| describe this image | Lindisfarne Gospel carpet page, 698 CE, England: a mathematical grid buried under swirling lacertine birds and quadrupeds bringing structure to the textured areas, red, contoured cross with white circular forms contrasts against a background of complex decoration, interlace and ornamental, culture: celtic |
| describe this image | St. Mark, Coronation Gospel of Charlemagne, 800 CE, Germany: designed and produced at the court of Charlemagne in the late 8th century CE, classical yet primitive elegance emerges, equal margins between the two facing pages, initial letters echo Roman monumental capitals, text looks to be closely based on the insular script of Ireland, Caroline Minuscule; illuminated; purple and gold shows its audience for royals, gold halo represents Saint, culture: german christianity |
| describe this image | Qur’an, 1270 CE, Islamic: intricate patterns with interlocking forms of vibrant colors, geometric shapes containing calligraphy are surrounded by rhythmic organic designs ranging from plant forms to abstract arabesques, aniconism: no depictions of people, culture: islam |
| describe this image | Fust and Schoeffer, Latin Psalter, 1457: Colophon for the Book of Psalms translated into Latin (trademark with two crests= two printers); on the Eve of Assumption; printing and stamping, culture: german christianity |
| describe this image | Anton Koberger, from the Nuremberg Chronicle, City of Nuremberg, 1493, from illustrated typography book, the woodcut image accurately depicts the city of Nuremberg, showing the churches of St. Lawrence and St. Sebaldus, other depictions were not accurate, culture: german christianity |
| describe this image | Johann Oporinus, De Humani Corporis by Andreas Vesalius, 1543, woodcut: greek and latin majuscule and minuscule characters and Arabic numerals in figure labeling bones; “Life is lived by mental power, other things will belong to death; woodcut, remarkable accuracy and clarity by artists working with dissected corpses under Vesalius’ supervision, culture: renaissance; observational drawing, human anatomy, natural world |
| describe this image | After N. de Larmessin, Fireworks Maker, 1690, Engraving: stately symmetry and somber reserve intensify the outrageous humor of this image. From the engraving called The Trades, costumes were inspired by each trade’s tools, culture: french renaissance, romanticism |
| describe this image | George Bickham, Universal Penman, 1750: The Universal Penman gave information about penmanship Free line was an ideal medium for expressing the florid curves of the rococo sensibility; engraved, culture: english rococo; s and c curves |
| describe this image | Pierre Didot, Horace, 1799, France: printed book with engraved headpiece illustrations, modern style letterform, stereotyping process: This process involves casting a duplicate of a relief printing surface by pressing a molding material (damp paper pulp, plaster, or clay) against it to make a matrix, culture: french neoclassical revival of greek figures |
| describe this image | Felix Nadar, Sarah Bernhardt, 1864: photograph of sarah bernhardt, photography was able to give historical records of celebrities, showing simplicity, culture: french industrial revolution |
| describe this image | John Macdonald, Freedmen on the Canal Bank at Richmond, wood engraving: wood engraving from photography by matthew brady, a historical document to help people understand their history, culture: virginia, america |
| describe this image | Jules Cheret, Dubonnet, 1896: large primary color lithograph poster; Cherette picture; Parisian elegance, a carefree grace, and astounding technical mastery are present, the figures create a lively play of angles, linking the top and bottom lettering, culture: french art nouveau/arts and crafts |
| describe this image | Eugene Grasset, Exhibition Poster, 1883: coloring book style; thick black contour drawing, similar to medieval stained glass windows, muted colors, quiet and still willowy maiden wearing medieval clothing, formal composition, lithography and letterpress, flat color represents knowledge in japanese woodblock, culture: french art nouveau/arts and crafts |
| describe this image | Alphonse Mucha, Gismonda, 1894: this poster by Mucha was produced to promote the new production Gismonda. Life-size figure of Sarah Bernhardt whose first name can be covered and still recognized, mosaic pattern, and elongated shape, culture: french art nouveau/arts and crafts |
| describe this image | Toulouse Lautrec, Divan Japonais, 1892: lithograph poster for a Parisian music hall; Jane Avril pictured; flat silhouette, unmodulated color, and stylized curvilinear drawing; headless body of the recognizable actress Guilbert by her famous gloves, culture: french art nouveau/arts and crafts |
| describe this image | Henri van de Velde, Tropon, 1899: Tropon Werke manufactured a product to improve public health, which was a protein developed from white egg; symbolic form and color; stylized and abstract, dutch art nouveau, glasgow, english arts and crafts |
| describe this image | Marcello Dudovich, Bitter Campari poster, 1901: the message is unambiguous as Dudovich equates sensual pleasure with that derived from Bitter Campari. Elegant subjects presented in flat areas of color, culture: italy |
| describe this image | Koloman Moser, fifth Vienna Secession poster, 1899: color lithographic exhibition poster, metallic gold-bronze figure and olive green background are printed on yellow tone paper that forms the counter lines, culture: austria vienna secession/opposition to floral art nouveau |
| describe this image | Koloman Moser, thirteenth Vienna Secession poster, 1902: color lithographic exxhibition poster, mathematical patterns of squares and rectangles contrast with the circular forms of the figures and letterforms, when Vienna Secession artists rejected the French floral style, they turned toward flat shapes and greater simplicity, culture: austria vienna secession/opposition to floral art nouveau |
| describe this image | Peter Behrens, AEG Turbine Hall poster, 1909: except for the identifying logo and name on the end of the roof, no ornament or embellishment, structure and proportions are designed to suggest its function → massive industrial factory engineered for the assembly of giant steam turbines, culture: german |
