New York Glass of Absinthe, The (Degas), 491, 491 Armani exhibition at, 41, 41 Glorification of Saint Ignatius, The (Pozzo), 226, 227 Guo Xi, Early Spring, 447, 447, 461 Goat Island, How Dear to Me the Hour When Daylight Dies, 316, Gursky, Andreas, 99 Cent, 270, 270 316–317, 317 Gober, Robert, Untitled, 304, 304 God Bless America (Ringgold), 17, 17 H God panel, from The Ghent Altarpiece (van Eyck), 14, 14 Habitat (Safdie), 383, 383 Goethe, Johann Wolfgang von, 104 Haboku Landscape for Soen (Sesshu), 27, 27 Gold Rush, The, 273, 273 Hagia Sophia, church of, 434, 434–435, 435 Goldsworthy, Andy Halley, Peter, Exploding Cell, 217, 217, 283 Hazel Leaves, 56, 56 Hamilton, Edward, 214 Rivers and Tides, 56 Hammond, Jane, Fallen, 109, 109 Gómez-Peña, Guillermo Hammons, David The Cruci-fiction Project, 50, 50 Higher Goals, 192, 192 The Temple of Confessions, 53, 53 Out of Bounds, 192, 192

0-558-55180-7 Two Undiscovered Amerindians Visit London, 52, 52–53 Hammurabi, 412 ISBN Index 543 A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Happenings, 313–314 Happy End (Bulatov), 82, 82 I I Do Not Know What It Is I Am Like (Viola), 279 Harmony in Red (Matisse), 88, 88, 138 I Make Maintenance Art One Hour Every Day (Ukeles), 380 Harunobu, Suzuki Iconography, 32–37 Two Courtesans, Inside and Outside the Display Window, 196, 196–197 Ife culture, 449 Visiting (Kayoi) from series Seven Komachi in Fashionable Disguise, I’m Learning to Fly! (Fiona Rae), 522, 522 197, 197 Impasto, 124–125 Harvest of Death, Gettysburg, Pa. (O’Sullivan), 260, 260, 264 Implied line, 58, 58 Hassam, Childe, Boston Common at Twilight, 147, 147–148 Imponderabilia (Abramovic and Ulay), 314, 314–315 Hatching, 99–100 Impressionist art, 116, 116, 492–494. See also Post-Impressionism Hatsu-Yume (First Dream) (Viola), 279 Impression-Sunrise (Monet), 492, 492 Havemeyer, Mrs. H. O., 181 In Mourning and in Rage (Lacy and Labowitz), 54 Hazel Leaves (Goldsworthy), 56, 56 In the Loge (Cassatt), 102, 102, 103 Head of a King (Oni), 449, 449 Inca culture, 466 Head of a Satyr (Michelangelo), 100, 100 India Head of an Oba, 298, 298 art and portraiture in, 5–6, 6 Headlights (Durham), 514, 514 art history of, 416, 429, 446 Heart of the Andes, The (Church), 486–487, 487 cross-cultural contact with, 494 Heightening, 177 embroidery in, 332–333, 333 Heiner, Dennis, 42 fresco in, 224, 224 Heiss, Alauna, 40 religion in, 416, 429, 446 Hepworth, Barbara, Two Figures, 76–77, 77 Indian Country Today (Bradley), 515, 515 Hermes and Dionysos (Praxiteles), 293, 293 “Infinity Nets” (Kusama), 4–5 Hesse, Eva, Contingent, 305, 305 Infrastructure, 378–379 High Renaissance, 455–460 Ingres, Jean-Auguste-Dominique, Grande Odalisque, 483, 483–484 Higher Goals (Hammons), 192, 192 Inheritance (Saar), 517, 517–518 Highlights, 97 Ink Orchids (Cheng Sixiao), 460, 460 Highways, 378, 379 Inner Circle Teapot (Ewing), 342, 342 Hinduism/Hindu art, 416, 446 Inquiry into the Origin of Our Ideas of the Sublime and the Beautiful (Burke), Hinged clasp from Sutton Hoo burial ship, 440, 440 485 Hispanic-American artists Installation art, 306–309 Baca, Judith F., 158, 160, 160–161, 161, 243, 243 Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On) (Walker), Barela, Patrocinio, 291, 291 307, 307 Escamilla, Isidro, 131, 131 Intaglio processes Fusco, Coco, 52, 52–53 drypoint as, 210 Gómez-Peña, Guillermo, 50, 50, 52, 52–53, 53 engraving as, 205–207 Gonzalez-Torres, Felix, 158, 158 etching as, 205, 208–209 Jiménez, Luis, 302, 302 mezzotint and aquatint as, 210–211 Mendieta, Ana, 14–15, 15 technique of, 204 Sifuentes, Roberto, 50, 50, 53, 53 Intensity of color, 107–108 Torres, Rigoberto, 5, 5 Intermediate colors, 107 History of art. See Art history/periods Internet-based art. See Computer art Hitchcock, Alfred, Psycho, 273, 273 Ippolito, Jon, 276, 284 Hixson, Lin, 316 Iranian art/artists Höch, Hannah, Cut with the Kitchen Knife Dada through the Last Weimar Firdawsi, 24, 25 Beer Belly Cultural Epoch of Germany, 246, 246, 247 Neshat, Shirin, 20, 21, 282, 282 Hokusai Nezami, 25 The Great Wave off Kanagawa, 157, 157, 198 pottery as, 410, 410 Shunshuu Ejiri, 284, 284–285 Satrapi, Marjane, 190, 190 Holly Solomon Gallery, New York City, 327 Isidorus of Miletus, 434 Holt, Nancy, Sun Tunnels, 312, 312 Islam/Islamic culture Holy Family with a Kneeling Monastic Saint, The (Sirani), 183, 183 art history of, 435–439, 449 Holy Virgin Mary, The (Ofili), 42, 42 iconographic image interpretation by, 35 Homeless Vehicle (Wodiczko), 51, 51 word/image relationship in, 20, 21, 24, 25, 25 Homer, Winslow, A Wall, Nassau, 239, 239 Israeli artists: Safdie, Moshe, 383, 383 Hope Hippo (Allora and Calzadilla), 523, 523 Italian architecture, 354–358, 471, 471–472 Hopper, Edward, Nighthawks, 510, 510 Izy Boukir (Graves), 301–302 Horn, Roni, This is Me, This is You, 136, 136–138, 137 House of Education (Ledoux), 347, 347 House (Quick-to-See Smith), 57, 57 J House with the Ocean View, The (Abramovic), 315, 315 Jahangir, 6 Household (Kaprow), 314, 314 Jahangir in Darbar (Manohar), 6, 6 Houses at L’Estaque (Braque), 498, 499 Janoff, Rob, 403 How Dear to Me the Hour When Daylight Dies (Goat Island), 316, Japanese art 316–317, 317 art history of, 448, 462–463 Howl (Jiménez), 302, 302 ceramics as, 322 Howling Wolf, Treaty Signing at Medicine Creek Lodge, 38–39, 39 cross-cultural contact affecting, 494–495 Hubbard, Teresa, Detached Building, 138–139, 139 Fushimi Inari Shrine, 3, 3 Hundreds of Birds Admiring the Peacocks (Yin Hong), 461, 461 gardens as, 462, 462–463 Hung Liu Karaori kimono as, 8, 8

expressive use of line by, 66–69, 67, 68, 69 oblique projection technique in, 84 ISBN Relic 12, 66–67, 67 printmaking as, 196–201

Three Fujins, 68–69, 69 scale and proportion in, 157 0-558-55180-7 Virgin/Vessel, 68, 68 Japanese artists Hunt of the Unicorn, VII: The Unicorn in Captivity, Eisen, Kesai, 200 The, 332, 333 Fujiwara Takanobu, 448, 448

544544 Index A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Harunobu, Suzuki, 196, 196–197, 197 Korean artists Hokusai, 157, 157, 198, 284, 284–285 Paik, Nam June, 276, 276–277, 277 Koetsu, Hon’ami, 322, 322 Suh, Do-Ho, 156, 156 Kusama, Yayoi, 4, 4–5 Kouros, 292, 292 Morimura, Yasumasu, 521, 521 Kozloff, Joyce, Plaza Las Fuentes, 327, 327–328 Sesshu Toyo, 27, 27 Krasner, Lee, Untitled, 509, 509 Soami, 462, 462–463 Krue-On, Sakarin, Since 1958, 50, 51 Utamaro, Kitagawa, 198, 198–199, 199, 201, 201 Kruger, Barbara, Untitled (We won’t play nature to your culture), 520, 521 Yanagi, Yukinori, 17, 17, 283 Kumano Mandala, 84, 84 Japonaiserie: The Courtesan (after Kesai Eisen) (van Gogh), Kusama, Yayoi 200, 200–201 “Infinity Nets,” 4–5 Jar (Martinez), 322–323, 323 You Who Are Getting Obliterated in the Dancing Swarm of Fireflies, Jazz Singer, The, 273 4, 5 Jean-Marie Tjibaou Cultural Center, New Caledonia, 9, 9, 374 Kwakwaka’wakw pictograph (Nicholson), 516, 516 Jeanne-Claude, The Gates, 1, 1–3, 2, 4 Kwakwaka’wakw pictograph (Wilson), 516 Jeanneret, Charles-Edouard. See Le Corbusier Kwei, Kane, Coffin Orange, in the Shape of a Cocoa Pod, 7, 7 Jeanneret, Pierre, 365 Jefferson, Thomas, 482 L Jewelry, 342 La Tour, Georges de, Joseph the Carpenter, 151, 151 Jiménez, Luis, Howl, 302, 302 Labowitz, Leslie, In Mourning and in Rage, 54 Jobs, Steve, 402 Lacy, Suzanne Johns, Jasper In Mourning and in Rage, 54 Numbers in Color, 65, 65 Whisper, the Waves, the Wind, 54, 54 Three Flags, 16, 16–17, 223 Ladder for Booker T. Washington (Puryear), 346, 346 Johnson, Philip Lady of Dai with Attendants, 428, 428 College of Architecture, University of Houston, Lamentation (Giotto), 225, 225 347, 347–348, 348 Landscape with Flight into Egypt (Carracci), 475, 475 Seagram Building, 368, 368–369 Landscape with St. John on Patmos (Poussin), 478, 478–479 Jones, Ben, Black Face and Arm Unit, 104, 105 Landscapes Jones, Owen, 385 American, 26, 26–27, 164–165, 165, 202, 486–487, 487 Joseph the Carpenter (La Tour), 151, 151 atmospheric perspective in, 94–96, 95 Judgment of Paris, The (Raimondi), 44, 44, 205 Baroque treatment of, 475–476 Judith and Maidservant with the Head of Holofernes (Gentileschi), 97–99, Chinese, 447, 447, 461, 461–462 98, 151, 329 Japanese, 27, 27, 462, 462–463 Just in Time (Murray), 167, 167 photographs of, 127, 127 Justinian and His Attendants, 432–433, 433 representational versus abstract, 26, 26–28, 27, 28 sublime elements of, 26, 485–487 unity and variety in, 164–165, 165 K wood engravings of, 202 Kahlo, Frida, Las Dos Fridas, 520, 520 Lanfear, Marilyn, Aunt Billie from Uncle Clarence’s Three Wives, 338, Kanak people, 9 338–339 Kandariya Mahadeva Temple, 446, 446 Language. See Poetry; Visual literacy; Words and images, relationship of Kandinsky, Wassily Laocoön Group, The, 422, 422 Black Lines (Schwarze Linien), 121, 121 Large Bathers, The (Cézanne), 497, 497 Sketch I for Composition VII, 500–501, 501 Large Blue Horses, The (Die grossen blauen Pferde) (Marc), 501, 501 Kaprow, Allan Lascaux #4 (de Kooning), 213, 213 Happenings invented by, 313–314 Last Judgment, The (Michelangelo), 468, 469 Household, 314, 314 Last Judgment (Gislebertus), 442, 442 Karaori kimono, 8, 8 Last Supper, The (da Vinci), 81, 81, 224, 457, 459 Karen Finley at her home in Nyack, New York (Leibovitz), Lavadour, James, The Seven Valleys and the Five Valleys, 164–165, 165 268–269, 269 Lawler, Louise, Pollock and Tureen, 165, 165 Kauffman, Angelica, Cornelia, Pointing to Her Children as Her Treasures, Lawrence, Jacob 481, 481 Barber Shop, 162, 162, 164 Kaufmann, Edgar, 366–367 You can buy bootleg whiskey for twenty-five cents a quart from Kelley, Mike, More Love Hours Than Can Ever Be Repaid and The Wages of Harlem Series, 241, 241 Sin, 339, 339–340 Lé, An-My, Small Wars (ambush 1), 263, 263–264 Kente prestige cloth, 129, 129–130 Le Corbusier Kentridge, William, WEIGHING . . . and WANTING, 190–191, 191 Avant-Gardes influence of, 391–392 Khamseh (Nezami), 25 Domino Housing Project, 365, 365, 368, 392 Kiefer, Anselm, Parsifal 1, 152, 152 Pavillon de l’Esprit Nouveau, 392, 392 Kimmelman, Michael, 3 Villa Savoye, 365, 368 Kinetic art, 123 Le Vau, Louis, 477 Kinetoscope, 254 Learning from Las Vegas (Venturi), 166 King, Marcia Gygli, Springs Upstate, 248, 248–249 Lebrun, Charles, 477, 478 King Khafre statue, 415, 415 Ledoux, Claude-Nicolas, House of Education, 347, 347 King Menkaure and His Queen, 76–77 Léger, Fernand, Ballet Mécanique, 270–271, 271 Kirchner, Ernst, 500 Legible City, The (Shaw), 92, 92 Kitchen, The (Patterson), 249, 249 Leibovitz, Annie, Karen Finley at her home in Nyack, New York, Knockout (Wayne), 214–215, 215 268–269, 269 Koetsu, Hon’ami, Tea Bowl Named Amagumo, 322, 322 Lemons, May 16, 1984 (Sultan), 75, 76 Koller, Otto, Air Liner Number 4, 398, 398 LeWitt, Sol, Wall Drawing No. 681C, 64, 64–65 Kollwitz, Käthe Liang Kai, The Poet Bi Bo Walking and Chanting a Poem, Southern Song Death, Woman and Child, 209, 209 Dynasty, 187, 187 Self-Portrait, Drawing, 178, 178 Liberation of Aunt Jemima, The (Saar), 517, 517 Komachi, Ono no, 197 Liberty Leading the People (Delacroix), 488, 488

0-558-55180-7 Koolhaus, Rem, 370–371, 371 Libyan Sibyl, The (Michelangelo), 228, 228–229, 229 ISBN Index 545 A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Lichtenstein, Roy, Whaam!, 512–513, 513 Manifesto for Maintenance Art (Ukeles), 380 Light Mannerist style, 469–470 architecture using, 93–94, 443–444 Manohar, Jahangir in Darbar, 6, 6 atmospheric (aerial) perspective using, 94–96, 95, 96 Mantegna, Andrea, The Dead Christ, 86, 86 Baroque art use of, 473–474 Manuscripts. See also Books chiaroscuro technique, 97, 97–99, 98 Khamseh (Nezami) as, 25 color and, 94, 107, 107, 116–117, 122, 122 Lindisfarne Gospels as, 127, 127–128 dark contrasting with, 99, 99–100, 102, 102–104, 103, 208, 209 patterns in, 127, 127–128 drawing materials highlighting, 176–191 Shahnamah (Firdawsi) as, 24, 25 emphasis and focal point created using, 150–155 Les Très Riches Heures du Duc de Berry (Limbourg Brothers), fluorescent, 94, 94 451, 451 hatching and cross-hatching with, 99–100 Many Mansions (Marshall), 518, 518–519 installation art use of, 307–309 Map, The (Cassatt), 210, 210 shadows and, 87, 97, 176–191 Mapplethorpe, Robert, Lisa Lyon, 74, 74 tension between dark and, 104 Marc, Franz, Die grossen blauen Pferde (The Large Blue Horses), use of, 93–105 501, 501 value, 100, 100, 101, 104, 104–105, 105 Marey, Etienne-Jules Limbourg Brothers, Les Très Riches Heures du Duc de Berry, 451, 451 Man Walking in Black Suit with White Stripe Down Sides, Lin, Maya Ying, Vietnam Memorial, 46, 46, 109 45, 45 Lindisfarne Gospels, 127, 127–128 Movement, 45 Line Maria Edgeworth (Beard), 256–257, 257 in axonometric projections, 84, 84 Marilyn Monroe (Warhol), 219, 219 contour lines, 57, 57 Marinetti, Filippo, 502 expressive use of, 61–69 Marshall, Kerry James, Many Mansions, 518, 518–519 gender associated with, 73–74, 74 Martinez, María Montoya, Jar, 322–323, 323 implied, 58, 58 Marx, Karl, 44, 489–490 linear perspective using, 80–83 Masaccio, The Tribute Money, 452–454, 453 orientation, 70–72 Masks outlines, 57, 57 African, 11, 12–13, 13, 31, 31, 467, 467 qualities of, 58–72 Brazilian feather, 111, 111 of sight, 58 Mass, 76 varieties of, 55–58 Master of Flémalle (Robert Campin), The Annunciation from Mérode Linear perspective, 80–83 Altarpiece, 232, 232–233 Linocut, 203 Master-student relationships, 172 Lion Gate, The, Mycenae, Greece, 351 Matisse, Henri Liquid media The Green Stripe (Madame Matisse), 500, 500 pen and ink as, 182–183 Harmony in Red, 88, 88, 138 wash and brush as, 187 Venus, 188, 188 Lissitzky, El, Beat the Whites with the Red Wedge, 393, 393 Matter of Time, The (Serra), 286, 286–287 Lithography, 211–216 Maus: A Survivor’s Tale (Spiegelman), 190 Lives of the Painters (Vasari), 172–173 Mayan civilization, 464 Load-bearing construction, 351 McCain, Greg, 316 Local color, 116 McCain, Timothy, 316 Loewy, Raymond, 399 McCoy, Karen, Considering Mother’s Mantle, 313, 313 Long (Ryman), 124, 124–125 Media López Garciá, Antonio, New Refrigerator, 234, 234–235 dry, 176–182 Lorrain, Claude, A Pastoral Landscape, 476, 476 encaustic, 222–223 Lost-wax process, 298–299, 299 fresco, 223–227, 228–229 Lovell, Whitfield, Whispers from the Walls, 189, 189 gouache, 240–241 Lucas, George, Star Wars, 275 innovative drawing, 188–191 Lumière brothers, 45, 255 liquid, 182–183, 187 Luncheon on the Grass (Le Déjeuner sur l’herbe) (Manet), 43, 43–44, 490 mixed, 243–253 Luzarches, Robert de, 357 oil paint, 231–237 Lyon, Lisa, 74, 74 synthetic, 241–243 Lysippos, Apoxyomenos (The Scraper), 421, 421–422 tempera, 227, 230–231 time-based (See Computer art; Film; Video art) M watercolor, 238–240 Machu Picchu, 466, 466 Medical Student, Sailor, and five Nudes in a Bordello (Picasso), 12 Maclure, William, 376 Medici family, 452–453, 455–456, 478, 478–479 Maderno, Carlo, St. Peter’s basilica nave/facade, 471, 471 Meier, Richard, Atheneum, 376, 376 Madonna and Child Enthroned (Giotto), 227, 227, 230 Meissonier, Ernest, Memory of Civil War (The Barricades), 488, 488 Madonna and Child with St. Anne and Infant St. John the Baptist (da Vinci), Melancholy and Mystery of a Street (De Chirico), 505, 505 172, 173, 457 Memoria de Nuestra Tierra, La (Baca), 160, 160–161, 161 Madonna of the Rocks (da Vinci), 94–96, 95, 100–101 Memory of Civil War (The Barricades) (Meissonier), 488, 488 Maestà Altarpiece (Duccio), 80, 80–81 Mendieta, Ana, Silueta Works in Mexico, 14–15, 15 Magritte, René, The Treason of Images, 19, 20, 505 Meninas, Las (Velázquez), 152, 154–155, 155 Maidens and Stewards from Panathenaic Procession, 288, 288 Menzies, William Cameron, Gone with the Wind (art director), 274, 275 Malevich, Kasimir, Suprematist Painting, Black Rectangle, Blue Triangle, Méroda Altarpiece, The (Campin), 232, 232–233 29, 29–30 Mesoamerican culture, 417, 463–466. See also Mexican art/artists Man, Controller of the Universe (Rivera), 507, 507 Mesopotamian cultures, 411–412

Man Pointing (Giacometti), 58, 58 Metal art, 297–302, 341–343, 416, 427 ISBN Man Walking in Black Suit with White Stripe Down Sides (Marey), 45, 45 Metalpoint, 176–177

Man with Big Shoes, 85, 85–86 Mexican art/artists 0-558-55180-7 Manet, Edouard art history of, 417, 463–465, 506–507 Luncheon on the Grass (Le Déjeuner sur l’herbe), 43, 43–44, 490 Escamilla, Isidro, 131, 131 Olympia, 490–491, 491 Kahlo, Frida, 520, 520

546546 Index A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Orozco, José Clemente, 160, 241, 507 Motna, Erna, Bushfire and Corroboree Dreaming, 28, 28 Rivera, Diego, 160, 241, 507, 507 Moulin de la Galette, La (Renoir), 492, 492–493 Siqueiros, David Alfaro, 160, 241, 507 Movement Meyerowitz, Joel, Porch, Provincetown, 268, 268 art creating sense of, 130–140, 254, 290, 292–293 Mezzotint, 210–211 kinetic art showing, 123, 123 Michelangelo lines following/creating sense of, 56, 58 “Atlas” Slave, 291, 291 photography creating sense of, 134–135, 136–138, 254 Battle of Cascina, 458 sculpture depicting, 130–131, 290, 292–293 The Creation of Adam, 108, 108 Movement (Marey), 45 David, 49, 49, 456 Mpungi, ivory horn, 467, 467 Head of a Satyr, 100, 100 Ms. Mary Lou Furcron’s House, deserted (Buchanan), 184, 184 The Last Judgment, 468, 469 Muhammad, 435–439. See also Islam/Islamic culture The Libyan Sibyl, 228, 228–229, 229 Muhkina, Vera, Worker and Collective Farm Worker, 82, 82 Pietà, 124, 124 Mujer Pegada Series No. 2 (Neri), 125, 125 Study for the Libyan Sibyl, 228, 228 Multiculturalism, 17, 521–524 Milhazes, Beatriz, Carambola, 30, 30–31 Mummy Portrait of a Man, 222, 222–223 Miller, Frank, Batman: The Dark Knight Returns, 190 Murals, 160–161, 243, 507 Mimosoidea Suchas, Acacia (Talbot), 256, 256 Murray, Elizabeth, Just in Time, 167, 167 Minamoto no Yoritomo (Fujiwara Takanobu), 448, 448 Musée du Louvre, Paris Minetta Lane—A Ghost Story (Antin), 308, 308 architecture of, 477, 477–478 Minimalism, 513 Mona Lisa (da Vinci) in, 457 Mining the Museum (Wilson, curator), 334, 334–335, 335 Museum of Modern Art, New York City Minkisi minkonde figures, 11, 11, 14 “Organic Design in Home Furnishings” competition by, 400 Minoan culture, 418–419 Transient Rainbow (Cai Guo-Qiang) celebrating move of, 106, 106 Miracle of the Slave, The (Tintoretto), 469, 469–470 Untitled (Gonzalez-Torres) sponsored by, 158, 158 Miró, Joan, Painting, 506, 506 Muybridge, Eadweard, Annie G. Cantering, Saddled, 254, 254 Mitchell, William J., 91, 282 Mycenaean culture, 418–419 Mixed media collage as, 244–247, 252, 253 N description of, 243 Namuth, Hans, 134–135 painting toward sculpture as, 248–251 Napier, Mark, net flag, 283, 283–284 Mme. Cézanne in a Red Armchair (Cézanne), 88–90, 89 National Endowment for the Arts, 47 Moche culture, 465–466 Native American art/artists Moche Lord with a Feline, 465, 465–466 architecture, 350–351, 382–383 Modeling, 97–100, 296, 296–297 Bradley, David, 515, 515 Modern art. See also American Modernism; Postmodernism cross-cultural contact impacting, 495, 513–516 at Armory Show (1913), New York City, 44–45, 45 culture reflected in, 38–39, 39, 513–516 color use in, 112, 113, 114, 118, 118–119, 119 Durham, Jimmie, 514, 514 perspective in, 86–92 Feodorov, John, 149, 149 Mona Lisa (da Vinci), 457, 457 Great Serpent Mound earthworks, 311, 311 Mona Lisa (L.H.O.O.Q.) (Duchamp), 504, 504 Howling Wolf, 38–39, 39 Monastery of Santa Maria Delle Grazie, Milan, Italy, 81 iconographic images in, 37 Mondrian, Piet Lavadour, James, 164–165, 165 Avante-Gardes movement influence of, 392 Martinez, María Montoya, 322–323, 323 Composition II with Red, Blue, and Yellow, 509, 509–510 Nicholson, Marianne, 516, 516 Monet, Claude Quick-to-See Smith, Jaune, 57, 57, 514, 514–515 Bridge over a Pool of Water Lilies, 493, 493 Scholder, Fritz, 218, 218 Grainstack, 116, 116, 132 wood crafts of, 344, 344 Impression-Sunrise, 492, 492 Nativity (Barela), 291, 291 Le Pont de L’Europe, Gare Saint-Lazare, 6–7, 7 Naturalism, 27 The Railroad Bridge, Argenteuil, 168, 168 Ndiritu, Grace, Still Life: White Textiles, 138, 138 Water Lilies, Morning: Willows, 132, 132–133 Necklines (Simpson), 22, 22 Monk by the Sea (Friedrich), 486, 486 Negative shape, 76 Monogram (Rauschenberg), 250, 250–251, 251 Negative space, 77–78 Monotypes, 218 Neoclassicism, 481–484 Monroe County House with Yellow Datura (Buchanan), 185, 185 Neoplatonists, 455–456, 458 Mont Sainte-Victoire and the Viaduct of the Arc River Valley (Cézanne), Neri, Manuel, Mujer Pegada Series No. 2, 125, 125 497, 497 Neshat, Shirin Monticello, 482, 482 Passage, 282, 282 Moonrise, Hernandez, New Mexico (Adams), 265, 265 Rebellious Silence from Women of Allah, 20, 21 Moorman, Charlotte, 277 net flag (Napier), 283, 283–284 Moran, Thomas, 202, 486 Nevelson, Louise, Sky Cathedral, 302, 303 More Love Hours Than Can Ever Be Repaid and The Wages of Sin (Kelley), New Refrigerator (López Garciá), 234, 234–235 339, 339–340 Newton, Isaac, 106, 107 Morimura, Yasumasu, Portrait (Twins), 521, 521 Newton’s Tones/New Stones (Cragg), 122, 122 Morisot, Berthe, Reading, 493, 493 Nezami, Khamseh, 25 Morris, William Nicholson, Marianne, Kwakwaka’wakw pictograph, 516, 516 Arts and Crafts movement involvement of, 385–388 Nigerian funerary shrine cloth, 105, 105 Sussex Rush-Seated Chairs, 386, 386 Night Café, The (van Gogh), 120, 120 The Works of Geoffrey Chaucer Newly Augmented, 387, 387 Night Chrysanthemum (Steir), 101, 101, 132 Mosaic glass bowl, 329, 329 Night Shade (Schapiro), 130, 130 Mosaics, 329, 329, 432–433, 433, 436, 437 Nighthawks (Hopper), 510, 510 Moses window, Abbey Church of Saint-Denis, 330, 330 Nike of Samothrace, 422, 422 Mosque at Córdoba, 438–439, 439 Nike relief, 420–421, 421 Motion. See Movement 19th Amendment commemorative stamp (Greiman), 404, 404–405

0-558-55180-7 Motion pictures/movies. See Film; Video art 99 Cent (Gursky), 270, 270 ISBN Index 547 A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Nishiki-e calendars, 196, 196 plein-air, 116 Nkisi nkonde figures, 11, 11, 14 politics and, 152, 158, 160–161, 506–508 No. 29, 1950 (Pollock), 134, 135, 152 repetition and rhythm in, 162–164 No Sign of the World (Ritchie), 66 space in (See Space) Nobler, Jean, 22 still life, 55–56, 138, 150, 223, 233–234, 496–497 Nocturne in Black and Gold, The Falling Rocket (Whistler), 493–494, 494 synthetic media, 241–243 Nolde, Emile tempera, 227, 230–231 expressionism by, 500 texture in, 124–127 Prophet, 195, 195–196 time and motion depicted in, 130–135 Nonrepresentational art, 26, 29–31 toward sculpture (mixed media), 248–251 Noon-Day Rest in Marble Canyon from Exploration of the Colorado River unity and variety in, 164–167 of the West (Powell), 202, 202 vanitas, 234–235 Nouvel, Jean, Torre Agbar, 371, 371 wall, 170–171, 408–409, 516, 516 (See also Murals) Nude Descending a Staircase (Duchamp), 44–45, 45, 503 watercolor, 238–240 Numbers in Color (Johns), 65, 65 Painting (Miró), 506, 506 Nuremberg Chronicle, The: View of Venice, 194, 194 Pakistani artists: Sikander, Shahzia, 522, 522 Nu-Wa (creation goddess), 67 Palette of King Narmer, 414, 414 Pantheon, 356, 356 Papageorge, Georgia, Africa Rifting: Lines of Fire: Namibia/Brazil, 524, 524 O Paper, 171–172, 194, 199 Oak Armchair for the Casa Calvet (Gaudí), 344, 344–345 Papyrus, 171 Oblique perspective, 84 Parchment, 171 O’Connor, John, 42 Park, The (Simpson), 22–23, 23 Odalisk (Rauschenberg), 512, 512 Parker, Charlie, 37 Odalisque (Delacroix), 483, 483–484 Parlange Plantation, Louisiana, 361, 361 Office for Metropolitan Architecture (OMA), 370, 371 Parsifal 1 (Kiefer), 152, 152 Ofili, Chris, The Holy Virgin Mary, 42, 42 Parthenon, Athens, 159, 159, 288, 420, 420 Oil painting, 231–237 Passage (Neshat), 282, 282 Oilstick, 182, 184–185 Passing, The (Viola), 279 O’Keeffe, Georgia Passlof, Pat, Dancing Shoes, 235, 235 Banana Flower, 177, 177 Pastel, 180–181, 184–185 Purple Hills Near Abiquiu, 510, 510 Pastoral Landscape, A (Claude Lorrain), 476, 476 Old St. Peter’s Basilica, Rome, 360, 360–361 Pat (Ahearn and Torres), 5, 5 Oldenburg, Claes Pattern, 128–130, 336–337, 340. See also Repetition and rhythm Pop art by, 512 Patterson, Patricia Spoonbridge and Cherry, 156, 157 Cóilin and Patricia, 249, 249 Olmec culture, 417 The Kitchen, 249, 249 Olmsted, Frederick Law, 2, 376–378 Pavillon de l’Esprit Nouveau (Le Corbusier), 392, 392 Olympia (Manet), 490–491, 491 Paxton, Joseph, Crystal Palace, London, 384, 385, 385 One-point linear perspective, 80, 80 Peacock Vase (Tiffany), 389, 389–390 Onion Feelie (Cabat), 326, 326 Pen and ink, 182–183 Open Door, The (Talbot), 258, 258–259 Pencil (graphite), 178–179 Open Score (Rauschenberg), 278, 278 Perceptual color, 116 Opera del Duomo, 49 Performance art Optical painting, 133 as living sculpture, 313–319 Orange Crush (Poons), 152, 153 political statements through, 50, 52–54, 319 “Organic Design in Home Furnishings” competition, 400 video art as, 277, 277–278, 278 Orozco, José Clemente, 160, 241, 507 Perrault, Charles, 477 O’Sullivan, Timothy, Harvest of Death, Gettysburg, Pa., 260, 260, 264 Persepolis (Satrapi), 190, 190 Otis House, Boston (Bulfinch), 361, 361 Persian art/artists. See Iranian art/artists Out of Bounds (Hammons), 192, 192 Persistence of Memory, The (Dali), 505, 505 Outlines, 57, 57 Perspective Overhead perspective, 87, 87 of artists, 3–15, 18 Owen, Robert, 376 atmospheric (aerial), 94–96, 95, 96 Oxus treasure, 341 distortions of space and, 85, 85–86 foreshortening, 86, 86 P linear, 80–83 Paestum (Brooke), 182, 182 modern, 86–92 Paik, Nam June oblique, 84 TV Bra for Living Sculpture, 277, 277 overhead, 87, 87 Video Flag, 276, 276 realistic, 26–27, 488–491 Painting subjective, 27 balance in, 144–148 of viewers, 15–17 cave, 170–171, 408–409 Petrarch, 452 color in (See Color) Petroglyph Park (Quick-to-See Smith), 514, 514–515 drawing as preparation for (See Drawing) Pettway, Arlonzia, 336 emphasis and focal point in, 150–155 Pettway, Jessie T., Bars and String-Pieced Columns, 336, 336 encaustic, 222–223 Philip IV, King of Spain (Velázquez), 154, 154 fresco, 223–227, 228–229 Photography. See also Film; Video art gouache, 240–241 chronophotographs, 45, 45

history of, 220–222 color, 268–269 ISBN light in (See Light) digital, 270

line in (See Line) extreme close-ups in, 87, 87 0-558-55180-7 mixed media, 243–253 form and content of, 260–264 oil, 231–237 history of, 254–260 optical, 133 manipulation of, 264–267

548548 Index A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Mapplethorpe, 74, 74 Post-and-lintel construction, 351–353 overhead perspective in, 87, 87 Poster for Delftsche Slaolie (Toorop), 390, 390 radical cropping in, 87, 87 Post-Impressionism, 496–497 space created by, 85, 85 Postmodernism, 166–167, 402–406, 513–524 texture in, 127, 127 Pottery, 409–410. See also Ceramic art time and motion in, 134–135, 136–138, 254 Poussin, Nicolas, Landscape with St. John on Patmos, 478, 478–479 unity and variety in, 165, 165 Powell, J. W., Noon-Day Rest in Marble Canyon from Exploration of the Piano, Renzo, Jean-Marie Tjibaou Cultural Center, 9, 9, 374 Colorado River of the West, 202, 202 Picasso, Pablo Power, Cyril E., The Tube Train, 203, 203 Avante-Gardes movement influence of, 392 Pozzo, Fra Andrea, The Glorification of Saint Ignatius, 226, 227 collage by, 244 Praxiteles, Hermes and Dionysos, 293, 293 Cubism by, 499–500 Premier Disque (Delaunay), 112, 114, 114 Les Demoiselles d’Avignon, 10–13, 13, 498 Primary colors, 106–107 Guernica, 508, 508–509 Primavera (Botticelli), 230, 230 Medical Student, Sailor, and Five Nudes in a Bordello, 12 Principles of design. See Design, principles of representations of women by, 10, 10–13, 12, 13 Printmaking Seated Bather by the Sea, 10, 10–11 history of, 193–195 Pico della Mirandola, Giovanni, 452 intaglio processes of, 204–211 Piero della Francesca, The Flagellation of Christ, 454, 454–455 lithography as, 211–216 Pietà (Michelangelo), 124, 124 monotypes as, 218 Pink Chrysanthemum (Steir), 101, 101, 132 print, defined, 194 Pittura, La, 220–221 relief processes of, 195–203 Place de L’Europe on a Rainy Day (Caillebotte), 83, 83, 491 silkscreen printing as, 216–217 Plate, Ming Dynasty, 326, 326 Prismes Electriques (Delaunay), 112, 114, 114 Plato, 420, 455–456, 458, 459 Problème d’eau. Où trouver l’eau? (The Water Problem. Where to find PlayPump (Stuiver and Field), 406–407, 407 water?) (Samba), 519, 519 Plaza Las Fuentes (Kozloff), 327, 327–328 Prophet (Nolde), 195, 195–196 Pleasure Pillars (Sikander), 522, 522 Proportion, 156–161 Pleasure Point (Rubins), 306, 306–307 Proust, Antonin, 491 Plein-air painting, 116 P.S. 1 gallery, 40 Plowing in the Nivernais (Bonheur), 490, 490 Psycho (Hitchcock), 273, 273 Poet Bi Bo Walking and Chanting a Poem, Southern Song Dynasty, The Public, the. See Viewers (Liang Kai), 187, 187 Public art Poet on a Mountaintop (Shen Zhou), 461, 461–462 murals as, 160–161, 243, 507 Poetry, 20, 25, 447 political statements through, 47–54, 82, 160–161, 507 Pointillism, 112, 113, 118, 118–119, 119 reception of, 47–53 Polish artists: Abakanowicz, Magdalena, 340, 340 scale and proportion in, 156–158, 160–161 Politics. See also Social commentary sculptures as, 47, 48, 48–49, 49, 156, 156–158, 157, 158 African-American art commentary on, 17, 17, 18, 18, 517, 517–519, Public Figures (Suh), 156, 156 518 Pugin, A. W. N., 385 collage as commentary on, 244, 246–247 Purple Hills Near Abiquiu (O’Keeffe), 510, 510 computer art reflecting, 283–284 Puryear, Martin drawings depicting, 190–191 “Bench,” 345, 345 feminist art expressing, 519–521 Ladder for Booker T. Washington, 346, 346 murals expressing, 160–161, 507 Self, 76, 76 painting and, 152, 158, 160–161, 506–508 Pyramid of the Amphora (Voulkos), 325, 325 performance art expressing, 50, 52–54, 319 Pyramids of Menkaure, Khafre, and Khufu, 348 post-9/11, 522–524 public art expressing, 47–54, 82, 160–161, 507 video art as commentary on, 282 Q Quarton, Enguerrand, Coronation of the Virgin, 144, 144 Pollaiuolo, Youth Drawing, 171, 171 Queen Nefertiti bust, 415, 415 Pollock, Jackson Queen’s Ware kitchenware (Wedgwood), 321, 321 Abstract Expressionism of, 511 Quick-to-See Smith, Jaune Autumn Rhythm, 134, 134 House, 57, 57 No. 29, 1950, 134, 135, 152 Petroglyph Park, 514, 514–515 performance art happenings inspired by, 313–314 Quilts, 336–337 technique of, 132, 134–135 Pollock and Tureen (Lawler), 165, 165 Polo, Marco, 460 R Polykleitos, Doryphoros, 158, 158–159, 424 Race Riot (Warhol), 18, 18 Pont de L’Europe, Gare Saint-Lazare, Le (Monet), 6–7, 7 “Race”ing Sideways (Buglaj), 104, 104 Pont du Gard, Nîmes, France, 354, 354 Radial balance, 149, 149 Pontormo, Jacopo da, The Visitation, 280–281, 281 Radical cropping, 87, 87 Poons, Larry, Orange Crush, 152, 153 Rae, Fiona, I’m Learning to Fly!, 522, 522 Pop art, 512–513 Raft of the Medusa, The (Géricault), 485, 485 Porcelain, 326, 480. See also Ceramic art Rage and Depression (Wegman), 278, 278–279 Porch, Provincetown (Meyerowitz), 268, 268 Railroad Bridge, Argenteuil, The (Monet), 168, 168 Port Authority Trans Hudson (PATH) station (Calatrava), 382, 382 Raimondi, Marcantonio, The Judgment of Paris, 44, 44, 205 Portrait of a Boy, 423, 423 Rain, Steam, and Speed—The Great Western Railway (Turner), 96, 96 Portrait of Queen Mariana (Velázquez), 154, 154 Rape of the Sabine Women, The (Bologna), 290, 290 Portrait of Thomas Carlyle (Cameron), 259, 259 Raphael Portrait (Twins) (Morimura), 521, 521 The Alba Madonna, 174–175, 175 Portraiture, 5–6, 257 The Judgment of Paris, 44 Poseidon (or Zeus) Greek bronze, 74, 74 Saint Paul Rending His Garments, 176, 176–177 Positive shape, 76 The School of Athens, 458, 458–459

0-558-55180-7 Post-9/11 politics, 522–524 Studies for The Alba Madonna, 174 ISBN Index 549 A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Rauschenberg, Robert Rivera, Diego Accident, 216, 216 Man, Controller of the Universe, 507, 507 Monogram, 250, 250–251, 251 murals by, 160 Odalisk, 512, 512 synthetic media experimentation by, 241 Open Score, 278, 278 Rivers and Tides (Goldsworthy) 56 on photography, 255 Riverside, Illinois, 378, 378 Reading (Morisot), 493, 493 Rivière, Georges, 493 Realism, 26–27, 488–491 Road systems, 378, 379 Rebellious Silence, from Women of Allah (Neshat), 20, 21 Roadside Store between Tuscaloosa and Greensboro, Alabama Recession, 80 (Evans), 255, 256 Red and Blue Chair (Rietveld), 392, 392–393, 393 Robert, Jean, Swatch watches, 403, 403 Red House, The (Webb), 385, 385 Robie House (Wright), 364, 364 Reid, Laurie, Ruby Dew (Pink Melon Joy), 240, 240 Rock art, 28, 170, 170–171. See also Cave painting Reims Cathedral, 444, 445, 445 Rockefeller, Nelson A., 507 Relic 12 (Hung Liu), 66–67, 67 Rocky Mountains, The (Bierstadt), 26, 26–27 Relief processes Rococo art, 479–480 linocut as, 203 Rodchenko, Alexander, L’Art Décoratif, Moscow-Paris, 394, 394 in sculpture, 287–289 Rodin, Auguste wood engraving as, 201–202 The Burghers of Calais, 300, 300–301, 302 woodcut as, 195–201 The Gates of Hell, 162–164, 163 Religion. See also Spiritual forces Thinker, 163 Aboriginal (Dreaming), 28 The Three Shades, 163, 163–164 African, 438, 449–450 Roman art art giving form to, 11, 14–15 architecture of, 354–358, 425–426 art history and, 416, 429, 430–450, 452–460, 462–463, 469–474 art history of, 423–427 art reflecting conflict with, 42 sculpture as, 423, 423–425, 425 Buddhist (See Buddhism) Romanesque art, 441–442 Christian (See Christian religion) Romantic, use of term, 72 Egyptian, 413–415 Romanticism, 72, 484–487 Greek, 420 Room for St. John of the Cross (Viola), 140, 140 Hinduism, 416, 446 Roosevelt, Teddy, 44 Islamic (See Islam/Islamic culture) Rose window, Chartres Cathedral, 149, 149 Mesopotamian, 411–412 Rossetti, Dante Gabriel, Sofa, 386, 386 sculpture uniting material and spiritual, 291–292, 302–303 Rothko, Mark, Four Darks in Red, 511, 511–512 Shintoism, 448 Rotunda Chandelier (Chihuly), 330–331, 331 tolerance for, 5 Rubens, Peter Paul, The Disembarkation of Marie de’ Medici at the Port of on word/image relationship, 20, 25 Marseilles on November 3, 478, 478–479 Rembrandt van Rijn Rubin vase, 76, 76 The Angel Appearing to the Shepherds, 208, 209 Rubins, Nancy, Pleasure Point, 306, 306–307 Resurrection of Christ, 474, 474 Ruby Dew (Pink Melon Joy) (Reid), 240, 240 A Sleeping Woman, 187, 187 Rue Transnonain (Daumier), 212, 212 The Three Crosses, 60, 60 Rumal (embroidered), 333, 333 Renaissance art Rupert, Prince, The Standard Bearer, 210, 210 chiaroscuro technique in, 97, 97–99, 98 Ruskin, John, 385, 494 drawing as foundation of, 172 Russell, John, 62 drawing materials used in, 182–183 Russian artists early Renaissance, 452–455 Bulatov, Eric, 82, 82 Gothic versus, 451–452 Eisenstein, Sergei, 272, 272 high Renaissance, 455–460 Kandinsky, Wassily, 121, 121, 500–501, 501 Renoir, Auguste, La Moulin de la Galette, 492, 492–493 Lissitzky, El, 393, 393 Repetition and rhythm, 162–164, 336–337, 340. See also Pattern Malevich, Kasimir, 29, 29–30 Representational art Muhkina, Vera, 82, 82 abstract art as, 28 Rodchenko, Alexander, 394, 394 color in, 116–117 Russolo, Luigi, 502 definition of, 26 Ryman, Robert, Long, 124, 124–125 naturalism in, 27 realism in, 26–27 S word/image relationship in, 20–25 Saar, Alison, Inheritance, 517, 517–518 Resnick, Milton, U + Me, 236, 236–237, 237 Saar, Bettye, The Liberation of Aunt Jemima, 517, 517 Resurrection of Christ (Rembrandt van Rijn), 474, 474 Saar, Lezley, 517 Revelers (Euthymides), 321, 321 Saar, Richard, 518 Reverence (Sardonis), 294, 294–295, 295 Saarinen, Eero Rhythm, 162–164. See also Repetition and rhythm Tulip Pedestal Furniture, 400, 401 Richard’s Home (Buchanan), 184, 184 TWA Terminal, J.F.K. International Airport, 369, 369 Richter, Gerhard, 256 Farben (256 Colors), 112, 112 Saarinen, Eliel, 400 Rietveld, Gerrit Safdie, Moshe, Habitat, 383, 383 Red and Blue Chair, 392, 392–393, 393 Saffarzadeh, Tahereh, 20 Schröder House, 393, 393 St. Matthew from Gospel Book of Charlemagne, 441, 441 Riley, Bridget, Drift 2, 133, 133 St. Matthew from Lindisfarne Gospels, 441, 441 Ringgold, Faith Saint Paul Rending His Garments (Raphael), 176, 176–177

God Bless America, 17, 17 St. Peter’s basilica, 360, 360–361, 471, 471, 477 ISBN Tar Beach from Woman on a Bridge series, 337, 337 St. Senin, Toulouse, France, 356–357, 357

Ritchie, Matthew Salgado, Sebastião, Four Figures in the Desert, Korem, Ethiopia, 262, 0-558-55180-7 expressive use of line by, 65–66 262–263 No Sign of the World, 66 Saliera (salt cellar), Neptune (sea), and Tellus (earth) (Cellini), 341, Ritual Disc with Dragon Motif, 427 341–342

550550 Index A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Samba, Chéri Shape, 76, 162–164 Calvary, 58, 59 Shaving a Boy’s Head (Utamaro), 201, 201 Problème d’eau. Où trouver l’eau? (The Water Problem. Where Shaw, Jeffrey to find water?), 519, 519 Distributed Legible City, 92 San Carlo alle Quattro Fontane facade (Borromini), 471, 471 The Legible City, 92, 92 San Francisco Silverspot from Endangered Species series (Warhol), 219, 219 She (Simpson), 20, 20 San Vitale, Ravenna, 432, 432–433, 433 She-ba (Bearden), 110, 111 Santa Constanza, 431, 431–432 Sheeler, Charles, Criss-Crossed Conveyors—Ford Plant, 262, 262 Santa Maria Gloriosa dei Frari, Venice, 59 Shen Zhou, Poet on a Mountaintop, 461, 461–462 Sardonis, Jim, Reverence, 294, 294–295, 295 Sherman, Cindy, Untitled #96, 520, 520–521 Satrapi, Marjane, Persepolis, 190, 190 She-Wolf, 423, 423 Saturn Devouring One of His Sons (Goya), 484, 484–485 Shih Huang Ti, tomb of Emperor, 297, 297 Savonarola, 172 Shintoism, 448 Scale and proportion, 156–161 Shiva Nataraja, 446, 446 Schapiro, Miriam, Night Shade, 130, 130 Shona culture, 450 Scheeren, Ole, 371 Shonibare, Yinka, Victorian Couple, 340–341, 341 Scholder, Fritz, Dream Horse, 218, 218 Shunshuu Ejiri (Hokusai), 284, 284–285 School of Athens, The (Raphael), 458, 458–459 Side chair (Eames), 400, 400 Schröder House (Rietveld), 393, 393 Sifuentes, Roberto Scissors, 188 The Cruci-fiction Project, 50, 50 Sculpture. See also Figures The Temple of Confessions, 53, 53 as additive process, 287, 296, 296–297 Sikander, Shahzia, Pleasure Pillars, 522, 522 African, 298, 298, 302–303, 303 Silkscreen printing, 216–217 assemblage, 302–305 Silueta Works in Mexico (Mendieta), 14–15, 15 carving, 291–295 Simon, John F. casting, 297–302 Every Icon, 283 Chinese, 288–289, 289, 297, 297, 318–319, 319 Unfolding Object, 283, 283 earthworks, 310–313 Simpson, Lorna Egyptian, 287, 287–288, 292, 292 Necklines, 22, 22 environments, 290 The Park, 22–23, 23 Greek, 288, 288, 292, 292–293, 293, 298–299, 421, 421–422, 422 representation in work of, 20, 22–23 history of, 286–290 She, 20, 20 installation, 306–309 Simultaneous contrast, 111 in-the-round, 290 Since 1958 (Krue-On), 50, 51 in Mesopotamian culture, 411, 411–412, 412 Sinclair, Cameron, 406 modeling, 296, 296–297 Sinopie, 177 movement as characteristic of, 130–131, 290, 290, 292–293, 293 Siqueiros, David Alfaro painting toward (mixed media), 248–251 America Tropical, 160 performance art as living, 313–318 murals by, 507 public, 47, 47–49, 48, 49, 156, 156–158, 157, 158 synthetic media experimentation by, 241 relief, 287–289 Sirani, Elisabetta, The Holy Family with a Kneeling Monastic Saint, 183, 183 repetition and rhythm in, 162–164, 163 Sistene Chapel, Rome Roman, 423, 423–425, 425 The Creation of Adam (Michelangelo) in, 108 scale and proportion in, 156–158 The Last Judgment (Michelangelo) in, 468, 469 as subtractive process, 287, 291–295 The Libyan Sibyl (Michelangelo) in, 228–229, 229 texture in, 124–125 Size. See Scale and proportion time and motion depicted in, 130–131 Sketch I for Composition VII (Kandinsky), 500–501, 501 Scythed Chariot, Armored Car and Pike, A (da Vinci), 457, 457 Sky Cathedral (Nevelson), 302, 303 Seagram Building (van der Rohe and Johnson), 368, 368–369 Skyscraper Bookcase, The (Frankl), 391, 391 Searles, Charles, Filàs for Sale, 114, 115 Sleeping Venus (Giorgione), 459, 459 Seated Bather by the Sea (Picasso), 10, 10–11 Sleeping Woman, A (Rembrandt van Rijn), 187, 187 Secondary colors, 106–107 Small Wars (ambush 1) (Lé), 263, 263–264 Seeing, 16–17 Smith, Adrian, Burj Dubai, 371, 373, 373 Self (Puryear), 76, 76 Smith, Gordon, 47 Self-Portrait, Drawing (Kollwitz), 178, 178 Smithson, Robert, Spiral Jetty, 310, 310–311, 311 Self-Portrait as the Allegory of Painting (Gentileschi), 221, 221, 253 Snow Storm: Steamboat off a Harbor’s Mouth (Turner), 205, 205 Self-Portrait (Dürer), 459–460, 460 Soami, Garden of the Dasisen-in of Daitokuji, 462, 462–463 Senefelder, Alois, 211–212 Social commentary. See also Politics Senwosret I lead by Atum to Amun-Re, 287, 287–288 African art as, 519, 524 September 11, 2001 terrorist attacks, 522–524 African-American art as, 17, 18, 517–519 Serbian artists: Abramovic, Marina, 314, 314–315, 315 collage as, 244–247, 253 Serie ELA 75/K (Plumpity . . . Plump) (Fleury), 40, 41 color creating, 104 Serigraphs, 216–217 crafts as, 332, 334–335 Serra, Richard drawings as, 190–192 The Matter of Time, 286, 286–287 feminist art as, 519–521 Tilted Arc, 48, 48 murals as, 160–161, 243, 507 Sesshu Toyo, Haboku Landscape for Soen, 27, 27 museum exhibition design as, 334–335 Seurat, Georges performance art as, 50, 52–54, 314–319 The Bathers, 496, 496 perspective influencing reception of, 3, 5–7, 16–17, 18 Café Concert, 178–179, 179 photography as, 262–263 La Chahut (The Can-Can), 112, 113, 496 printmaking reflecting, 212, 214–215, 219 color use by, 112, 113, 116–117 public art as, 47–54, 82, 160–161, 243, 507 Seven Valleys and the Five Valleys, The (Lavadour), 164–165, 165 Realism as, 488–491 Severini, Gino, 502 vanitas painting as, 234–235 Shadows, 87, 97, 176–191 words and images expressing, 20–25

0-558-55180-7 Shahnamah (Firdawsi), 24, 25 Soen, Josui, 27 ISBN Index 551 A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Solodkin, Judith, 215 Study for Collage “Cut with the Kitchen Knife Dada through the Last Weimar Sower, The (van Gogh), 62, 62–63, 63 Beer Belly Cultural Epoch of Germany” (Höch), 246 Space Study for In the Loge (Cassatt), 102 in computer art, 90–92 Study for the Death of Sardanapalus (Delacroix), 71–72, 72 distortions of, 85–86 Study for the Death of Socrates (David), 71 light creating, 93–105 Study for the Libyan Sibyl (Michelangelo), 228, 228 mixed media redefining, 248–251 Study of Human Proportion: The Vitruvian Man (da Vinci), 141, 141 negative, 77–78 Stuiver, Ronnie, PlayPump, 406–407, 407 oblique projection representing, 84 Subject matter, 20, 22–23, 32 three-dimensional, 76–86, 177, 248–251 Sublime, 26, 485–487 two-dimensional, 76 Subtractive process, 107, 107, 287, 291–295 in virtual realities, 92 Suburban development, 377–378 Spanish artists Sudden Gust of Wind, A (Wall), 284–285, 285 Benito, Edouardo Garcia, 391, 391 Suger, Abbott, 32–33, 330, 443 Calatrava, Santiago, 370, 370, 382, 382 Suh, Do-Ho, Public Figures, 156, 156 Dali, Salvadore, 505, 505 Sullivan, Louis El Greco, 470, 470 architecture of, 362–363, 363, 364 Gaudí, Antoni, 344, 344–345 Bayard (Condict) Building, 363, 363 Goya y Lucientes, Francisco de, 484, 484–485 Sultan, Donald, Lemons, May 16, 1984, 75, 76 Gris, Juan, 244, 244 Sun Tunnels (Holt), 312, 312 López Garciá, Antonio, 234, 234–235 Suney (Eliasson), 78, 78 Miró, Joan, 506, 506 Suprematist Painting, Black Rectangle, Blue Triangle (Malevich), 29, 29–30 Picasso, Pablo, 10, 10–13, 12, 13, 244, 392, 498, 499–500, 508, Surrealism, 505–506 508–509 Sussex Rush-Seated Chairs (Morris), 386, 386 Velázquez, Diego, 152, 154, 154–155, 155 Swamp Ritual (Connell), 304–305, 305 Spectrum, 106–107, 107 Swatch watches (Robert and Durrer), 403, 403 Spencer Museum of Art, University of Kansas, Howl (Jiménez) in, 302 Swiss artists Spiegelman, Art, Maus: A Survivor’s Tale, 190 Birchler, Alexander, 138–139, 139 Spiral Jetty (Smithson), 310, 310–311, 311 Durrer, Käti, 403, 403 Spiritual forces. See also Religion Fischli, Peter, 279, 279 art giving form to, 11, 14 Fleury, Sylvie, 40, 41 Egyptian, 413–415 Giacometti, Alberto, 58, 58 Greek, 420 Kauffman, Angelica, 481, 481 Mesopotamian, 411–412 Robert, Jean, 403, 403 sculpture uniting material and, 291–292, 302–303 Weiss, David, 279, 279 sublime capturing sense of, 26, 486–487 Symbol Sourcebook: An Authoritative Guide to International Graphic S.P.I.T. (Saliva and Paper Instigating Trauma) (Dube), 342, 342 Symbols (Dreyfuss), 37 Spoonbridge and Cherry (Oldenburg and van Bruggen), 156, 157 Symbolic use of color, 120–121 Springs Upstate (King), 248, 248–249 Symmetrical balance, 143–144 Spruce Tree House, 350, 350 Synthetic media, 241–243 Stained-glass art, 32, 149, 149, 329–330, 389, 389 Stairwell (Dickson), 211, 211 Standard Bearer, The (Rupert), 210, 210 T Stanley (large version) (Close), 118, 118–119, 119 Table, The (Gris), 244, 244 Star Wars (Lucas), 275 Taj Mahal, 143, 143–144 Starry Night, The (van Gogh), 61, 61, 64 Talbot, William Henry Fox Staubsauger, Champion vacuum cleaner, 399, 399 Mimosoidea Suchas, Acacia, 256, 256 Steel-and-reinforced-concrete construction, 362–373 The Open Door, 258, 258–259 Steerage, The (Stieglitz), 260–261, 261 Tamarind Lithography Workshop, 212–213, 214 Steir, Pat Tar Beach from Woman on a Bridge series (Ringgold), 337, 337 Drawing Lesson, Part I, Line #1, 60, 60 Taylor, John, Treaty Signing at Medicine Creek Lodge, 38, 38–39 Drawing Lesson, Part I, Line #5, 61, 61 Tea Bowl Named Amagumo (Koetsu), 322, 322 Night Chrysanthemum, 101, 101, 132 Tempera, 227, 230–231 Pink Chrysanthemum, 101, 101, 132 Temperature, 109, 111 Stele of Hammurabi, 412, 412 Temple of Confessions, The (Gómez-Peña and Sifuentes), 53, 53 Stella, Frank, Empress of India, 513, 513 Temples of Hera at Pasteum, Italy, 182, 352, 352 Stellar Roil, Stellar Winds (Wayne), 214, 214 Tenebrism, 97–99 Stereoscope, 85 Tension. See also Conflict Stickley, Gustav art depicting, 10–13 The Craftsman magazine, 362 color creating, 111 Settee, 388, 388 between light and dark, 104 Stieglitz, Alfred, The Steerage, 260–261, 261 between natural world and civilization, 312–313, 376 Still life paintings, 55–56, 138, 150, 223, 233–234, 496–497 variety creating, 165 Still Life: White Textiles (Ndiritu), 138, 138 Teotihuacán civilization, 463–464 Still Life with Cherries and Peaches (Cézanne), 496–497, 497 Terrace at Vernon, The (Bonnard), 117, 117 Still Life with Eggs and Thrushes, from Villa of Julia Felix, 223, 223 Textiles, 105, 129–130, 138. See also Clothing; Fiber art Still Life with Lobster (de Heem), 233, 233–234 Texture, 124–127 Still Life with Lobster (Vallayer-Coster), 150, 150 Thai artists: Krue-On, Sakarin, 50, 51 Stohr, Kate, 406 Theodora and Her Attendants, 432, 433 Stonehenge, 410, 410–411 Thinker (Rodin), 163, 163

Stoneware, 326 This is Me, This is You (Horn), 136, 136–138, 137 ISBN Strach, Chris, 402 Three Crosses, The (Rembrandt van Rijn), 60, 60

Strand, Paul, Abstraction, Porch Shadows, 87, 87, 261 Three Flags (Johns), 16, 16–17, 223 0-558-55180-7 Streamlining movement, 396–399 Three Fujins (Hung Liu), 68–69, 69 Studies for the Alba Madonna (Raphael), 174 Three Goddesses, 293 Study for a Sleeve (da Vinci), 173, 173 Three Shades, The (Rodin), 163, 163–164

552552 Index A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Three-dimensional space, 76–86, 80–83, 177, 248–251 Untitled (Krasner), 509, 509 Tiepolo, Giovanni Battista, The Adoration of the Magi, 186, 187 Untitled (Uelsmann), 266, 266–267, 267 Tiffany, Louis Comfort Untitled (Voulkos), 324, 324 Peacock Vase, 389, 389–390 untitled (in honor of Harold Joachim) (Flavin), 94, 94 water-lily table lamp, 389, 389 Untitled (Ocean) (Celmins), 179, 179 Tile mosaic, mihrab, 436, 437 Untitled (Shirts 2) (Brauntuch), 523, 523 Tilted Arc (Serra), 48, 48 Untitled (We won’t play nature to your culture) (Kruger), 520, 521 Time, sense of, 134–135, 136–138, 254 Untitled #96 (Sherman), 520, 520–521 Time-based media. See Computer art; Film; Video art Utamaro, Kitagawa Tintoretto, The Miracle of the Slave, 469, 469–470 The Fickle Type from series Ten Physiognomies of Women, 198, 198 Titian Shaving a Boy’s Head, 201, 201 Assumption and Consecration of the Virgin, 58, 59 Utamaro’s Studio, 198–199, 199 Venus of Urbino, 459, 459 Utamaro’s Studio (Utamaro), 198–199, 199 To Raise the Water Level in a Fish Pond (Zhang Huan), 318, 318 Tomaselli, Fred, Airborne Event, 252, 253 Tomkins, Calvin, 250 V Toorop, Jan, Poster for Delftsche Slaolie, 390, 390 Vallayer-Coster, Anna, Still Life with Lobster, 150, 150 “Toreador” fresco, 418, 418 Value of art Torii gates, 3, 3 monetary versus intrinsic, 40–42 Torre Agbar (Nouvel), 371, 371 public art encouraging appreciation of, 47–53 Torres, Rigoberto, Pat, 5, 5 viewers’ reception determining, 43–46 Torso of a “priest-king” from Mohenjo-daro, 416, 416 van Bruggen, Coosje, Spoonbridge and Cherry, 156, 157 Touch Sanitation (Ukeles), 380–381 van der Rohe, Ludvig Miës Trains, 397, 397–398 Farnsworth House, 368, 368 Transient Rainbow (Cai Guo-Qiang), 106, 106 Seagram Building, 368, 368–369 Treason of Images, The (Magritte), 19, 20, 505 van der Weyden, Rogier, Deposition, 454, 454–455 Treaty Signing at Medicine Creek Lodge (Howling Wolf), 38–39, 39 van Doesburg, Theo, Color Construction, 84 Treaty Signing at Medicine Creek Lodge (Taylor), 38–39, 39 van Eesteren, Cornelius, Color Construction, 84 Très Riches Heures du Duc de Berry, Les (Limbourg Brothers), van Eyck, Jan 451, 451 The Ghent Altarpiece, 14, 14, 15, 25 Tribute Money, The (Masaccio), 452–454, 453 Giovanni Arnolfini and His Wife Giovanna Cenami, Triumphal Entry (Firdawsi), 24 34, 35 Tube Train, The (Power), 203, 203 God panel, from The Ghent Altarpiece, 14, 14 Tuckerman, H. T., Book of the Artists, 26–27 van Gogh letter to Russell in, 62 Tulip Pedestal Furniture (Saarinen), 400, 401 Violin and Palette (Braque) in, 499 Turner, J. M. W. van Gogh, Vincent Rain, Steam, and Speed—The Great Western Railway, 96, 96 expressive use of line by, 61, 61–64, 62, 63 Snow Storm: Steamboat off a Harbor’s Mouth, 205, 205 Japonaiserie: The Courtesan (after Kesai Eisen), 200, 200–201 Turning Torso Residential Tower (Calatrava), 370, 370 letter to Russell, 62 Turrell, James, A Frontal Passage from Wedgework, 308–309, 309 The Night Café, 120, 120 Tutankhamun Hunting Ostriches from His Chariot, 341, 341 The Sower, 62, 62–63, 63 TV Bra for Living Sculpture (Paik), 277, 277 The Starry Night, 61, 61, 64 TWA Terminal, J.F.K. International Airport (Saarinen), van Ruisdael, Jacob, View of Haarlem from the Dunes at Overveen, 476, 369, 369 476 Twentieth and twenty-first century art history, 498–525 Vanishing point, 80–83 24 Hour Psycho (Gordon), 273, 273 Vanitas painting, 234–235 Two Courtesans, Inside and Outside the Display Window (Harunobu), Vantage point, 80 196, 196–197 Variability and Repetition of Similar Forms II (Graves), 301, 301–302 Two Figures (Hepworth), 76–77, 77 Vasari, Giorgio 256 Farben (256 Colors) (Richter), 112, 112 The Art of Painting, 220 Two Undiscovered Amerindians Visit London (Gómez-Peña and Fusco), Lives of the Painters, 172–173 52, 52–53 Vaults, 356–358, 443–444 Two-dimensional space, 76 Vaux, Calvert, 2, 376–378 Two-point linear perspective, 82, 82 Vauxcelles, Louis, 499 Typography, 387, 394–395 Velázquez, Diego Las Meninas, 152, 154–155, 155 Philip IV, King of Spain, 154, 154 U Portrait of Queen Mariana, 154, 154 U + Me (Resnick), 236, 236–237, 237 Venturi, Robert, Learning from Las Vegas, 166 Uelsmann, Jerry, Untitled, 266, 266–267, 267 Venus, Cupid, Folly and Time (The Exposure of Luxury) (Bronzino), 470, Ukeles, Mierle Laderman 470 Fresh Kills Landfill, 379, 380, 381, 381 Venus (Matisse), 188, 188 I Make Maintenance Art One Hour Every Day, 380 Venus of Urbino (Titian), 459, 459 Manifesto for Maintenance Art, 380 Venus of Willendorf, 409, 409 Touch Sanitation, 380–381 Vermeer, Jan Wash, 380 The Allegory of Painting, 169, 169 Ulay (Uwe Laysiepen), Imponderabilia, 314, 314–315 Woman Holding a Balance, 146, 147 Umbehr, Otto, Weird Street, 87, 87 Victorian Couple (Shonibare), 340–341, 341 Unfolding Object (Simon), 283, 283 Video art, 138–140, 276–282. See also Film; Photography Unique Forms of Continuity in Space (Boccioni), 502, 502–503 Video Flag (Paik), 276, 276 Unity and variety, 164–167 Vietnam Memorial (Lin), 46, 46, 109 Untitled (Ali), 164, 164 Vietnamese artists: Lé, An-My, 263, 263–264 Untitled (Basquiat), 40 View of Haarlem from the Dunes at Overveen (van Ruisdael), Untitled (Calder), 123, 123, 506 476, 476 Untitled (Gober), 304, 304 View of Mulberry House and Street (Coram), 349, 349

0-558-55180-7 Untitled (Gonzalez-Torres), 158, 158 View of Suzhou, Showing the Gate of Changmen, 481, 481 ISBN Index 553 A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Viewers WEIGHING . . . and WANTING (Kentridge), 190–191, 191 art appreciation by, 3 Weird Street (Umbehr), 87, 87 as critical thinkers, 18 Weiss, David, The Way Things Go, 279, 279 of The Gates, 2–3, 4 Welles, Orson, 274, 274 Japanese, 3 Whaam! (Lichtenstein), 512–513, 513 perspective/views of, 15–17 Whisper, the Waves, the Wind (Lacy), 54, 54 reception of art by, 43–53 Whispers from the Walls (Lovell), 189, 189 vantage point of, 80 Whistler, James McNeill, Nocturne in Black and Gold, The Falling Rocket, visual literacy of (See Visual literacy) 493–494, 494 Vigée-Lebrun, Marie-Louis-Elisabeth, The Duchess of Polignac, 480, 480 Wills-Wright, Tom, Burj Al-Arab, 373, 373 Villa Savoye (Le Corbusier and Jeanneret), 365, 368 Wilson, Fred Viola, Bill Drip Drop Plop, 332, 332 The Greeting, 280–281, 281 Mining the Museum (exhibition design), 334, 334–335, 335 Hatsu-Yume (First Dream), 279 Wilson, Mollie, Kwakwaka’wakw pictograph, 516, 516 I Do Not Know What It Is I Am Like, 279 Wilson, Ted, 104 The Passing, 279 Winters, Terry, Color and Information, 90, 90–91 Room for St. John of the Cross, 140, 140 Wodiczko, Krzysztof, Homeless Vehicle, 51, 51 Violin and Palette (Braque), 499, 499 Woman and Bicycle (de Kooning), 511, 511 Virgin of Guadalupe (Escamilla), 131, 131 Woman Holding a Balance (Vermeer), 146, 147 Virgin/Vessel (Hung Liu), 68, 68 Women Virtual realities, 92 African, 303 Visitation, The (Pontormo), 280–281, 281 Cassatt portrayal of, 181, 181 Visiting (Kayoi) from series Seven Komachi in Fashionable Disguise Chinese, 66–69, 67, 68, 69 (Harunobu), 197, 197 crafts/folk art by, 129–130, 327–329, 336–337 Visual literacy feminist art by, 519–521 developing, 19–39 Iranian, 190 on iconography, 32–37 Japanese, 196–199 on meaning and culture, 31–37 line associated with, 73–74, 74 on meaning of nonrepresentational art, 29–31 as mothers, 181, 209, 303 terminology used in, 26–28 photographic images of, 20, 20, 21, 22, 22, 269, 269 words and images in, 20–25 Picasso’s portrayal of, 10, 10–13, 12, 13 Visual processing, 16 public art as commentary on issues facing, 54 Visual record, art as, 5–7 representations of, 20, 20, 21, 22, 22 Visual texture, 126–127 wunkirles/generosity of, 77–78 Vogue magazine cover (Benito), 391, 391 Women artists Voulkos, Peter Abakanowicz, Magdalena, 340, 340 Pyramid of the Amphora, 325, 325 Abramovic, Marina, 314, 314–315, 315 Untitled, 324, 324 Albers, Anni, 336, 336, 340 X-Neck, 324–325, 325 Ali, Laylah, 164, 164 Allora, Jennifer, 523, 523 Antin, Eleanor, 308, 308 W Applebroog, Ida, 148, 148 Walker, Kara, Insurrection! (Our Tools Were Rudimentary, Yet We Pressed Baca, Judith, 158, 160, 160–161, 161, 243, 243 On), 307, 307 Bonheur, Rosa, 490, 490 Walking on the Wall (Brown), 277, 277 Brooke, Sandy, 182, 182 Wall, Jeff, A Sudden Gust of Wind, 284–285, 285 Brown, Tricia, 277, 277 Wall, Nassau, A (Homer), 239, 239 Buchanan, Beverly, 184, 184–185, 185 Wall Drawing No. 681C (LeWitt), 64, 64–65 Cabat, Rose, 326, 326 Wall Hanging (Albers), 336, 336 Cameron, Julia Margaret, 259, 259 Wall painting, 170–171, 408–409, 516, 516. See also Murals Cassatt, Mary, 99, 99–100, 102, 102–103, 103, 181, 181, 201, 201, Warhol, Andy 210, 210 Marilyn Monroe, 219, 219 Celmins, Vija, 179, 179 Pop art by, 512 Chicago, Judy, 328, 328–329 Race Riot, 18, 18 Connell, Clyde, 304–305, 305 San Francisco Silverspot from Endangered Species series, 219, 219 de Kooning, Elaine, 213, 213 Warrior Vase, The, 418, 419 Delaunay, Sonia, 112, 114, 114 Wash and brush, 187 Dickson, Jane, 211, 211 Wash (Ukeles), 380 Durrer, Käti, 403, 403 Water Lilies, Morning: Willows (Monet), 132, 132–133 Eames, Ray, 400, 400 Watercolor, 238–240 Ewing, Susan, 342, 342 Water-lily table lamp (Tiffany), 389, 389 Flanagan, Mary, 91, 91 Way Things Go, The (Fischli and Weiss), 279, 279 Fleury, Sylvie, 40, 41 Wayne, June Frankenthaler, Helen, 241–243, 242 Knockout, 214–215, 215 Fusco, Coco, 52, 52–53 Stellar Roil, Stellar Winds, 214, 214 Gentileschi, Artemisia, 97–99, 98, 151, 221, 221, 253, 329 Tamarind Lithography Workshop of, 212–213, 214 Graves, Nancy, 301, 301–302 Wayne, Ronald, 402 Greiman, April, 404, 404–405, 405 Weather Project, The (Eliasson), 525, 525 Hammond, Jane, 109, 109 Weaving, 332 Hepworth, Barbara, 76–77, 77 Webb, Philip, The Red House, 385, 385 Hesse, Eva, 305, 305

Wedgwood, Josiah Höch, Hannah, 246, 246, 247 ISBN Apotheosis of Homer Vase, 320, 321 Holt, Nancy, 312, 312

Queen’s Ware kitchenware, 321, 321 Hubbard, Teresa, 138–139, 139 0-558-55180-7 Wegman, William Hung Liu, 66–69, 67, 68, 69 Deodorant, 278 Jeanne-Claude, 1, 1–3, 2, 4 Rage and Depression, 278, 278–279 Kahlo, Frida, 520, 520

554554 Index A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc. Kauffman, Angelica, 481, 481 Wilson, Mollie, 516, 516 King, Marcia Gygli, 248, 248–249 Woodman, Betty, 326–327, 327 Kollwitz, Käthe, 178, 178, 209, 209 Wood crafts, 344–345 Kozloff, Joyce, 327, 327–328 Wood engraving, 201–202 Krasner, Lee, 509, 509 Woodcuts, 195–201 Kruger, Barbara, 520, 521 Wood-frame construction, 360–362 Kusama, Yayoi, 4, 4–5 Woodman, Betty, Floral Vase and Shadow, 326–327, 327 Labowitz, Leslie, 54 Words and images, relationship of, 20–25 Lacy, Suzanne, 54, 54 Worker and Collective Farm Worker (Muhkina), 82, 82 Lanfear, Marilyn, 338, 338–339 Works of Geoffrey Chaucer Newly Augmented, The (Morris), 387, 387 Lawler, Louise, 165, 165 World Trade Center, 379, 381, 382 Leibovitz, Annie, 269, 269 World War I, 503 Lin, Maya Ying, 46, 46, 109 Worshippers and deities, Abu Temple, Tell Asmar, Iraq, 411, 411–412 Martinez, María Montoya, 322–323, 323 Wright, Frank Lloyd McCoy, Karen, 313, 313 architecture of, 362, 363–364, 366–367 Mendieta, Ana, 14–15, 15 Fallingwater, Kaufmann House, 366, 366–367, 367 Milhazes, Beatriz, 30, 30–31 Robie House (Prairie House), 364, 364 Morisot, Berthe, 493, 493 table lamp, 388, 388 Muhkina, Vera, 82, 82 Wright, Russel, American Modern dinnerware, 399, 399 Murray, Elizabeth, 167, 167 Wunkirles, 77–78 Ndiritu, Grace, 138, 138 Wyeth, Andrew, Braids, 230–231, 231 Neshat, Shirin, 20, 21, 282, 282 Nevelson, Louise, 302, 303 X Nicholson, Marianne, 516, 516 X-Neck (Voulkos), 324–325, 325 O’Keeffe, Georgia, 177, 177, 510, 510 X-ray style, 170, 170–171 Papageorge, Georgia, 524, 524 Xu Wei, Grapes, 239, 239–240 Passlof, Pat, 235, 235 Patterson, Patricia, 249, 249 Pettway, Jessie T., 336, 336 Y Quick-to-See Smith, Jaune, 57, 57, 514, 514–515 Yanagi, Yukinori, America, 17, 17, 283 Rae, Fiona, 522, 522 Yin Hong, Hundreds of Birds Admiring the Peacocks, 461, 461 Reid, Laurie, 240, 240 You can buy bootleg whiskey for twenty-five cents a quart from Harlem Series Riley, Bridget, 133, 133 (Lawrence), 241, 241 Ringgold, Faith, 17, 17, 337, 337 You Who Are Getting Obliterated in the Dancing Swarm of Fireflies Rubins, Nancy, 306, 306–307 (Kusama), 4, 5 Saar, Alison, 517, 517–518 Young Mother, Daughter, and Son (Cassatt), 181, 181 Saar, Bettye, 517, 517 Youth Drawing (Pollaiuolo), 171, 171 Saar, Lezley, 517 Yu the Great Taming the Waters, 288–289, 289 Satrapi, Marjane, 190, 190 Schapiro, Miriam, 130, 130 Sherman, Cindy, 520, 520–521 Z Sikander, Shahzia, 522, 522 Zagwe culture, 449–450 Simpson, Lorna, 20, 20, 22, 22–23, 23 Zeus (or Poseidon) Greek bronze, 74, 74 Sirani, Elisabetta, 183, 183 Zhang Huan Ukeles, Mierle Laderman, 380, 380–381, 381 Berlin Buddha, 318–319, 319 Vallayer-Coster, Anna, 150, 150 To Raise the Water Level in a Fish Pond, 318, 318 Vigée-Lebrun, Marie-Louis-Elisabeth, 480, 481 Ziggurat, 349, 349, 411 Walker, Kara, 307, 307 Zola, Emile, 43, 491 Wayne, June, 212–215, 214, 215 Zone System, 264–265 0-558-55180-7 ISBN Index 555 A World of Art, Sixth Edition, by Henry M. Sayre. Published by Prentice Hall. Copyright © 2010 by Pearson Education, Inc.