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- Louis-Jacques-Mande Daguerre, The Artist's Studio, Dagguerreotype, 1837
- looks like a dutch or european still life because of exposure time and people didn't know how to think outside of the box with this new medium, shows formiliarity, direct postive photography no other like it, deep sense of chiarscoure
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- Timothy O'Sullivan and Alexander Gardner, The Home of the Rebel Sharpshooter: Battle Field at Gettysburg, Albumen Print, 1863
- union perspective saying confedorate don't even take care of it's dead, the whole scene is set up, confused boundries between art and documentary,
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- Gustave Courbet, Burial at Ornans, oil/canvas. 1849
- lifesize painting, burial of an unnamed person, people are ordinary people, subjects don't focus on the funeral, no singular focus, doesn't show the dead body, everyone is on the same level as each other, history painting > iconoclassic, refused to paint anything outside reality, 3d figures but application of paint is very flat, doesn't idealize
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- Edouard Manet, Olympia, oil/canvas 1863
- high class prosatrute a demi-mondaine (half-world) marked by the ribbon around her neck, eludes the to the prositite in a novel and play by Alexandre Dumas the younger, based on Titan's Venus of Urbino but made a modern counterpoint of antithesis beyond the same composition, angular and flattended woman, cold harsh colors, coldly indifferent she looks down at us with a sense of power, black servant bring flowers to make her smell better, black cat = ficile and sexual nature, shoes are a fetish object, curtain to reveal into the room, flat painting style that losses a sense of modeling, model is Victorine-Louise Meurent not really a demi, shows the truth that we don't have venuses we have prostitutes,
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- Edgar Degas, The Rehearsal on Stage, oil on canvas, ca 1874
- ballerinas show body as their art thus they have to have chaporones to protect their chasity, men sitting have power, viewer in orchestra pit part of the company and crew, class tensions, contrived scene not an actual event, angular view from japanese prints hiroshise,
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- Claude Monet, Impression: Sunrise, oil/canvas, 1872
- rendered on color alone, no foreground, forms and atmosphere shimmer in shapes of color, critisism was that it was unfinished, en plein air paint outdoors, coined term of Impressionism by critic Louis Lorey
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- Edouard Manet, The Bar at the Folies-Bergere, oil/canvas, 1881-1882
- theme of gender and class relations in modern urban life, she is detached from the scene and stands as on of the items to be purchased visually and sexually, about sexual veiws, at the cafe with trapeze artist as entertainment, viewer is her next customer, doesn't meet gaze
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- Mary Cassett, Mother and Child, oil/canvas, 1891
- expression and weight natural though space is flattened, solid model forms contrast with bold loose brushwork below,
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- Jen-Francois Millet, The Gleaners, oil/canvas, 1857
- warm colors, extreme povetry, odninary people, noted at Realist
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- Gustave Caillebotte, Paris Street, Rainy Day
- unconvental telescopic compositional view with a tilted perspective, the street is the focus while all the people are pushed to the side
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- Delaware, Shoulder Bag, c 1860
- glass bead, based on european military design, floural design popular for Europeans, meant to be traded to the Europeans, Eastern Woodlands lined repeated patterns
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- Delaware, Wampum Belt, 1680s
- literal agreements of a treaty, this one was for land that is Penn ceded from the Delaware people to William Penn, easy for William Penn to break treaty because not legal with Europeans, two figures holding hands symbolizes mutual respect
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- Pomo, Feathered Bowl, c 1877
- consists of three basic techniques: coiling (sewing together a spiraling foundation of rods with other material) twining (twists multiple elements around a vertical warp of rods) and plaiting wealds strips over and under each other, made by Pomo woman in California, based on Pomo legend of a hero bringing down the sun in a basket, the weave allowed pieces of clam shell traded beads and soft tufts of woodpeck and quail feathers to be tucked into the surface, treasured possesions and cremated with owners at death
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- Mandan, Battle-Scene, Hide Painting, 1797-1800
- Great Planes show historical reference of battles on hides, this shows a sequence of 22 events of the chief who is smoking a pipe, it shows his life, the spine of the animal is quilwork to give form/shape when worn, document meant to be kept with them used and worn,
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- Tlingit, Chilkat Blanket, before 1928
- lateral symmerty of Northwest Coastern people, both men and women worked on, composed of two basic elements: ovoid (slightly bent rectangular with rounded corners) and formline (a continous shape defined line), meant to be worn and will move and come alive, eagle form, takes at least a year to a year and a half to make
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- Tlingit, Grizzly Bear House-Partition Screen, c 1840
- laterally symmerical of Northwestern Coast people, reflects clan spirit animal, screen used to seperate large family room, screen for the cheif shakes of Wrangell because of the detail, vaginal opening symbolic opening to say descendent of the bear
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- Willie Seaweed, Kwakwaka'Waka Bird Mask, before 1951
- part of the Hamasta cermony during the winter as an initation cermony, kidnapped young children, taught in intense way of traditional customes and mask making, youths come back after learned and have been tamed then act out of the story of the Hamasta bird, this is one of the untamed masks, after cermony men now ready to be a adult and take a wife
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- Maria Montoya Martinez, Blackware Storage Jar, c 1942
- pioneered blackware pottery by covering pot with a slip then burnishing it then added another slip to be painted on, after firing the burnished grounf would be black and smooth and the painted slip would be a matted later. Pubelo people of the Southwest
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