Contents

1. Companion Website
2. Acknowledgements
3. Introduction
4. Formal Analysis Toolbox
5. Chapter 1 Genres and Subjects
   1. Introduction
   2. History Genre
   3. Portraiture
   4. Genre
   5. Landscape
   6. Still Life
   7. Subjects
   8. Chapter Summary Exercise
   9. Checkpoint Answers
   10. References
   11. Other Useful Sources
6. Chapter 2 Materials, Techniques and Processes
   1. Introduction
   2. Painting: Timeless and Honoured
   3. Other Media
   4. Sculpture
   5. Architecture
   6. Chapter Summary Exercise
   7. Checkpoint Answers
   8. References
   9. Other Useful Sources
7. Chapter 3 Form, Style and Function
   1. Introduction
   2. The Beginning of Western Art
   3. Discovery of Antiquity and Development of Sacred Art
   4. A Move Towards Individualism
   5. New and Divergent Ways of Seeing in the Twentieth Century
   6. European Modernism: In Search of an Elemental Truth
   7. Chapter Summary Exercise
   8. Checkpoint Answers
   9. References
   10. Other Useful Sources
8. Chapter 4 Social and Historical Contexts
   1. Introduction
   2. Seventeenth Century:Baroque Rome and the Catholic Counter-Reformation
   3. Nineteenth-Century France: Transformation and Modernity
   4. Mid-Nineteenth-Century England and Victorian Morality
   5. Mid-Twentieth-Century United States and the Depression Era
   6. Twentieth-Century United States: The Boom Years
   7. Class Fragmentation and the Urban Documentary
   8. Chapter Summary Exercise
   9. Checkpoint Answers
   10. References
   11. Other Useful Sources
9. Chapter 5 Patronage and the Social and Cultural Status of the Artist
   1. Introduction
   2. Private Patronage in the Fifteenth and Sixteenth Centuries
   3. Public Patronage in the Fifteenth and Sixteenth Centuries
   4. Papal and Church Patronage in the Seventeenth Century
   5. Patronage in the Eighteenth Century
   6. The Modern Artist and the Market in the Nineteenth Century
   7. Twentieth Century
   8. The Contemporary Artworld
   9. Architectural Landmarks in the Twentieth and Twenty-First Centuries
   10. Chapter Summary Exercise
   11. Checkpoint Answers
   12. References
   13. Other Useful Sources
10. Chapter 6 Gender, Nationality and Ethnicity
    1. Introduction
    2. Gender: The Representation and Subversion of Gender Stereotypes
    3. Nationality
    4. Ethnicity
    5. Chapter Summary Exercise
    6. Checkpoint Answers
    7. References
    8. Other Useful Sources
11. Glossary
12. Index
13. EULA

List of Illustrations

1. Chapter 1
   1. Figure 1.1 | Jacques-Louis David, Oath of the Horatii, 1784, oil on canvas, 330 × 425 cm, Paris, Musée du Louvre.
   2. Figure 1.2 | Titian, Bacchus and Ariadne, 1520–1523, oil on canvas, 176.5 × 191 cm, London, National Gallery.
   3. Figure 1.3 | Masaccio, The Tribute Money, c.1425–1428, fresco, 247 × 597 cm, Florence, Santa Maria del Carmine, Cappella Brancacci. Source: akg-images / Rabatti – Domingie.
   4. Figure 1.4 | Francisco de Goya, The Third of May 1808, 1814, oil on canvas, 268 × 347 cm, Madrid, Museo del Prado. Source: akg-images / Album / Oronoz.
   5. Figure 1.5 | Pablo Picasso, Guernica, 1937, oil on canvas, 349.3 × 776.6 cm, Madrid, Museo Nacional Reina Sofia. Source: Photo: akg-images / Erich Lessing / Artwork: © Succession Picasso / DACS, London 2015.
   6. Figure 1.6 | Bombing of Guernica, air attack, 1937, Spanish Civil War, 1936–1939. Bombing of the North Spanish town Guernica by the German Luftwaffe ‘Legion Condor’ on 24 April 1937. Guernica was completely destroyed after the attack. Ruins of destroyed houses after the attack. Photo, retouched, 6/5/1937.
   7. Figure 1.7 | Jacques-Louis David, The Death of Marat, 1793 (stabbed in his bath by Charlotte Corday, Paris, 13 July 1793), oil on canvas, 165 × 128 cm,
   8. Figure 1.8 | Jacques-Louis David, The Emperor Napoleon in His Study at the Tuileries, 1812, oil on canvas, overall: 204 × 125 cm, Washington, National Gallery of Art, Samuel H. Kress Collection, 1961.9.15. Source: Courtesy National Gallery of Art, Washington.
   9. Figure 1.9 | George Gower, Elizabeth I /The Armada Portrait, 1588, oil on panel, 105.5 × 133.5 cm, Bedfordshire, Woburn Abbey. Source: akg-images.
   10. Figure 1.10 | Pablo Picasso, Portrait of Daniel-Henry Kahnweiler, 1910, oil on canvas, 100.4 × 72.4 cm, the Art Institute of Chicago. Source:The Art Institute of Chicago, IL, USA / Bridgeman Images / © Succession Picasso / DACS, London 2015.
   11. Figure 1.11 | Jan van Eyck, The Arnolfini Portrait, 1434, portrait of Giovanni (?) Arnolfini and his wife Giovanna Cenami (?), oil on oak panel, 82.2 × 60 cm, London, National Gallery. Source: National Gallery, London, UK / Bridgeman Images.
   12. Figure 1.12 | Jan van Eyck, The Arnolfini Portrait, 1434, detail of chandelier and Van Eyck’s signature on back wall, oil on oak panel, 82.2 × 60 cm, London, National Gallery. Source: National Gallery, London, UK / Bridgeman Images.
   13. Figure 1.13 | David Hockney, Mr and Mrs Clark and Percy, 1970, acrylic on canvas, 213.4 × 304.8 cm, London, Collection Tate. Source: ©Tate, London 2015 / © David Hockney.
   14. Figure 1.14 | David Hockney, a detail from Mr and Mrs Clark and Percy, 1970, acrylic on canvas, 213.4 × 304.8 cm, London, Collection Tate. Source: © Tate, London 2015 / © David Hockney.
   15. Figure 1.15 | David Hockney, Mr and Mrs Clark and Percy, 1970, detail of Percy, acrylic on canvas, 213.4 × 304.8 cm, London, Collection Tate. Source: ©Tate, London 2015 / © David Hockney.
   16. Figure 1.16 | Edgar Degas, The Bellelli Family, c.1860, 2 × 2.5 m, Paris, Musée d’Orsay. Source: The Art Archive / Musée d’Orsay Paris / Gianni Dagli Orti.
   17. Figure 1.17 | Frida Kahlo, The Broken Column, 1944, oil on canvas, mounted on hardboard, 40 × 30.7 cm, Mexico City, Museo Dolores Olmedo Patiño, Xochimilco. Source: akg-images / © 2015. Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / DACS.
   18. Figure 1.18 | Antonio del Pollaiuolo and Piero del Pollaiuolo, The Martyrdom of St. Sebastian, 1475, oil on poplar, 291.5 × 202.6 cm, London, National Gallery. Source: National Gallery, London, UK / Bridgeman Images.
   19. Figure 1.19 | Caravaggio, David with the Head of Goliath (with Self Portrait of the Artist as the Dead Goliath), 1609–1610, oil on canvas, 125 × 100 cm, Rome, Galleria Borghese. Source: akg-images / Nimatallah.
   20. Figure 1.20 | Jan (Johannes) Vermeer, The Milkmaid, c.1660, oil on canvas, 45.5 × 41 cm, Amsterdam, Rijksmuseum. Source: Rijksmuseum, Amsterdam, The Netherlands / Bridgeman Images.
   21. Figure 1.21 | William Maw Egley, Omnibus Life in London, 1859, oil on canvas, 44.8 × 41.9 cm, London, Tate Britain. Source: © Tate, London 2015.
   22. Figure 1.22 | Edgar Degas, In a Cafe or L’Absinthe, c.1875–1876, oil on canvas, 92 × 68 cm, Paris, Musée d’Orsay. Source: Musée d’Orsay, Paris, France / Bridgeman Images.
   23. Figure 1.23 | Edward Hopper, Nighthawks, 1942, oil on canvas, 84.1 × 152.4 cm, Friends of American Art Collection, 1942.51, the Art Institute of Chicago. Source: Photography ©The Art Institute of Chicago.
   24. Figure 1.24 | Thomas Gainsborough, Mr and Mrs Andrews, c.1750, oil on canvas, 69.8 × 119.4 cm, London, National Gallery. Source:The National Gallery, London / akg-images.
   25. Figure 1.25 | Meindert Hobbema, The Avenue at Middelharnis, 1689, oil on canvas, 103.5 × 141 cm, London, National Gallery. Source:The National Gallery, London / akgimages.
   26. Figure 1.26 | Vincent van Gogh, Wheatfield with Crows, 1890, oil on canvas, 50.5 × 103 cm, Amsterdam, Van Gogh Museum. Source:Van Gogh Museum, Amsterdam, The Netherlands / Bridgeman Images.
   27. Figure 1.27 | Philippe Halsman: Georgia O’Keeffe at her desert ranch, 1948, Abiquiu, New Mexico. Source: © Philippe Halsman / Magnum Photos.
   28. Figure 1.28 | Georgia O’Keeffe, Deer’s Skull with Pedernal, 1936, oil on canvas, 91.4 × 76.5 cm, Museum of Fine Arts, Boston, Gift of the William H. Lane Foundation, 1990.432.
   29. Figure 1.29 | Harmen Steenwyck, An Allegory of the Vanities of Human Life, c.1640, oil on oak, 39.2 × 50.7 cm, London, National Gallery.
   30. Figure 1.30 | Frida Kahlo, Viva la Vida, 1954, print, Private Collection. Source: Private Collection / Bridgeman Images / © 2015. Banco de México Diego Rivera Frida Kahlo museums Trust, Mexico, D.F. / DACS.
   31. Figure 1.31 | Audrey Flack, Marilyn (Vanitas), 1977, oil over acrylic on canvas, 244 × 244 cm, the University of Arizona Museum of Art.
   32. Figure 1.32 | Elisabeth Frink, Walking Madonna, 1981, bronze, height 182 cm, Salisbury
   33. Figure 1.33 | Michelangelo, Pietà, 1498–1499, marble, height 174 cm, base 195 cm, depth 69 cm, Rome, St. Peter’s Basilica. Source: © 2015.White Images / Scala, Florence.
   34. Figure 1.34 | Caravaggio, The Entombment of Christ, 1602–1604, oil on canvas, 300 ×203 cm, Rome, Pinacoteca Vaticana.
   35. Figure 1.35 | Caravaggio, The Entombment of Christ, detail of Mary’s face, 1602–1604, oil on canvas, 300 × 203 cm, Rome, Pinacoteca Vaticana.
   36. Figure 1.36 | The Discus-Thrower (Discobolus), Roman copy of a bronze original of the fifth century bce, 152 cm high, from Hadrian’s Villa in Tivoli, Lazio, Italy. London, British Museum.
   37. Figure 1.37 | Titian, Resting Venus (Venus of Urbino), c.1538, oil on canvas, 119 × 165 cm, Florence, Galleria degli Uffizi. Source: akg-images.
   38. Figure 1.38 | Édouard Manet, Olympia, 1863, oil on canvas, 130 × 190 cm, Paris, Musée d’Orsay. Source: Musée d’Orsay, Paris, France / Bridgeman Images.
   39. Figure 1.39 | Jenny Saville, Branded, 1992, oil on canvas, 209 × 179 cm. Source: Photo courtesy Gagosian Gallery. © Jenny Saville. All rights reserved, DACS 2015.
   40. Figure 1.40 | Jenny Saville poses with her award at the Women for Women International Gala dinner in association with Harper’s Bazaar, The Guildhall, London, 3 May 2012. Source: Dave M. Benett / Getty Images.
   41. Figure 1.41 | Paula Modersohn-Becker, Kneeling Mother Nursing a Baby, 1907, oil tempera on canvas on wood, 113 × 74 cm, Berlin, SMB, Nationalgalerie.
   42. Figure 1.42 | Hugo Erfurth: Paula Modersohn Becker with her daughter Mathilde, November 1907, Paula-Modersohn-Becker Stiftung, Bremen.
   43. Figure 1.43 | Barbara Hepworth, Mother and Child, 1934, alabaster, height 230 cm, Private Collection.
   44. Figure 1.44 | Käthe Kollwitz, Woman with Dead Child, 1903, engraving and softground etching retouched with black chalk, graphite and metallic gold paint on heavy wove paper (trial proof), sheet (trimmed to and within plate mark), 41.7 × 47.2 cm, Washington, National Gallery of Art, Gift of Philip and Lynn Straus, in Honor of the 50th Anniversary of the National Gallery of Art 1988.67.1.
   45. Figure 1.45 | Jenny Holzer, Lustmord, 1993, ink on skin: cibachrome print, 33 × 50.8 cm.
2. Chapter 2
   1. Figure 2.1 | Giotto di Bondone, The Lamentation of Christ, c.1305, from the series with scenes from the life of Mary and Christ, fresco, approx. 185 × 200 cm, Padua, Cappella degli Scrovegni.
   2. Figure 2.2 | Duccio di Buoninsegna, Maestà (Enthroned Madonna and Child with Angels and Saints), 1311, formerly the high altar of the Duomo in Siena, tempera and gold ground on wood panel, 211 × 426 cm, Siena, Museo dell’Opera Metropolitana. Source: akg-images / MPortfolio / Electa.
   3. Figure 2.3 | Masaccio, The Virgin and Child, 1426, egg tempera on wood, 134.8 × 73.5 cm, London, National Gallery. Bought with a contribution from The Art Fund, 1916. Acc. no.: 1772.
   4. Figure 2.4 | Masaccio, The Virgin and Child, 1426, egg tempera on wood, 134.8 × 73.5 cm, with converging lines of single-point perspective on vanishing point, London, National Gallery. Bought with a contribution from The Art Fund, 1916. Acc. no.: 1772.
   5. Figure 2.5 | Jan van Eyck, The Arnolfini Portrait, 1434, portrait of Giovanni (?) Arnolfini and his wife Giovanna Cenami (?), oil on oak panel, 82.2 × 60 cm, London, National Gallery.
   6. Figure 2.6 | David Hockney, a detail from Mr and Mrs Clark and Percy, 1970–1971, acrylic on canvas, 213.4 × 304.8 cm, London, Collection Tate. Source: ©Tate, London 2015 / © David Hockney.
   7. Figure 2.7 | Marcus Harvey, Myra, 1995, acrylic on canvas, 396 × 320 cm. Source: Image courtesy of Marcus Harvey and Vigo Gallery. © Marcus Harvey. All Rights Reserved, DACS 2015.
   8. Figure 2.8 | Chris Ofili, The Holy Virgin Mary, 1996, acrylic, oil, polyester resin, paper collage, glitter, map pins and elephant dung on linen, 243.8 × 182.8 cm.
   9. Figure 2.9 | Barbara Kruger, Untitled (Thinking of You) 1999–2000, photographic silk screen print on vinyl, 312.4 × 256.5 cm, New York, Mary Boone Gallery MBG#7969.
   10. Figure 2.10 | Michelangelo, The Awakening of a Slave, 1525–1530, marble, height 267 cm, Florence, Galleria Dell’Accademia. Source: akg-images / De Agostini Picture Library / G. Nimatallah.
   11. Figure 2.11 | Gian Lorenzo Bernini, Apollo and Daphne, 1624, marble, height 243 cm, Rome, Borghese Gallery. Source: akg-images / Andrea Jemolo.
   12. Figure 2.12 | Constantin Brancusi, Bird in Space, 1928, bronze (unique cast), 137.2 × 21.6 × 16.5 cm, New York, Museum of Modern Art (MoMA). Given anonymously. Acc. no.: 153.1934.
   13. Figure 2.13 | Dame Elisabeth Frink, Harbinger Bird IV, 1961, bronze, 483 × 213 × 356 mm, London, Tate.
   14. Figure 2.14 | Gregorio Fernández, Dead Christ, c.1625–1630, polychromed wood, horn, glass, bark, and ivory or bone, length 191 cm, Valladolid, National Sculpture Museum.
   15. Figure 2.15 | Georg Baselitz, Untitled (Figure with Raised Arm), 1982–1984, lime wood and oil paint, 253 × 71 × 46 cm, Edinburgh, National Galleries of Scotland.
   16. Figure 2.16 | Ron Mueck, Dead Dad, 1996–1997, mixed media, 20 × 38 × 102 cm, Stefan T. Edlis Collection.
   17. Figure 2.17 | Ron Mueck, Big Man, 2000, mixed media, 205.1 × 117.4 × 209 cm, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington DC Museum, the Joseph H. Hirshhorn Bequest Fund, 2001.
   18. Figure 2.18 | Tracey Emin, My Bed, 1998, mixed media (mattress, linens, various memorabilia), maximum width 234 cm.
   19. Figure 2.19 | Filippo Brunelleschi, Dome of Florence Cathedral, 1420–1436.
   20. Figure 2.20 | Filippo Brunelleschi, Air space between the shells of the Dome of Florence Cathedral. The herringbone brickwork visible here on the inner and outer shell of the dome is self-supporting.The technique is borrowed from the Pantheon in Rome.
   21. Figure 2.21 | Pantheon, Rome, 118–128 ce, interior of dome.
   22. Figure 2.22 | Philip Webb, Red House, Bexley Heath, 1859–1860, east view with well. Source: © David Ball / Alamy.
   23. Figure 2.23 | Philip Webb, Red House, Bexley Heath, 1859–1860, L-shaped plan. Source: © Heritage Image Partnership Ltd / Alamy.
   24. Figure 2.24 | Philip Webb, Red House, Bexley Heath, 1859–1860, detail of oriel window, west front of Red House, designed in 1859 by Philip Webb for William Morris. Built of red brick laid in ‘English Bond’ with a red tiled roof.
   25. Figure 2.25 | Philip Webb, Red House, Bexley Heath, 1859–1860, oak staircase landing.
   26. Figure 2.26 | Philip Webb, 1858, pen, ink and watercolour on paper, original architectural drawings for the conical wellhead at Red House, based on local Kentish oast houses, situated close to the house, in the east garden at Red House, Bexley Heath. Private Collection.
   27. Figure 2.27 | Richard Rogers, Lloyd’s Building, City of London, 1978–1986, City of London, façade with atrium.
   28. Figure 2.28 | The modular, prefabricated iron sections of the Crystal Palace, London, 1851, are discernible in this drawing, as is its inspirational role in the Lloyd’s atrium. Source: © FALKENSTEINFOTO / Alamy.
   29. Figure 2.29 | Richard Rogers, Lloyd’s of London, exterior ducts.
   30. Figure 2.30 | Richard Rogers, Lloyd’s of London, interior of atrium.
   31. Figure 2.31 | Richard Rogers, Lloyd’s of London, elaborate plasterwork in Committee Room designed by Robert Adam, 1763.
   32. Figure 2.32 | Entrance to Lloyd’s Building, 12 Leadenhall Street, London, with classical triangular pediment.
3. Chapter 3
   1. Figure 3.1 | Polykleitos, Doryphoros (Spear Bearer), 450–440 bce, copy of a Greek original, marble, height 212 cm, Roman, Naples, Museo Archeologico Nazionale.
   2. Figure 3.2 | The Parthenon Temple, 447–438 bce.
   3. Figure 3.3 | The Parthenon Temple with Golden Section overlay.
   4. Figure 3.4 | Masaccio, The Virgin and Child, 1426, egg tempera on wood, 134.8 × 73.5 cm, London, National Gallery. Bought with a contribution from The Art Fund, 1916. Acc. no.: 1772.
   5. Figure 3.5 | Donatello, David (before restoration), 1440, bronze, Florence, Bargello Museum.
   6. Figure 3.6 | Raphael, Alba Madonna, c.1510, oil on panel transferred to canvas, overall (diameter): 94.5 cm, framed: 139.7 × 135.9 × 14 cm, Washington, National Gallery of Art, Andrew W. Mellon Collection, 1937.1.24.
   7. Figure 3.7 | Artemisia Gentileschi, Judith Slaying Holofernes, c.1620, oil on canvas, 199 × 162 cm, Florence, Galleria degli Uffizi.
   8. Figure 3.8 | Gian Lorenzo Bernini, Apollo and Daphne, 1624, marble, height 243 cm, Rome, Borghese Gallery.
   9. Figure 3.9 | Pietro da Cortona, Church of Santa Maria della Pace, Rome, 1656–1667, view of façade.
   10. Figure 3.10 | Jacques-Louis David, The Death of Marat, 1793 (stabbed in his bath by Charlotte Corday, Paris, 13 July 1793), oil on canvas, 165 × 128 cm, Brussels, Musées Royaux des Beaux-Arts.
   11. Figure 3.11 | Francisco de Goya, The Third of May 1808, 1814 (Execution of the insurgents on the Montana del Principe Pio), oil on canvas, 266 × 345 cm, Madrid, Museo del Prado.
   12. Figure 3.12 | Théodore Géricault, The Raft of the Medusa, 1819, oil on canvas, 491 × 716 cm, Paris, Musée du Louvre.
   13. Figure 3.13 | Théodore Géricault, The Raft of the Medusa, 1819, oil on canvas, 491 × 716 cm, Paris, Musée du Louvre.
   14. Figure 3.14 | Gérard Rancinan, Raft of Illusions, 2008, photograph.
   15. Figure 3.15 | Jeff Wall, The Destroyed Room, 1978, transparency in lightbox, 159.0 × 229.0 cm, Collection of National Gallery of Canada, Ottawa.
   16. Figure 3.16 | Eugène Delacroix, The Death of Sardanapalus, 1827, oil on canvas, 395 × 495 cm, Paris, Musée du Louvre.
   17. Figure 3.17 | Claude Monet, Autumn Effect at Argenteuil, 1873, oil on canvas, 55 × 74.5 cm, London, Courtauld Gallery.
   18. Figure 3.18 | Mary Cassatt, Lydia at the Tapestry Loom, c.1881, oil on canvas, 64.7 × 92.7 cm, Collection of the Flint Institute of Arts, Flint, Michigan; Gift of the Whiting Foundation, 1967.32.
   19. Figure 3.19 | Edgar Degas, Dancer Looking at the Sole of her Right Foot, cast 1920 from a plaster cast c.1900, bronze, 476 × 267 × 216 mm, London, Tate.
   20. Figure 3.20 | Vincent van Gogh, Wheatfield with Crows, 1890, detail, Amsterdam, Van Gogh Museum.
   21. Figure 3.21 | Pablo Picasso, Portrait of Daniel-Henry Kahnweiler, 1910, oil on canvas, 100.6 × 72.8 cm, the Art Institute of Chicago.
   22. Figure 3.22 | Pablo Picasso, Guernica, 1937, detail, oil on canvas, 349.3 × 776.6 cm, Madrid, Museo Nacional Reina Sofia.
   23. Figure 3.23 | Umberto Boccioni, Unique Forms of Continuity in Space, 1913, bronze, 1175 × 876 × 368 mm, cast 1972. London, Tate.
   24. Figure 3.24 | Piet Mondrian, Composition with Yellow, Blue and Red, 1937–1942, oil on canvas, support: 727 × 692 mm, frame: 917 × 882 × 63 mm, London, Tate.
   25. Figure 3.25 | Gerrit Thomas Rietveld, Schröder House, Utrecht, Netherlands, 1924. Source: © Julian Castle / Alamy; © DACS 2015.
   26. Figure 3.26 | Le Corbusier, Villa Savoye, Poissy, France, 1928–1931, exterior view from the north. Built for Pierre and Eugénie Savoye.
   27. Figure 3.27 | Le Corbusier, Villa Savoye, Poissy, France, 1928–1931, entrance hall showing pilotis and glass wall.
   28. Figure 3.28 | Le Corbusier, Villa Savoye, Poissy, France, 1928–1931, bathroom with built-in recliner.
   29. Figure 3.29 | Le Corbusier, Villa Savoye, Poissy, France, 1928–1931, interior living space leading onto enclosed terrace.
   30. Figure 3.30 | Sir Herbert Baker, The Bank of England, London, 1929–1935.
   31. Figure 3.31 | Sir Herbert Baker, The Bank of England, London, 1929–1935, Britannia on tympanum.
   32. Figure 3.32 | Frank Lloyd Wright, Fallingwater, Mill Run, Pennsylvania, 1935–1938, southwest view with tower acting as cantilever for the over-hanging terraces.
   33. Figure 3.33 | Frank Lloyd Wright, Fallingwater, Mill Run, Pennsylvania, 1935–1938, interior with flagstone flooring.
   34. Figure 3.34 | Frank Lloyd Wright, Fallingwater, Mill Run, Pennsylvania, 1935–1938, detail of mitred window. Source: Christopher Little, courtesy of the Western Pennsylvania Conservancy;
   35. Figure 3.35 | Frank Lloyd Wright, Fallingwater, Mill Run, Pennsylvania, 1935–1938, staircase from living space to stream below.
   36. Figure 3.36 | Future Systems, J.P. Morgan Media Centre, Lord’s Cricket Ground, London, 1999.
   37. Figure 3.37 | Future Systems, J.P. Morgan Media Centre, Lord’s Cricket Ground, London, 1999, interior handrail and balustrade on mezzanine.
   38. Figure 3.38 | Future Systems, J.P. Morgan Media Centre, Lord’s Cricket Ground, London, 1999, porthole window.
   39. Figure 3.39 | Future Systems, J.P. Morgan Media Centre, Lord’s Cricket Ground, London, 1999, interior view of system for holding glass panes in place.
4. Chapter 4
   1. Figure 4.1 | Caravaggio, The Entombment of Christ, 1602–1604, oil on canvas, 300 × 203 cm, Rome, Pinacoteca Vaticana.
   2. Figure 4.2 | Gian Lorenzo Bernini, The Ecstasy of St.Teresa of Ávila, 1645–1652, marble, height 350 cm, Rome, Church of Santa Maria della Vittoria. Source: akg-images / De Agostini Picture Library / G. Nimatallah.
   3. Figure 4.3 | Artemisia Gentileschi, Judith Slaying Holofernes, c.1620, oil on canvas, 199 × 162 cm, Florence, Galleria degli Uffizi.
   4. Figure 4.4 | Georges-Eugène Haussmann.
   5. Figure 4.5 | Charles Marville, Rue du Jardinet, from passage Hautefeuille, Paris, 1858–1878, black and white photograph.
   6. Figure 4.6 | Pierre-Auguste Renoir, Bal du Moulin de la Galette à Montmartre, 1876, oil on canvas, 131 × 175 cm, Paris, Musée d’Orsay.
   7. Figure 4.7 | Edgar Degas, L’Absinthe, 1873, oil on canvas, 92 × 68 cm, Paris, Musée d’Orsay.
   8. Figure 4.8 | Gustave Caillebotte, Paris Street; Rainy Day, 1877, oil on canvas, 212 × 276 cm, the Art Institute of Chicago.
   9. Figure 4.9 | Édouard Manet, Olympia, 1863, oil on canvas, 130.5 × 190 cm, Paris, Musée d’Orsay.
   10. Figure 4.10 | Moulin Rouge, 2001, starring Nicole Kidman, directed by Baz Luhrmann. Dancing girls, courtesans, bright lights and dandies in frock coats capture a snapshot of Parisian modernity.
   11. Figure 4.11 | Avenue de l’Opéra, Paris, 1904.
   12. Figure 4.12 | Opéra Garnier (Paris Opera), Paris, 1862–1875.
   13. Figure 4.13 | Augustus Leopold Egg, Past and Present 1, 1858, oil paint on canvas, 63 × 76 cm, London, Tate Britain.
   14. Figure 4.14 | Augustus Leopold Egg, Past and Present 2,
   15. Figure 4.15 | Augustus Leopold Egg, Past and Present 3, 1858, oil paint on canvas, 63 × 76 cm, London, Tate Britain.
   16. Figure 4.16 | William Holman Hunt, The Awakening Conscience, 1853, oil on canvas, 74.9 × 55.8 cm, London, Tate Gallery.
   17. Figure 4.17 | William Holman Hunt, The Light of the World, 1853, Oxford, Keble College.
   18. Figure 4.18 | William Holman Hunt, The Awakening Conscience, 1853, oil on canvas, 74.9 × 55.8 cm, London, Tate Gallery. Source: © 2015. DeAgostini Picture Library / Scala, Florence.
   19. Figure 4.19 | Dorothea Lange, Migrant Mother, 1935, Nipomo Valley, 28.2 × 21.6 cm.
   20. Figure 4.20 | Edward Hopper, Nighthawks, 1942, oil on canvas, 84.1 ×152.4 cm, Friends of American Art Collection, 1942.51, the Art Institute of Chicago.
   21. Figure 4.21 | Andy Warhol, Marilyn Diptych, 1962, acrylic paint on canvas, each panel 2054 × 1448 × 20 mm, 1962, London, Tate.
   22. Figure 4.22 | Marilyn Monroe, publicity photo for film Niagara, 1953.
   23. Figure 4.23 | Jeff Koons, Michael Jackson and Bubbles, 1988, porcelain, 106.7 × 179.1 × 82.6 cm, San Francisco Museum of Modern Art.
   24. Figure 4.24 | Barbara Kruger, Untitled (I Shop Therefore I Am), 1987, photographic silkscreen/vinyl,282 × 287 cm, New York, Mary Boone Gallery, MBG#4057.
   25. Figure 4.25 | William Powell Frith, The Railway Station, 1860–1862, oil on canvas, 117 × 256 cm, Royal Holloway, University of London/
   26. Figure 4.26 | William Hogarth,Gin Lane, 1751, copper engraving and etching, 35.8 × 30.2 cm.
   27. Figure 4.27 | Richard Billingham, Untitled, 1994, colour photograph mounted on aluminum,75 × 50 cm, Edition of 10 + 1AP.
5. Chapter 5
   1. Figure 5.1 | Sandro Botticelli, The Adoration of the Magi, c.1475, tempera on wood, 111 × 134 cm, Florence, Galleria degli Uffizi.
   2. Figure 5.2 | Jan van Eyck, The Arnolfini Portrait, portrait of Giovanni (?) Arnolfini and his wife Giovanna Cenami (?), 1434, detail of chandelier and van Eyck’s signature on back wall, oil on oak panel, 82.2 × 60 cm, London, National Gallery.
   3. Figure 5.3 | Donatello, David, 1440 (before restoration), bronze, height 158 cm, Florence, Bargello Museum.
   4. Figure 5.4 | Albrecht Dürer, Self-portrait, 1500, on limewood, 67 × 49 cm, Munich, Alte Pinakothek.
   5. Figure 5.5 | Filippo Brunelleschi, Dome of Florence Cathedral, 1420–1436.
   6. Figure 5.6 | Michelangelo, David, 1501–1504, marble, height 434 cm, Florence, Galleria dell’Accademia.
   7. Figure 5.7 | Gian Lorenzo Bernini, The Ecstasy of St. Teresa of Ávila, 1645–1652, marble, life-size, Rome, Church of Santa Maria della Vittoria, Cornaro Chapel. Source: © Adam Eastland Art +Architecture / Alamy.
   8. Figure 5.8 | Gian Lorenzo Bernini, Cornaro family sculpted into lateral walls of The Ecstasy of St. Teresa of Ávila, 1645–1652.
   9. Figure 5.9 | Juan Martínez Montañés (polychromer unknown), Christ of Clemency, 1603, detail, polychromed wood, height 190 cm, Seville Cathedral.
   10. Figure 5.10 | Jacques-Louis David, The Death of Marat, 1793 (stabbed in his bath by Charlotte Corday, Paris, 13 July 1793), oil on canvas, 165 × 128 cm, Brussels, Musées Royaux des Beaux-Arts.
   11. Figure 5.11 | George Stubbs, Whistlejacket, c.1762, oil on canvas, 292 × 246.4 cm, London, National Gallery.
   12. Figure 5.12 | Vincent van Gogh, Self-Portrait with Bandaged Ear, 1889, oil on canvas, 60 × 49 cm, London, Courtauld Institute.
   13. Figure 5.13 | Peggy Guggenheim.
   14. Figure 5.14 | Artist Jackson Pollock painting in his studio.
   15. Figure 5.15 | Jackson Pollock, Mural, 1943, oil on canvas, 247 × 605 cm, Iowa City, University Museum of Art. Gift from Peggy Guggenheim.
   16. Figure 5.16 | Art critic Clement Greenberg.
   17. Figure 5.17 | Tracey Emin, I’ve Got It All, 2000, ink-jet print, 124 × 109 cm.
   18. Figure 5.18 | Tracey Emin, My Bed, 1998, mixed media (mattress, linens, various memorabilia), maximum width 234 cm.
   19. Figure 5.19 | Damien Hirst, AThousand Years, 1990, glass, steel, silicone rubber, painted MDF, insect-o-cutor, cow’s head, blood, flies, maggots, metal dishes, cotton wool, sugar and water, 207.5 × 400 × 215 cm.
   20. Figure 5.20 | Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991 (sideview), glass, painted steel, silicone, monofilament, shark and formaldehyde solution, 217 × 542 × 180 cm.
   21. Figure 5.21 | Marcus Harvey, Myra, 1995, acrylic on canvas, 396 × 320 cm.
   22. Figure 5.22 | Jake and Dinos Chapman, Zygotic Acceleration, Biogenetic, and De-sublimated Libidinal Model (Enlarged × 1000), 1995, fibreglass, resin, paint, wigs and trainers, 150 × 180 × 140 cm.
   23. Figure 5.23 | Ashley Bickerton, The Patron, 1997, oil, acrylic, pencil and aniline dye on wood, 167.5 × 228.5 cm.
   24. Figure 5.24 | Rogers and Piano, Pompidou Centre, Paris, 1971–1977.
   25. Figure 5.25 | Richard Rogers, Lloyd’s Building, City of London, 1978–1986, façade with atrium.
6. Chapter 6
   1. Figure 6.1 | Paul Joseph Jamin, Brenn and his Share of the Plunder (or Spoils), 1893, oil on canvas, 162 × 118 cm, La Rochelle, Musée des Beaux-Arts.
   2. Figure 6.2 | Jan van Eyck, The Arnolfini Portrait, 1434, portrait of Giovanni (?) Arnolfini and his wife Giovanna Cenami (?), oil on oak panel, 82.2 × 60 cm, London, National Gallery.
   3. Figure 6.3 | Louise Bourgeois, Femme Maison, 1994, white marble, 11.4 × 31.1 × 6.6 cm.
   4. Figure 6.4 | Cindy Sherman, Untitled Film Still #3 1977, gelatine silver print, 18 × 24 cm.
   5. Figure 6.5 | Jacques-Louis David, Oath of the Horatii, 1784, oil on canvas, 330 × 425 cm, Paris, Musée du Louvre.
   6. Figure 6.6 | Barbara Kruger, Untitled (We Don’t Need Another Hero), 1987, photographic silkscreen/vinyl, 228.6 × 297.2 cm, New York, Mary Boone Gallery, MBG#4186.
   7. Figure 6.7 | Pierre-Auguste Renoir, La Loge, 1874, oil on canvas, 80 × 63 cm, London, Courtauld Institute of Art Gallery.
   8. Figure 6.8 | Mary Cassatt, In the Loge, 1878, oil on canvas, 81.28 × 66.04 cm, Museum of Fine Arts, Boston, the Hayden Collection – Charles Henry Hayden Fund 10.35.
   9. Figure 6.9 | Jean-Auguste-Dominique Ingres, La Grande Odalisque, 1814, oil on canvas, 91 × 162 cm, Paris, Musée du Louvre.
   10. Figure 6.10 | Guerrilla Girls, Untitled or Do Women Have to Be Naked to Get Into the Met. Museum?, 1989 (from the series ‘Guerrilla Girls Talk Back:The First Five Years’, 1985–1990).
   11. Figure 6.11 | Jean-Auguste-Dominique Ingres, The Turkish Bath, 1862, oil on canvas, 108 × 108 cm, Musée du Louvre, Paris.
   12. Figure 6.12 | Sylvia Sleigh, The Turkish Bath, 1973, oil on canvas, 193 × 259.1 × 5.1 cm (framed: 203.2 × 266.7 × 12.7 cm), The David and Alfred Smart Museum of Art, The University of Chicago; purchased by Paul and Miriam Kirkley Fund for Acquisitions.
   13. Figure 6.13 | Jenny Saville, Hybrid, 1997, oil on canvas, 274.3 × 213.4 cm.
   14. Figure 6.14 | Laocoön, group from the Hellenistic period, first century bce, marble, height 208 cm.
   15. Figure 6.15 | Auguste Rodin, The Age of Bronze, c.1876/1877, bronze, height 182.9 cm, Paris, Musée Rodin.
   16. Figure 6.16 | Antonio Canova, Psyche Revived by Cupid’s Kiss, 1793, marble sculpture, height 155 cm, Paris, Musée du Louvre.
   17. Figure 6.17 | Alberto Giacometti, Woman with Her Throat Cut, 1932, bronze (cast 1949), 20.3 × 87.6 × 63.5 cm, New York, Museum of Modern Art (MoMA). Purchase. Acc. n.: 696.1949. Source: © 2015. Digital image, The Museum of Modern Art, New York / Scala, Florence / ©The Estate of Alberto Giacometti (Fondation Giacometti, Paris and ADAGP, Paris), licensed in the UK by ACS and DACS, London 2015.
   18. Figure 6.18 | Louise Bourgeois, The Destruction of the Father, 1974, latex, plaster, wood, fabric and red lighting, 237.8 × 362.3 × 248.6 cm.
   19. Figure 6.19 | Louise Bourgeois, Maman, 1999, bronze, stainless steel and marble, 927.1 × 891.5 × 1023.6 cm, Paris, Jardin des Tuileries, 2008.
   20. Figure 6.20 | Judy Chicago, The Dinner Party, 1979, mixed media, 1463 × 1463 cm, New York, NY, USA, Brooklyn Museum. Source: Photo: © Donald Woodman, courtesy of Judy Chicago / Art Resource, NY / © Judy Chicago. ARS, NY and DACS, London 2015.
   21. Figure 6.21 | Judy Chicago, The Dinner Party, 1979, detail, Virginia Woolf place setting, mixed media, 1463 × 1463 cm, New York, NY, USA, Brooklyn Museum.
   22. Figure 6.22 | Tracey Emin, Everyone I Have Ever Slept With 1963–1995, 1995, fabric appliqué, mattress, light.
   23. Figure 6.23 | Iktinos and Kallikrates, The Parthenon Temple, 447–438 bce.
   24. Figure 6.24 | Leonardo da Vinci, Vitruvian Man, 1490, pen and ink, Venice, Gallerie dell’Accademia.
   25. Figure 6.25 | Mies van der Rohe and Philip Johnson, Seagram Building, New York, 1958.
   26. Figure 6.26 | Frank Gehry, and Vlado Milunic Netherlands National Building or ‘Dancing House’, Prague, 1996.
   27. Figure 6.27 | Frank Gehry, and Vlado Milunic Netherlands National Building, Prague, 1996, detail of dancing window.
   28. Figure 6.28 | Eugène Delacroix, Liberty Leading the People (Allegory of the July Revolution 1830, with self-portrait), 1830, oil on canvas, 360 × 225 cm, Paris, Musée du Louvre.
   29. Figure 6.29 | Frida Kahlo, Self-Portrait on the Borderline between Mexico and the United States, 1932, oil on canvas, Private Collection.
   30. Figure 6.30 | Pyramid of the Sun, Teotihuacan. This site is believed to date from the second century bce and its position as central to ancient Mexico is revered.
   31. Figure 6.31 | Alexandre Gustave Eiffel, The Eiffel Tower, Paris, 1887–1889, wrought iron, height 301 m.
   32. Figure 6.32 | Frédéric Bartholdi, Statue of Liberty, 1886, copper.
   33. Figure 6.33 | Frédéric Bartholdi, Statue of Liberty, drawing of the internal armature designed by Gustave Eiffel, from Scientific American, 13 June 1885.
   34. Figure 6.34 | Frédéric Bartholdi, Statue of Liberty, internal armature by Gustave Eiffel.
   35. Figure 6.35 | Charles Garnier, Opéra Garnier (Paris Opera), Paris, 1861–1875.
   36. Figure 6.36 | Jǿrn Utzon, Sydney Opera House, 1973.
   37. Figure 6.37 | John Nash, Royal Pavilion, Brighton, 1815–1822.
   38. Figure 6.38 | John Nash, Royal Pavilion, Brighton, 1815–1822, detail of decorative parapets.
   39. Figure 6.39 | John Nash, Royal Pavilion, Brighton, 1815– 1822, elaborate dragon ceiling rose which supports the colossal chandelier in the centre of the Banqueting Room.
   40. Figure 6.40 | Sir Joshua Reynolds, Portrait of Omai, c.1776, oil on canvas.
   41. Figure 6.41 | Henri Matisse, Blue Nude, 1907, oil on canvas, 92.1 × 140.3 cm, Baltimore Museum of Art:The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland, BMA 1950.228.
   42. Figure 6.42 | Rasheed Araeen, The Golden Verses, 1990–1991, billboard poster, 300 × 600 cm.
   43. Figure 6.43 | Chris Ofili, No Woman, No Cry, 1998, oil paint, acrylic paint, graphite, polyester resin, printed pap, 243.8 × 182.8 × 5.1 cm, London, Tate (on loan to New Museum, New York, NY).
   44. Figure 6.44 | Guerrilla Girls, The Advantages of Being a Woman Artist, 1988, poster on college campuses.

Guide

1. Cover
2. Table of Contents
3. Chapter