- Introduction: In this section, you will summarize your proposal. Explain the contemporary social problem that you selected and discuss the relevance for today’s society on a local level. How does the issue present itself in the United States or in your local community?
- Problem Description: Determine the most influential social variables and determinants leading to the social problem. Justify your selections with research.
- Explain how the social variables and determinants influence the development of the social problem on a local level. Support your explanations with resources.
- Explain how the social variables and determinants influence the development of the social problem on a global level. Support your explanations with resources.
- Describe the differences and similarities between local and global influences of these social variables and determinants. Provide specific examples.
- Approach: In this section, you will sift through your personal biases, with the aim of limiting such biases in your later analysis.
- Describe how people talk about this social problem and how stereotypes, biases, and assumptions can confuse the issue. Support your description with resources.
- Identify and reflect on your own biases and assumptions around the issue and how these may affect your analysis of the issue. Everyone has certain preconceived notions about social issues. What are yours, and how might they influence your analysis and interpretation?
- Explain how you will use sociological theory to limit biases when you analyze the social problem. How can the theory help you limit your biases? Provide a specific example.
- Global Impact: So that the funder can understand the significance of the social problem, you will explain the local and global impacts using a sociological perspective.
- Provide an example of how the social problem manifests itself on a local as well as global scale. In what other country or countries does this problem present itself and how?
- Compare and contrast the existence of the problem locally versus globally. How is the way the problem exists locally similar to or different from the way it exists globally?
- Based on your comparison of the local and global manifestations of the social issue, what conclusions can you draw about the influence of globalization on this specific social issue? How similar or different are the social issues and their repercussions, and what does that mean in relation to the impact of globalization?
- Select a key sociological theoretical perspective that best explains why there are similarities and differences in how the social issue presents on a local and global scale, justifying your selection. Base your analysis on one of the three key sociological perspectives covered in Module Two’s journal assignment.
- Apply your selected theoretical perspective to explain why there are similarities and differences in how the social issue presents on a local and global scale.
- Potential Solution
- Compare at least one successful attempted solution with at least one attempted unsuccessful solution to the problem. From your comparison, why did the successful solution succeed, and why did the unsuccessful solution fail? Support your findings with resources from the text or your own research.
- Based on your previous research, what suggestion do you have for responding to the identified social issue? Specifically, what do you suggest as an action in responding to the social issue?
- Explain why your suggestion is likely to be successful, substantiating with research. Explain how the suggestion takes into account your previous research of attempted solutions and identified best practices.
Milestones
Milestone One: Department of Health and Human Services: Identifying the Problem
In Module Three, you will submit your first milestone in which you will submit a draft of the first three critical elements. This milestone will be graded with the Milestone One Rubric.
Milestone Two: Department of Health and Human Services: Suggesting a Solution
In Module Five, you will submit a draft of critical elements 4 and 5. This milestone will be graded with the Milestone Two Rubric.
Final Submission: Department of Health and Human Services: Proposal
In Module Seven, you will submit your final project. It should be a complete, polished artifact containing all of the critical elements of the final product. It should reflect the incorporation of feedback gained throughout the course. This submission will be graded with the Final Project Rubric.
What to Submit
Your proposal must be 4–6 pages in length and use APA formatting. Use double spacing, 12-point Times New Roman font, and one-inch margins in Microsoft Word. Include at least 3 scholarly sources cited in APA format.
Addressing the Opioid Epidemic in Local Communities
Jasmine Eaddy
SNHU
SOC 213
Prof. Grice
7/20/2024
Addressing the Opioid Epidemic in Local Communities
The US and local opioid crisis is the societal issue this proposal addresses. The opioid crisis is the rise in opioid use disorders, overdose, and deaths from heroin, prescription medications, and synthetic opioids like fentanyl (Rudd, 2020). Its effects on health, social and economic stability, and society's security make it contemporary. The opioid problem has increased addiction, overdose deaths, and health facility and police overcrowding in my neighbourhood.
Problem Description
Influential Social Variables and Determinants:
Socioeconomic position, availability and closeness to opioids, psychologic/mental health, and social environment are significant social determinants that led to opioid usage. Poverty, unemployment, and inadequate education are vulnerability factors for opioid use. Studies show that socially poor persons experience chronic pain and limited access to healthcare, which leads to opioid prescription and misuse (Dowell et al., 2022). Today's society's opiate availability and prescriptions from doctors are another cause. Self-medication and psychological problems such depression, anxiety, and PTSD are common among opiate users. Social context, such as family unfriendliness, peer influence, and other communal vices, also explains opiate abuse.
Local Influence
These social variables and determinants are analysed locally as follows. Populations with significant unemployment, job scarcity, and poverty have higher rates of substance addiction, especially opioids. Opioids are easily prescribed at neighbouring pharmacies and clinics, which has boosted addiction. It may be because mental health services are inadequate or inaccessible. Lack of social support and greater family breakdowns have also exacerbated the crisis. Policy measures in regions with strong local networks and high-quality communal programmes have reduced opioid addiction and dependence.
Global Influence
Social characteristics and determinants that drive opioid usage worldwide are similar but may vary. Fentanyl, a cheaper synthetic opioid, is illegally made and marketed in several nations, increasing its use. Poverty, lack of health care, and alcohol and drug treatment facilities are driving the global epidemic. Depression and substance use disorders, whether moderate or severe, are linked globally and affect stigmatisation and access to care (Earnshaw, 2020). In societies where mental health and substance dependency are not social vices, people can get treatment when they need it.
Local vs. Global Influences:
There are common and distinct socioeconomic elements and drivers that affect the opioid crisis locally and globally. Community factors like prescription opioids and demography contribute to the occurrences. Similar factors exist internationally, although opioid delivery, like synthetic opioids, may vary (Phillips et al., 2020). Prescription opioid abuse is a major issue in the US and Canada, while synthetic opioids may be the problem in Asia and Europe. Economic hardships, psychological illnesses, and societal situations all contribute to opiate addiction.
Approach
Public Discourse and Stereotypes
Society tends to sympathize as well stigmatize those who are affected by opioids and this makes it a challenge to address the problem. Society's and the public's preconceptions, prejudices, and presumptions may hamper opioid management. Misconceptions hinder policymaking to help affected people and promote prejudice and contempt. If opioid use disorders are solely significant to low-income or rural populations, then rich or urban residents may not receive enough support. When building tactics for a varied population, these stereotypical beliefs must be considered.
Personal Biases and Assumptions
I may have formed biases about "opioid addicts" because to films and society. I may recommend remedies that blame perpetrators and ignore other minor affected populations or systemic reasons like pharmaceutical company influence and healthcare legislation due to these biases. Recognising and recognising these biases is crucial when the inquiry expands beyond one element of the opioid issue. This is why casting light on such prejudices and simply mentioning them can provide one a more fair view of the epidemic and how it has affected society.
Using Sociological Theory to Limit Biases
Sociological theories like structural functionalism and conflict theory will be used to analyse the opioid crisis without bias. I can use structural functionalism to determine the contributions of different society structures to the problem by studying health care systems, economic activities, and family practices. Conflict theory can explain how asymmetrical power bases affect the pandemic through resource distribution. These ideas allow me to objectively assess the role of corporate activities and budgetary policies of giant pharmaceutical enterprises in the opioid problem without ethnocentrism.
References
Dowell, D., Ragan, K., Jones, C., Baldwin, G., & Chou, R. (2022). CDC Clinical Practice Guideline for Prescribing Opioids for Pain — United States, 2022. MMWR. Recommendations and Reports, 71(3), 1–95. https://doi.org/10.15585/mmwr.rr7103a1
Earnshaw, V. A. (2020). Stigma and substance use disorders: A clinical, research, and advocacy agenda. American Psychologist, 75(9), 1300–1311. https://doi.org/10.1037/amp0000744
Phillips, J. K., Ford, M. A., & Bonnie, R. J. (2020). Evidence on Strategies for Addressing the Opioid Epidemic. Nih.gov; National Academies Press (US). https://www.ncbi.nlm.nih.gov/books/NBK458653/
Rudd , R. A. (2020). Increases in Drug and Opioid Overdose Deaths — United States, 2000–2014. https://www.cdc.gov/mmwr/preview/mmwrhtml/mm6450a3.htm
In this assignment, you will construct a timeline using the timeline template, placing the cultures covered in this week’s reading in the appropriate place on a chronological timeline and global map.
ART102 – Art History II
Timeline Activity
Due Date: Points: 100 Overview: In this assignment, you will construct a timeline, placing the cultures covered in this week’s reading in the appropriate place on a chronological timeline and global map. Instructions: You will use the Timeline template throughout the course. You will submit your progress at the end of each unit. There are several steps to completing this assignment:
• Select an appropriate piece of art to represent each of this week’s civilizations. • Place images representing Native American Cultures (1300 – 1980), Oceania
through 1980, and Africa (1800 – 1980) art in the appropriate places on the timeline and add corresponding dates for each culture.
• On the slide devoted to each culture: o Drag the star to the corresponding part of the world map. o Provide three sentences in your own words describing three ‘big-picture’
ideas, or significant traits of Native American Cultures (1300 – 1980), Oceania through 1980, and Africa (1800 – 1980) art.
Note: The work from this week’s reading is from two different continents. Place the star on your map on the place of origin of the particular piece(s) you’ve selected. Requirements:
• Use the Timeline template. • Choose an appropriate picture that represents Native American Cultures (1300 –
1980), Oceania through 1980, and Africa (1800 – 1980) art. • Write three complete sentences in your own words describing three ‘big-picture’
ideas of Native American Cultures (1300 – 1980), Oceania through 1980, and Africa (1800 – 1980) art.
Be sure to read the criteria below by which your work will be evaluated before you write and again after you write.
ART102–Art History II TimelineActivity
Evaluation Rubric for Timeline Assignment
CRITERIA Deficient Needs Improvement
Proficient Exemplary
0 points 1 – 9 points 10 points Picture Depicting Cultures
No pictures were provided.
Inaccurate or inappropriate choice of pictures to represent cultures.
Accurate and appropriate choice of pictures to represent cultures.
Dates for the Cultures
Doesn’t move the stars or has the incorrect locations and has many errors for the dates on the timeline and slides specific for cultures.
Moves the stars to locations on the map and may have an error for the dates on the timeline and slides specific for cultures.
Moves the stars to the correct locations on the map and has accurate dates on the timeline and slides specific for cultures.
0 – 19 points 20 – 35 points 36 – 53 points 54 – 60 points Big-Picture Ideas/Traits
Doesn’t provide any big-picture ideas or provides inaccurate big- picture ideas/traits of the cultures.
Provides some accurate big- picture idea/trait that represents the cultures. May be missing key ideas/traits of the cultures.
Provides almost all accurate big- picture ideas/traits that represent the cultures. May be missing key ideas/traits of the cultures.
Provides all necessary accurate and well-written big-picture ideas/traits that represent the cultures.
0 points 5 points 10 points Written Length
Doesn’t have any writing on the slides.
More or less than three sentences or incomplete sentences per culture.
Writes three sentences per culture.
0 – 5 points 6 – 7 points 8 – 9 points 10 points Clear and Professional Writing
Errors impede professional presentation.
Significant errors that do not impede professional presentation.
Few errors that do not impede professional presentation.
Writing and format are clear, professional, and error-free.
- Overview:
- Instructions:
- Requirements:
,
Chapter 36
NATIVE AMERICAN CULTURES, 1300 TO 1980
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Learning Objectives
Describe the extent of Aztec power in the period before the Spanish conquest.
List the chief subjects of Aztec art.
Analyze what the architecture and reliefs of Tenochtitlán reveal about Aztec society.
Explain the close relationship between Inka engineering and Inka art, architecture, and urban planning.
Compare preconquest Maya books with the later Native American decoration of ledger books.
Recall major monuments of Southwest Native American societies.
Describe the role played by masks in the arts of nations of the Northwest.
Explain how the design and decoration of totem poles relate to their function in Haida culture.
Debate the impact of US government actions on the arts and cultures of Plains societies.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
MAP 36.1
36.1 Mixteca-Puebla and Aztec sites in Mesoamerica.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
MAP 36.2
36.2 Inka sites in Andean South America.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
MAP 36.3
36.3 Later Native American sites in North America.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.1
36.1 The founding of Tenochtitlán, folio 2 recto of the Codex Mendoza, from Mexico City, Mexico, Aztec, ca. 1540–1542. Ink and colors on paper, 1' 7/8" 8 5/8". Bodleian Library, Oxford University, Oxford.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.2
36.2 Mictlantecuhtli and Quetzalcoatl, folio 56 of the Borgia Codex, from Puebla or Tlaxcala, Mexico, Mixteca-Puebla, ca. 1400–1500. Mineral and vegetable pigments on deerskin, 1' 1 1/4" 1' 1 1/2". Biblioteca Apostolica Vaticana, Rome.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.3
36.3 Reconstruction drawing with cutaway view of various rebuildings of the Great Temple, Tenochtitlán, Mexico City, Mexico, Aztec, ca. 1400–1500. C Coyolxauhqui disk (fig. 36.4).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.4
36.4 Coyolxauhqui, from the Great Temple (fig. 36.3) of Tenochtitlán, Mexico City, Mexico, Aztec, ca. 1469. Stone, diameter 10' 10". Museo del Templo Mayor, Mexico City.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.5
36.5 Tlaltecuhtli, from the Great Temple of Tenochtitlán, Mexico City, Mexico, Aztec, 1502. Andesite, painted with mineral colors, 13' 9" 11' 10 1/2". Museo del Templo Mayor, Mexico City.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.6
36.6 Coatlicue, from Tenochtitlán, Mexico City, Mexico, Aztec, ca. 1487–1520. Andesite, 11' 6" high. Museo Nacional de Antropología, Mexico City.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.7
36.7 Inka man working with a khipu, illustration in the Codex Murúa, 1615–1616. Ink and colors on vellum, 1' 11 1/4" 1' 3 1/4". J. Paul Getty Museum, Los Angeles.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.8
36.8 Machu Picchu (looking northwest), Peru, Inka, 15th century.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.9
36.9 Remains of the Temple of the Sun (surmounted by the 16th-century church of Santo Domingo), Cuzco, Peru, Inka, 15th century. Left: general view of the exterior (looking north); right: detail of the interior masonry.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.9A
36.9A Llama, alpaca, and woman, from near Lake Titicaca, Bolivia, Inka, ca. 1475–1532. Silver with gold and cinnabar, 9 1/2" high. American Museum of Natural History, New York.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.10
36.10 Detail of a kiva mural from Kuaua Pueblo (Coronado State Monument), New Mexico, Ancestral Puebloan, late 15th to early 16th century. Interior of the kiva, 18' 18'. Museum of New Mexico, Santa Fe.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.11
36.11 Photograph taken on January 9, 1948, in Mesa Verde National Park (fig. 18.37) of a Navajo mother weaving a blanket on a loom while her daughters assist her by preparing wool for the loom.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.12
36.12 Otto Pentewa, Katsina figurine, New Oraibi, Arizona, Hopi, carved before 1959. Cottonwood root and feathers, 1' high. Arizona State Museum, University of Arizona, Tucson.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.13
36.13 María Montoya Martínez and Julian Martínez, jar with feathers and avanyus, San Ildefonso Pueblo, New Mexico, ca. 1934–1943. Black-on-black earthenware, 1' 2 1/4" 1' 6 5/8". Museum of Fine Arts, Houston (gift of Miss Ima Hogg).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.14
36.14 Eagle transformation mask, closed (top) and open (bottom) views, Alert Bay, Canada, Kwakwaka’wakw, late 19th century. Wood, feathers, and string, 1' 10" 11". American Museum of Natural History, New York.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.15
36.15 War helmet mask, Canada, Tlingit, collected 1888–1893. Wood, 1' high. American Museum of Natural History, New York.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.16
36.16 Bill Reid (Haida), assisted by Doug Cranmer (Namgis), re-creation of a 19th-century Haida village with totem poles, Queen Charlotte Island, Canada, 1962.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.16A
36.16A Bill Reid, The Raven and the First Men, Haida, 1978–1980. Yellow cedar, 10' 1/8" high. Museum of Anthropology, University of British Columbia, Vancouver.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.17
36.17 Chilkat blanket with stylized animal motifs, Canada, Tlingit, early 20th century. Cedar bark and mountain goat wool, 6' 2' 11". Southwest Museum of the American Indian, Los Angeles.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.18
36.18 North Wind mask, Alaska, Yupik Eskimo, early 20th century. Wood and feathers, 3' 9" high. Metropolitan Museum of Art, New York (Michael C. Rockefeller Memorial Collection, gift of Nelson Rockefeller).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.18A
36.18A Buffalo-hide robe with battle scene, Mandan, from the upper Missouri River, North Dakota, ca. 1800. Buffalo hide with deerskin fringe, porcupine quills, and mineral pigments, 8' 6" 7' 10". Peabody Museum of Archaeology, Harvard University, Cambridge.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.19
36.19 Karl Bodmer, Hidatsa Warrior Pehriska-Ruhpa (Two Ravens), 1833. Engraving by Paul Legrand after the original watercolor in the Joslyn Art Museum, Omaha, 1' 3 7/8" 11 1/2". Engraving: Buffalo Bill Historical Center, Cody.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 36.20
36.20 Honoring song at painted tipi, in Julian Scott Ledger, Kiowa, 1880. Pencil, ink, and colored pencil, 7 1/2" 1'. Charles and Valerie Diker Collection.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Discussion Questions
Why did the Spanish destroy so much of the native arts of the Americas?
How did Inka architects strategically use their landscape and local materials?
How did Aztec religion shape its society’s art and architecture?
Contrast the main features of Native American Art of the Pacific Northwest with that of the Navajo.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
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Chapter 37
OCEANIA BEFORE 1980
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Learning Objectives
Describe the relationship of Dreamings and the X-ray style in Australian art.
Explain where one would find a bisj pole as well as the pole’s purpose.
List the central architectural features of an Iatmul village.
Analyze the role of ancestors in the art and architecture of Oceania.
Interpret the form and function of the Dilukai figures.
Describe the likely purpose of the colossal monolithic sculptures on Rapa Nui (Easter Island).
List the uses of barkcloth in the art of Oceania.
Explain the purposes of tattooing in Polynesia.
Discuss the arts produced for the Hawaiian kings.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
MAP 37.1
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.1
37.1 Raharuhi Rukupo and others, interior of the Te Hau-ki-Turanga wharenui (meeting house), Poverty Bay, New Zealand, Polynesia, 1842–1845. Reconstructed in Te Papa Tongarewa, Museum of New Zealand, Wellington.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.1a
37.1a Maori meeting houses symbolically represent an ancestor’s body. Carved wood freestanding pou tokomanawa support the ridge beam, and poupou relief panels represent ancestors in frontal positions.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.1b
37.1b The lead sculptor, Raharuhi Rukupo, who was also chief of the Rongowhakaata clan, included his self-portrait at the entrance to the wharenui. His face and body are covered with elaborate Maori moko tattoos.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.1c
37.1c Some of the ancestor figures are female, and the stitched lattice tukutuku panels are the work of female fabric artists, but women were not permitted to enter the Maori men’s community house.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.1A
37.1A Composite animal-human figurine (Ambum Stone), from Ambum Valley, Papua New Guinea, Melanesia, ca. 1500 bce. Graywacke, 7 7/8" high. National Gallery of Australia, Canberra.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.2
37.2 Auuenau (male ancestor figure), from East Alligator Rivers, Northern Territory, Australia, ca. 1913. Ocher on bark, 4' 10 5/8" 1' 1". Museum Victoria, Melbourne.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.3
37.3 Asmat bisj poles, from Omadesep village, Faretsj River, Papua province, Melanesia, mid-20th century. Mangrove wood, paint, and fiber, 18' high. Metropolitan Museum of Art, New York (Michael C. Rockefeller Collection, bequest of Nelson A. Rockefeller, 1979).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.4
37.4 Iatmul ceremonial men’s house, East Sepik, Papua New Guinea, Melanesia, mid- to late 20th century.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.5
37.5 Elema hevehe masks retreating into the men’s house, Orokolo Bay, Papua New Guinea, Melanesia, early to mid-20th century.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.5A
37.5A Abelam korambo (tamberan), Maprik, Sepik River, Papua New Guinea, Melanesia, photographed in 1974.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.6
37.6 Abelam yam mask, Papua New Guinea, Melanesia, 20th century. Painted cane, 1' 6 9/16" high. Cleveland Museum of Art, Cleveland (gift of Nathaniel Sloane in memory of Rose White).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.7
37.7 Uli statue, from New Ireland, Papua New Guinea, 18th or early 19th century. Wood, ocher, and charcoal, 4' 11 1/8" high. Musée du quai Branly, Paris.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.8
37.8 Tatanua helmet mask, from New Ireland, Papua New Guinea, Melanesia, 1884–1895. Wood, paint, opercula shells, lime plaster, plant fiber, bark, bark cloth, rattan, and cord, 1' 3 1/4" high. Museum of Fine Arts, Houston.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.9
37.9 Canoe prow and splashboard, from Trobriand Islands, Papua New Guinea, Melanesia, 19th to 20th centuries. Painted wood, 1' 3 1/2" high, 1' 11" long. Musée du quai Branly, Paris.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.10
37.10 Canoe prow ornament, from Chuuk, Caroline Islands, Micronesia, late 19th century. Painted wood, birds 11" 10 5/8". British Museum, London.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.11
37.11 Model of a men’s ceremonial house (bai) at 75 percent scale, from Belau (Palau), Micronesia, 20th century. Ethnologisches Museum, Staatliche Museen zu Berlin, Berlin.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.12
37.12 Dilukai, from Belau (Palau), Micronesia, late 19th or early 20th century. Wood, paint, and kaolin, 2' 1 5/8" high. Metropolitan Museum of Art, New York (Michael C. Rockefeller Collection, bequest of Nelson A. Rockefeller, 1979).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.13
37.13 Row of moai on a stone platform, Ahu Tongariki, Rapa Nui (Easter Island), Polynesia, ca. 1200–1500. Volcanic tuff and red scoria.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.14
37.14 Mele Sitani, ngatu with manulua designs, Tonga, Polynesia, 1967. Barkcloth.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.15
37.15 Tattooed warrior with war club, Nukahiva, Marquesas Islands, Polynesia, early 19th century. Color engraving in Carl Bertuch, Bilderbuch für Kinder (Weimar, 1813).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.16
37.16 Hair ornaments, from the Marquesas Islands, Polynesia, early to mid-19th century. Bone, 1 1/2" high (left), 1 2/5" high (right). University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.17
37.17 A’a, from Rurutu, Austral Islands, Polynesia, ca. 1800. Wood, 3' 8" high. British Museum, London.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.18
37.18 Staff god (Tangaroa?), from Rarotonga, Cook Islands, Polynesia, ca. 1900. Wood, 2' 4 1/2" high. Cambridge University Museum of Archaeology and Anthropology, Cambridge.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.19
37.19 Kuka’ilimoku, from Hawaii, Polynesia, ca. 1790–1810. Wood, 4' 3 1/4" high. British Museum, London.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.20
37.20 Head of Lono, from Hawaii, Polynesia, ca. 1775–1780. Feathers over wickerwork, human hair, dogs’ teeth, and pearl shells, 2' 3/4" high. British Museum, London.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.21
37.21 Feather cloak of Kamehameha III, from Hawaii, Polynesia, ca. 1824–1843. Feathers and fiber netting, 4' 8 1/3" 8'. Bishop Pauahi Museum, Honolulu.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 37.21A
37.21A Te Whare Runanga (view of interior), Waitangi, Bay of Islands, New Zealand, Polynesia, 1934–1940.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Discussion Questions
How are bisj poles implicated in violence within Asmat society? What are examples of art from other societies that celebrate war or violence?
Why do some of the Oceanic cultures create small and fragile works of art, while others create monumental and permanent works?
What are some of the different reasons there has been a revival of cultural heritage practices and indigenous art forms among various peoples of Oceania?
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
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Chapter 38
AFRICA, 1800 TO 1980
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Learning Objectives
Compare two examples of traditional African arts that survived into the 19th century.
Explain the hierarchy of importance of African royal arts.
Understand and describe the importance of Akati Akpele Kendo.
Describe the power figure in Kongo art.
Analyze the technique and purpose of combining metal with woodcarving.
Explain the importance of the ancestral altar of King Eweka II of Benin.
Debate the assertion: “In Africa, art is nearly always an active agent in the lives of its peoples.”
Discuss an example of “coded information” included in African costume and jewelry, as well as other forms of body adornment such as elaborate coiffures and body painting.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
MAP 38.1
MAP 38.1 Africa in the early 21st century.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.1
38.1 Ancestral screen (nduen fobara), Kalabari Ijaw, Nigeria, late 19th century. Wood, fiber, and cloth, 3' 9 1/2" high. British Museum, London.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.2
38.2 Reliquary guardian figure (bieri), Fang, Gabon, late 19th century. Wood, 1' 8 3/8" high. Philadelphia Museum of Art, Philadelphia.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.3
38.3 Reliquary guardian figure (mbulu ngulu), Kota, Gabon, early 20th century. Wood, copper, iron, and brass, 2' 2" high. Museum of Fine Arts, Boston (gift of Geneviève McMillan in memory of Reba Stewart).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.4
38.4 Royal ancestral altar of King Eweka II, in the palace in Benin City, Nigeria, photographed in 1970. Clay, copper alloy, wood, and ivory. Photo: National Museum of African Art, Washington, D.C.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.5
38.5 Power figure (nkisi n’kondi), Kongo, from Shiloango River area, Democratic Republic of Congo, ca. 1875–1900. Wood, nails, blades, medicinal materials, and cowrie shell, 3' 10 3/4" high. Detroit Institute of Arts, Detroit.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.6
38.6 Seated couple, Dogon, Mali, ca. 1800–1850. Wood, 2' 4" high. Metropolitan Museum of Art, New York (gift of Lester Wunderman).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.7
38.7 Male and female figures, probably spirits (asye usu), Baule, Côte d’Ivoire, late 19th or early 20th century. Wood, beads, and kaolin, man 1' 9 3/4" high, woman 1' 8 5/8" high. Metropolitan Museum of Art, New York (Michael C. Rockefeller Memorial Collection, gift of Nelson A. Rockefeller).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.8
38.8 Osei Bonsu, akua’ba (“Akua’s child”), Asante, Ghana, ca. 1960. Wood and glass beads, 1' 2 1/2" high. National Museum of African Art, Washington, D.C. (gift of Herbert C. Madison).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.9
38.9 Osei Bonsu, two men sitting at a table of food (linguist’s staff), Asante, Ghana, mid-20th century. Wood and gold leaf, section shown 10" high. Collection of the paramount chief of Offinso, Asante.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.10
38.10 Large ceremonial spoon or ladle, Dan, from Liberia or western Côte d’Ivoire, late 19th or early 20th century. Wood and plant fiber, 1' 6 1/2" high. Museum of Fine Arts, Houston (Brown Foundation purchase).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.11
38.11 Throne and footstool of King Nsangu, Bamum, Cameroon, ca. 1870. Wood, textile, glass beads, and cowrie shells, 5' 9" high. Museum für Völkerkunde, Staatliche Museen zu Berlin, Berlin.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.12
38.12 Olowe of Ise, doors from the shrine of the king’s head in the royal palace, Ikere, Yoruba, Nigeria, 1910–1914. Painted wood, 6' high. British Museum, London.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.12A
38.12A Olowe of Ise, veranda post, from Akure, Yoruba, Nigeria, 1920s. Wood and pigment, 14' 6" high. Denver Art Museum, Denver.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.12B
38.12B Stock raid with cattle, horses, and encampment, rock painting, San, from Bamboo Mountain, South Africa, mid-19th century. Natal Museum, Pietermaritzburg.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.12C
38.12C Magical “rain animal,” rock painting, San, from Bamboo Mountain, South Africa, mid-19th century. Natal Museum, Pietermaritzburg.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.13
38.13 Chibinda Ilunga, Chokwe, from Angola or Democratic Republic of Congo, late 19th to 20th century. Wood and human hair, 1' 4" high. Kimbell Art Museum, Fort Worth.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.14
38.14 Akati Akpele Kendo, warrior figure (Gu?), from the palace of King Glele, Abomey, Fon, Republic of Benin, 1858–1859. Iron, 5' 5" high. Musée du quai Branly, Paris.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.15
38.15 Yombe mother and child (pfemba), Kongo, Democratic Republic of Congo, late 19th century. Wood, glass, glass beads, brass tacks, and pigment, 10 1/8" high. National Museum of African Art, Washington, D.C.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.15A
38.15A Ala and Amadioha, painted clay sculptures in an mbari ritual house, Igbo, Umugote Orishaeze, Nigeria, photographed in 1966.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.16
38.16 Ancient Mother figure, Senufo, Côte d’Ivoire, early 20th century. Wood, 2' 11" high. National Museum of African Art, Washington, D.C. (gift of the Walt Disney Company).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.17
38.17 Senufo masqueraders, Côte d’Ivoire.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.18
38.18 “Beautiful Lady” dance mask, Senufo, Côte d’Ivoire, late 20th century. Wood. Private collection.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.19
38.19 Satimbe masquerader, Dogon, Mali, mid- to late 20th century.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.20
38.20 Bwoom masquerader, Kuba, Democratic Republic of Congo, photographed ca. 1950.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.21
38.21 Ngady Amwaash mask, Kuba, Democratic Republic of Congo, late 19th or early 20th century. Peabody Museum of Archaeology and Ethnology, Harvard University, Cambridge.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.22
38.22 Ci Wara headdress, Bamana, from the Bamako region of Mali, late 19th or early 20th century. Wood, metal bands, and thread, 2' 11" high. Metropolitan Museum of Art, New York (Michael C. Rockefeller Collection, gift of Nelson A. Rockefeller).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.23
38.23 D’mba mask, Baga, Guinea, late 19th or early 20th century. Wood and brass, 4' 4" high. Yale University Art Gallery, New Haven (Charles B. Benenson Collection).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.24
38.24 Female Sowie mask, Mende, Sierra Leone, mid-to late 20th century. Painted wood, 1' 2 1/2" high. Fowler Museum of Cultural History, University of California, Los Angeles (gift of the Wellcome Trust).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.25
38.25 Kuba king Kot a-Mbweeky III during a display for photographer and filmmaker Eliot Elisofon in 1970, Mushenge, Democratic Republic of Congo.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.26
38.26 Two Asante noblemen wearing kente cloth robes, Kumasi, Ghana, photographed in January 1972.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 38.27
38.27 Samburu men and women preparing to dance, Samburu National Reserve, Kenya.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Discussion Questions
Compare the design and function of ceremonial masks from a culture in Africa with those from the Elema society of New Guinea and the Native Americans of the Pacific Northwest.
How did the throne and palace feature in traditional African cultures?
How did gender roles play out in the use and creation of art in different African cultures?
Why are so few individual African artists known by name? Why is this now changing?
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
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Art History II Timeline
You will use this template throughout the course, make sure to save your progress and you will upload your work at the end of each unit.
‹#› | School of Arts & Sciences
Late Medieval and Early Renaissance Northern Europe
1395
The Renaissance and Mannerism in Cinquecento, Italy
1500-1599
Baroque in Italy and Spain
1600-1750
The Renaissance in Quattrocento, Italy
1400-1500
High Renaissance and Mannerism in Northern Europe and Spain
1400-1600
B aroque in Northern Europe
1580-1700
Timeline
‹#› | School of Arts & Sciences
Rococo to Neoclassicism
1700s
Impressionism, Post- Impressionism, Symbolism: Europe and America
1870-1900
Modernism in U.S. and Mexico After1900
1900-1945
Contermporary Art Worldwide
1980 to date
Romanticism, Realism, Photography: Europe and America
1800-1870
Modernism in Europe After 1900
1900-1945
Modernism and Postmodernism in Europe and America After 1945
1945-1980
Timeline
‹#› | School of Arts & Sciences
South and Southeast Asia
1200-1980
Japan After 1333
1333-1980
Oceania Before 1980
YYYY
China and Korea
1279-1980
Native American Cultures After 1300
YYYY
Timeline
Africa After 1800
YYYY
‹#› | School of Arts & Sciences
Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua.
Ut enim ad minim veniam.
c. 1395 – 1500
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Late Medieval and Early Renaissance Northern Europe
‹#› | School of Arts & Sciences
There was a renewed interest in classical Greek Mythology as evidenced by depictions of Greek gods such as Venus
There was a focus on beauty. Human form was depicted proportionally and accurately.
There was a focus on painting nature or including aspects of nature into paintings.
c. 1400 – 1500
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The Renaissance in Quattrocento, Italy
‹#› | School of Arts & Sciences
It was characterized by a celebration of ideal natural beauty, perfect proportions and a sense of harmony in the art works as is shown in artworks of the artists Michelangelo and Raphael.
There was an incorporation of religious themes in the artworks as is seen in artworks such as Michelangelo’s Madonna on the Rocks where he depicts the nativity, a religiously important scene in Christianity.
There was an increased use techniques aimed at creating a 3-D impression of paintings using lines, perspective and light.
c. 1500 – 1599
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The Renaissance and Mannerism in Cinquecento, Italy
‹#› | School of Arts & Sciences
The artworks incorporated religious themes and symbolism inspired by the cultures of the region.
It was characterized by a love for nature and the realistic, evidenced by the focus on landscape and nature paintings.
The artwork became more emotionally charged
c. 1400 – 1600
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High Renaissance and Mannerism in Northern Europe and Spain
‹#› | School of Arts & Sciences
Paintings were characterized by the use of light and emotive depictions in paintings while architectural pieces were characterized by the appearances of being grand and being illusionistic.
There was a strong influence of the catholic church on art and architecture of the time.
It was characterized by use of realism and intense forms of beauty in art and architecture.
c. 1600 – 1750
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The Baroque in Italy and Spain
‹#› | School of Arts & Sciences
The main sponsors of art were protestants hence the focus on individual piety and not long health religious narratives.
It was also characterized by a focus on secular subjects as some of the sponsors were the wealthy people not religious institutions.
The artwork focused on the real world and included portraits, and depictions of the landscape.
c. 1580 – 1700
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The Baroque in Northern Europe
‹#› | School of Arts & Sciences
There was a shift from a focus of order and balance in art to a preference for light hearted, asymmetrical and aesthetics in art.
The art was keen on depicting private scenes of daily human interactions unlike neoclassical art which focused on public scenes mostly of historical significance.
Rococo art focused on intricate details of art such as swirling curves which was transitioned to simple artforms in the advent of neoclassism
c. Year – Year
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Rococo to Neoclassicism: The 18th Century in Europe and America
‹#› | School of Arts & Sciences
There was a focus on capturing the political and social changes of the time such as the industrial revolution in the art produced.
Art was increasingly accepted as a tool to change the world through its message.
There was a shift in focus from the imagination to creation of art that is more ideal and real
c. Year – Year
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Romanticism, Realism, Photography: Europe and America
‹#› | School of Arts & Sciences
.There was an increased use of loose brush strokes and lighting techniques in paintings.
There was an emphasis on expression of emotion through the use of color and form.
There was a focus on evoking a deeper meaning of art through symbolism
c. 1870 – 1900
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Impressionism, Post-Impressionism, Symbolism: Europe and America
‹#› | School of Arts & Sciences
There was a shift from the tradition with more artists experimenting with techniques such as fragmentation and abstraction.
They tended to focus on inner expression more so expression the subconscious human condition.
There was a complete revolution of the perception of art with changes in what was considered beauty and also on the importance of art.
c. 1900 – 1945
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Modernism in Europe
‹#› | School of Arts & Sciences
There was a general rejection of the influences of European art on American art.
Art was used a tool to shape cultural as well as natural identity.
There was experimentation with forms such as geometric abstraction and cubism
c. 1900– 1945
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Modernism in the United States and Mexico
‹#› | School of Arts & Sciences
There was an emphasis on innovation and experimentation with new artistic techniques.
Post modernism seemed to embrace diversity fragmentation and ironical depictions.
As modernism was focused on creation of order, post modernism seemed more focused on ideas of chaos and plurality.
c. 1945 – 1980
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Modernism and Postmodernism in Europe and America
‹#› | School of Arts & Sciences
It is characterized by the use of varied mediums and technologies that blurs the difference between artforms while pushing the limits of technology
It often engages social and political issues that are pressing.
It is dynamic and often complex
c. 1980 – to date
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Contemporary Art Worldwide
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The art was characterized by the inclusion of religious and cultural beliefs into art.
The art had both indigenous and foreign influences.
Art was used a medium for expressing political power, social hierarchy and even religious beliefs.
c. 1200 – 1980
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South and Southeast Asia
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The artistic themes, styles and medium used were influenced by Confucian, Buddhist and Daoist philosophies.
The art focused on the preservation of cultural identity of the people
The art had both Chinese and Korean influences though the influence of China was more dominant.
c. 1279 – 1980
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China and Korea
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The art was greatly influenced by ideas of Zen Buddhism and aesthetics which led to the creation of art that embraced simplicity, naturalism and an appreciation for the imperfect.
The art reflected the complex social and political landscape of the time and therefore ranged from courtly presentations to the more programmatic warrior like architecture of castles.
Artistic methods and innovation were influenced by China which was a major power in the region.
c. 1333 – 1980
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Japan After 1333
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Native American Cultures After 1300
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Oceania Before 1980
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Africa After 1800
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