MAT 200 Maple Project Part 1 Due date May 4, 2021

MAT 200 Maple Project Part 1 Due date: May 4, 2021
Submission Instructions: Submit ONE SINGLE PDF file as an
attachment by responding to the
message with subject “MAPLE Project Part 1” on MyOpenMath.
To produce a PDF file in Maple, go
to File -> Export as, and then select PDF.
Choose six integers �, �, �, �, �, � between -10 and 10 but
excluding 0. Use these
values in the problems below.
A=
B=
C=
D=
E=
F=
1. (10 points) Define the function �(�) = ��5 − ��3 + ��2 −
� and compute the

difference quotient
�(�+ℎ )−�(�)
ℎ
. Do not forget to simplify.
2. (10 points) Graph the piecewise defined function �(�) = {
�� − ��, �� 0 < � < 2
� + √|�|�, �� ≥ 2
3. (10 points) Let �(�) = � − �� + ��2. Graph the three
functions �(�), ��(�), ��(�) − �
on the same coordinate system.
4. (10 points) Graph the function �(�) = ��5 + ��4 − ��3 +
��2 − �� + �. Find how
many x-intercepts and how many turning points the graph has.
5. (10 points) Graph the function �(�) =
��6 −��4+ �� 2+��
��5−��3+��2−�
and its asymptotes. Find the
equations of all horizontal and vertical asymptotes.

Chapter 4.1
Art and Community
PART 4
THEMES
Copyright © 2015 Thames & Hudson
Introduction
Community art pursues community objectives
May be made by, for, and about the community
May reflect shared beliefs or experiences
May be found in public places
Gateways to Art: Understanding the Visual Arts, Third Edition,
Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Chapter 4.1 Art and Community
PART 4
THEMES
A community—whether a small rural town, an apartment
complex, a neighborhood, a college campus, or an Internet
discussion group—shares a common interest, if not a physical
space
Community art may require numerous people to become
involved in its construction
Community artworks may also play important roles for
performers in ceremonies and group events
2
Places to Gather
Communities come together to build, visit, or acknowledge
important locations
Structures house ceremonies, civic events, and entertainment

Often become iconic destinations
PART 4
THEMES
Artwork: Notre Dame Cathedral
4.1.1 Notre Dame Cathedral, interior, 1163–1250, Île de la Cité,
Paris, France
Notre Dame Cathedral
Gothic cathedrals inspired worship and were a source of civic
pride
Notre Dame was an important pilgrimage site; held sacred relics
Gothic features include pointed arches and stained-glass
windows
Soaring height and spiritual light
PART 4
THEMES
Gothic cathedrals were built in many European countries
between the twelfth and sixteenth centuries, using the resources

of the entire community
Notre Dame held relics from Christ’s Passion, such as a piece of
the True Cross on which Jesus Christ was crucified, a fragment
of the Holy Lance used to pierce his side, and the Crown of
Thorns that the Romans made to mock Christ as King of the
Jews
The vaulted ceiling is 102 ft. above the floor and the nave is
more than 39 ft. wide
5
The Gothic Cathedral of Chartres
To explore the construction and spiritual beauty of another
French cathedral from the Gothic period, watch:
PART 4
THEMES
Video:
Artwork: Colosseum
4.1.2 Colosseum, 72–80 CE, Rome, Italy
Colosseum, Rome
Feat of architecture and engineering
Built to entertain between 45,000 and 55,000 people
Arena for mock sea battles and gladiatorial combat
Fully exploited use of concrete

PART 4
THEMES
Measures 615 ft. long by 510 ft. across and stands at 159 ft. tall
Concrete was used to construct the massive foundations and
parts of its vaulted ceiling
The exterior was covered with marble and travertine limestone,
and decorated with columns and pilasters made of another type
of local limestone
There were 76 entrance doors, called vomitoria
8
Ancient Rome: Capital of an Empire
To explore the significance of Rome as a capital of an Empire,
watch:
PART 4
THEMES
Video:
Artwork: AT&T Stadium
4.1.3 AT&T Stadium, Arlington, Texas, 2009

AT&T Stadium, Arlington, Texas
Home of the Dallas Cowboys
World’s largest domed structure and column-free interior
21st-century engineering: retractable roof, LCD screens
throughout
Houses an art museum
PART 4
THEMES
It has the fourth-largest seating capacity in the NFL, 80,000,
with a maximum capacity of 105,000 including standing room
This stadium is city-owned and supported by taxpayers
Cowboys owner Jerry Jones funded much of the $1.15 billion
construction cost and the NFL loaned a considerable amount
toward the project
3-million-square-foot interior
The art museum contains site-specific works commissioned
from eighteen contemporary artists
11
Artwork: Solomon R. Guggenheim Museum
4.1.4 Frank Lloyd Wright, Solomon R. Guggenheim Museum,
1956–59, New York

Frank Lloyd Wright,
Guggenheim Museum
Design features:
Large white circular building
Spiraling interior ramp
Domed skylight
Wright was asked to create a “temple of spirit, a monument”
Building itself is a visitor attraction
PART 4
THEMES
Many art museums have broadened their own appeal by hosting
community programming, including festivals, concerts, and film
screenings
The design of the Guggenheim Museum employs strong
geometric shapes, which is characteristic of many modern
buildings
13
Frank Lloyd Wright and the Guggenheim Museum
To find out more about Frank Lloyd Wright and the construction
of the Guggenheim museum, watch:

PART 4
THEMES
Video:
Artwork: Patrick Dougherty, Homegrown
4.1.5 Patrick Dougherty,
Homegrown, 2014. North
Carolina Botanical Garden,
Chapel Hill, North Carolina
Patrick Dougherty,
Homegrown
“Stickworks”
Artwork made not only for the community but by the
community
Hundreds of community members
Visitors encouraged to enter and explore
PART 4
THEMES
Patrick Dougherty (b. 1945) has made his “stickwork”
sculptures across the US and around the world.
Similar to a giant weaving
Materials collected from the region where the sculpture will be

installed (saplings, such as sweet gum and maple).
Take up to two weeks to make and last only for about 2 years.
16
Man-Made Mountains
Intended to shape and dominate the environment
Earthen mounds and pyramids
Made since ancient times
Mysteries now surround their creation, function, and symbolic
significance
PART 4
THEMES
17
Artwork: Ziggurat, Ur
4.1.6 Ziggurat, Ur (near Nasiriyah, Iraq), originally built c.
2100 BCE and heavily restored
Ziggurat, Ur, Iraq
Mud-brick structures built by the Sumerians for ceremonial and
civic use
Three stepped levels, connected by stairs and ramps
Topmost platform reserved for the priest
Dedicated to the moon god Nanna

PART 4
THEMES
The priest served both as the principal human intermediary to
the god who protected the city, and the chief administrator of
the ziggurat
Festivals were organized around the phases of the moon,
especially when it appeared as a crescent, and offerings were
left on the high platform to please Nanna and ensure the
abundance of such sacred liquids as water, milk, and blood
19
Artwork: Monks Mound
4.1.7 Monks Mound, Cahokia, Illinois, c. 1150 (reconstruction
drawing)
Monks Mound,
Cahokia, Illinois
Largest earthen mound in
N. America
Possibly an elite residence, a temple, and/or a burial structure
Aligned with the sun at the equinoxes
Abandoned 600 years ago

PART 4
THEMES
Located in what is now southern Illinois, near St. Louis,
Cahokia covered six square miles and had an estimated
population of 10,000–20,000
Highly organized society
Monks Mound was surrounded by 120 smaller mounds
The base of Monks Mound measures 1,080 by 710 ft. and is
topped by two smaller platforms
21
Artwork: Stonehenge
4.1.8 Stonehenge, c. 3200–1500 BCE, Salisbury Plain,
Wiltshire, England
Art, Super-Sized
Stonehenge
Techniques and intentions shrouded in mystery
Believed to be a giant calendar or observatory
Marks the summer solstice when the sun rises precisely over the
Heelstone
PART 4
THEMES

On Salisbury Plain in England
Site was used for hundreds of years before the stones were
imported from as far as 23 miles away
106 ft. in diameter
Stones up to 20 ft. tall
Each stone weighs as much as 50 tons
The summer solstice signaled the time to prepare for the fall
harvest.
23
Artwork: Christo and
Jeanne-Claude, The Gates
4.1.9 Christo and Jeanne-Claude, The Gates, Central Park, New
York City, 1979–2005. Steel, vinyl tubing, and nylon fabric,
height c.16’
Art, Super-Sized (contd.)
The Gates
23 miles through New York’s Central Park; installed for
16 days
Required community support
Artist employed engineers, fabricators, security guards, and 600
installation workers
PART 4
THEMES

The artists began working on the installation in 1979 and it was
finally approved in 2003
A total of 60 miles of saffron-colored nylon fabric hung from
7,503 gates
Each gate was 16 ft. tall, with fabric coming down to
approximately 7 ft. above the ground
The gates ranged from about 5 ft. to 18 ft. across, depending on
the width of the walkway
After The Gates was taken down, the materials were recycled
25
Art, Super-Sized (further contd.)
Differences:
Time and location; creators?
How long did each work last?
Similarities:
Scale of the materials used and impact on viewers?
Involvement of the community?
PART 4
THEMES
Despite their differences, both works have in common the fact
that their construction required the efforts of significant
numbers of people and that they were used or viewed by an

entire community
26
Rituals of Art of Healing and Community Solidarity
Artworks made for rituals
Symbolic meanings beyond appearance and visual impact
Importance of original context
Suggest sights, sounds, and even smells to which we no longer
have access
PART 4
THEMES
Photograph of Gèlèdé masqueraders
4.1.10 Pair of Gèlèdé masqueraders wearing appliquéd cloth
panels, Ketu area, town of Idahin, Benin. Photo by Henry John
Drewal, 1971
Gèlèdé masqueraders
Masquerades mediate between the human and spiritual realms
Masks, costumes, music, and dance
Gèlèdé rituals of the Yoruba celebrate female strength,
motherhood, and the role of women in the community

PART 4
THEMES
The masker’s personality is temporarily replaced with that of
the spirit being evoked
The ritual performance of masquerades is often designed to
reinforce the cultural beliefs of a community
These ceremonies also acknowledge the important part played
by female ancestors in Yoruba society and promote general
spiritual well-being and social harmony
29
Artwork: Wenda Gu, “China Monument: Temple of Heaven”
4.1.11 Wenda Gu, “China Monument: Temple of Heaven”
(United Nations series), 1998. Mixed media, 52’ × 20 × 13’.
Hong Kong Museum of Art, China
Wenda Gu, “China Monument: Temple of Heaven”
Series of “hair monuments” unite people from all over the world
Donated hair woven into screens
Painted symbols imitate Arabic, Hindi, Chinese, and the Latin
alphabet
Reminiscent of a Buddhist temple
PART 4
THEMES

The brush used by Chinese artist Wenda Gu (b. 1956) is also
made from human strands of hair
Gu’s United Nations series of hair monuments has been made in
more than twenty countries on five continents
More than a million people have contributed their hair to it
31
Art in the Public Sphere
Outside of galleries and museums
Public art
Plazas, parks, exterior walls of buildings
Accessible to a wide audience
Can provoke strong reactions and spark controversies
PART 4
THEMES
32
Artwork: Richard Serra,
Tilted Arc
4.1.12 Richard Serra, Tilted Arc, 1981 (destroyed March 15,
1989). Weatherproof steel, 12’ × 120’ × 2½”. Collection
General Services Administration, Washington, D.C. Installed at
Federal Plaza, New York
Richard Serra, A Sculptor Defends His Work
“Site-specific” Tilted Arc commissioned by the GSA and
installed on Federal Plaza, NYC

Controversy; complaints resulted in a public hearing and
eventual removal
Perspectives on Art:
PART 4
THEMES
American Minimalist sculptor Richard Serra (b. 1939)
Some of the people who worked in the GSA building
complained that it interfered with their use of the plaza and
caused a safety hazard as well, attracting graffiti artists, rats,
criminals, and potentially even terrorists
The majority of testimonies at a public hearing to decide
whether or not to leave the in place were in favor of keeping the
work
Serra: Relocating it would be the same as destroying it
The artist’s lawsuit against the GSA failed to reverse the
decision and the sculpture was dismantled in 1989
Even though the sculpture was demolished, the artist’s hope of
making people aware of their environment, pay attention to the
path they follow on the way to work, and think about their
surroundings was in some ways achieved thanks to the attention
generated by the controversy
34
Memorial and Controversy:
Maya Lin’s Vietnam Veterans Memorial
To find out about another public artwork that generated
controversy, watch:

PART 4
THEMES
Video:
Artwork: Diego Rivera, Man, Controller of the Universe
4.1.13 Diego Rivera, Man, Controller of the Universe, or Man
in the Time Machine, 1934. Fresco, 15’ × 37’6⅞”. Full
composite view of the fresco. Palacio de Bellas Artes, Mexico
City, Mexico
Rivera, Man, Controller of the Universe
Mural commissioned by millionaire Nelson Rockefeller
While painting, Rivera made some changes inspired by
Communism: Lenin leading a demonstration
Rockefeller rejected this idea: mural was ultimately destroyed
PART 4
THEMES
Mexican artist Diego Rivera (1886–1957) was inspired by
Mexico’s tradition of adorning walls with paintings and

sculptures, which originated long before European contact
The mural included depictions of forces of nature as well as
technology, and looked forward to “the liquidation of Tyranny”
Rivera refused to remove his image of Lenin and offered instead
to balance it with a depiction of Abraham Lincoln
Rockefeller rejected this proposal, paid Rivera his full fee, and
banned him from the building
Rivera: “[The artist] must try to raise the level of taste of the
masses, not debase himself to the level of unformed and
impoverished taste”
Rivera re-created the mural in Mexico City
37
Artwork: Krzysztof Wodiczko, Tijuana Projection
4.1.14 Krzysztof Wodiczko, Tijuana Projection, 2001. Public
video projection at the Centro Cultural Tijuana, Mexico.
Organized as part of the event InSite 2000
Krzysztof Wodiczko, Tijuana Projection
Artist gives voice to mistreated individuals, such as women
working in abusive and substandard conditions
Testimonies were projected onto a public building to an
audience of 1,500
PART 4
THEMES
Polish-born artist Krzysztof Wodiczko (b. 1943) has created

more than eighty video projection pieces intended to draw
attention to situations of social injustice around the world
Tijuana Projection gave voice to women in the maquiladora
industry, which consists of assembly plants and factories close
to the border between Mexico and the United States
They told of terrible home and working conditions including
rape, incest, poisoning in the factories due to exposure to toxic
chemicals, and police abuse
Wodiczko hopes that this project will be a catalyst to move
these women toward a better life
39
Chapter 4.1 Copyright Information
This concludes the PowerPoint slide set for Chapter 4.1
Gateways to Art: Understanding the Visual Arts
Third Edition
By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PowerPoints developed by CreativeMyndz Multimedia Studios
PART 4
THEMES
Picture Credits for Chapter 4.1
4.1.1 © guichaoua/Alamy
4.1.2 iStockphoto.com
4.1.3 © Brad Calkins/Dreamstime.com
4.1.4 Photo David Heald. The Solomon R. Guggenheim

Foundation, New York. FLWW-10
4.1.5 Photo John Randall. Courtesy the artist
4.1.6 Silvio Fiore/ photolibrary.com
4.1.7 Cahokia Mounds State Historic Site, painting by William
R. Iseminger
4.1.8 Martin Gray/National Geographic Stock
4.1.9 Keith Bedford/ epa/Corbis
4.1.10 Henry John Drewal and Margaret Thompson Drewal
Collection, EEPA D00639. Eliot Elisofon Photographic
Archives, National Museum of African Art, Smithsonian
Institution, Washington, D.C., courtesy Henry John Drewal
4.1.11 Courtesy the artist
4.1.12 Photo Anne Chauvet
4.1.13 Photo Art Resource/Bob Schalkwijk/Scala, Florence.
© Banco de México Diego Rivera Frida Kahlo Museums Trust,
Mexico, D.F./ DACS 2018
4.1.14 Courtesy Galerie Lelong, New York. © Krzysztof
Wodiczko
PART 4
THEMES
Chapter 4.2
Spirituality and Art
PART 4
THEMES
Introduction

Artworks can reference:
Gods or deities
Spirits of the natural world or ancestors
Communication with the spirit world
Judgment after earthly death
Places that have sacred resonance
PART 4
THEMES
Chapter 4.2 Spirituality and Art
2
Gods, Deities, and Enlightened Beings
Stories of specific religious figures or deities
Explain their importance
Make them more accessible and memorable
Examples include divine individuals from Greek mythology, the
Christian Bible, and Buddhist scripture
PART 4
THEMES
3
Artwork: Apollo, centaur, and Lapith, Temple of Zeus

4.2.1 Apollo, centaur, and Lapith, fragments of relief sculptures
from west pediment of Temple of Zeus, Olympia, Greece, c. 460
BCE. Marble, 8’8” × 10’10”. Archaeological Museum, Olympia,
Greece
Apollo, centaur, and Lapith, Temple of Zeus
Legendary battle between the Lapiths and centaurs
Civilized vs. barbaric
Lapiths are idealized and rigid
Centaurs are dramatic and ferocious
Connected to Dionysus, god of wine
PART 4
THEMES
The sculptures are from the west pediment of the temple
dedicated to the god Zeus at Olympia, Greece, the birthplace of
the Olympic Games
Apollo, who stands in the center of the pediment, brings about
order and reason
5
The Acropolis and Parthenon of Athens
Watch this video about another temple built by the ancient
Greeks to honor a god:

PART 4
THEMES
Video:
Artwork: Doors depicting scenes from Genesis and life of Christ
4.2.2b Doors depicting scenes from Genesis and the life of
Christ, commissioned by Bishop Bernward for the Abbey
Church of
St. Michael’s, Hildesheim, 1015. Bronze, 16’6”. Dom-Museum,
Hildesheim, Germany
4.2.2c Diagram with identification of panels on Hildesheim
Doors
Doors depicting scenes from Genesis and the life of Christ
Commissioned by Bishop Bernward for the Church of St.
Michael’s, Hildesheim, Germany
Left: scenes from book of Genesis
Right: scenes from the life of Christ
PART 4
THEMES

In Christian Europe in the eleventh century, visual artists often
illustrated themes and events from the Bible
In chronological order the doors are read counterclockwise,
beginning at the top of the left door
Organized to make direct connections between the Old and New
Testaments
8
Artwork: detail of
Hildesheim Doors
4.2.2a Detail of Hildesheim Doors: Temptation in the Garden of
Eden
Detail of
Hildesheim Doors
Scene from the Old Testament door
Adam and Eve expelled from the Garden of Eden
Not idealized; reflects emphasis on internal, spiritual matters
Corresponding panel on the New Testament door depicts the
crucifixion
PART 4
THEMES
10

Artwork: Life of Buddha
4.2.3 Life of Buddha, stela, Gupta period, c. 475 CE. Sandstone,
height 41”. India Museum, Calcutta, India
Life of Buddha, stela, Calcutta, India
Buddhist art depicts the life, teachings, and beliefs of Buddha
Stela shows the cycle of his life
Miraculous birth
Moment of enlightenment
Giving his first sermon
Achieving tranquility (nirvana)
PART 4
THEMES
Buddha, or the Awakened One, was a Hindu prince named
Siddhartha Gautama who lived in Nepal and northern India from
about 563 to 483 bce
The smaller carvings along the sides of the stela show
noteworthy moments after he decided to leave his princely life
at the age of thirty to become a holy man
12
Spiritual Beings and Ancestors
Artworks may reflect beliefs in the spirits of gods and ancestors

In African cultures, objects are infused with a spiritual presence
Ancient rituals reflect ideas that are central to a community’s
belief system
PART 4
THEMES
13
Artwork: Senufo
mother-and-child figure
4.2.4 Senufo mother-and-child figure, late 19th-mid-20th
century. Wood, height 25”. Cleveland Museum of Art, Ohio
Mother-and-child figure
Senufo culture, West Africa
Mother-and-child figure
Exaggerated breasts and arms
Nursing suggests this is a female ancestral spirit
Guiding spirit for those responsible for maintaining religious
and historical traditions
PART 4
THEMES

15
The Master Sculptors of Benin and Ife
For more examples of traditional African sculpture with
connections to spirits and ancestors, watch:
PART 4
THEMES
Video:
Artwork: photograph of Navajo medicine man
4.2.5 Navajo medicine man in healing ceremony. Photo 20th
century
Navajo medicine man in a healing ceremony
Carefully constructed using natural materials (such as corn,
pollen, and powdered stones); temporary
Healing ceremony is overseen by a shaman or medicine man
The ailing person sits in the center
Absorbs the power from ancestors and gods depicted in the
painting

PART 4
THEMES
The images are meticulously created over the course of days or
week, constructed as part of a prayer or ceremony
The subject matter comes from Navajo creation mythology and
includes logs, holy plants, animals, and deities
The careful production and impermanent medium express the
belief that the forces of nature and ancestry are ultimately out
of human control, but that they can be tapped to benefit the
community
18
Artwork: Hopi kachina doll
4.2.6 Hopi kachina doll,
c. 1925. Wood, feathers,
and pigment, height 25¼".
Gustav Heye Center, New
York (National Museum of
the American Indian)
Hopi Kachina Doll
Kachinas: supernatural spirits that personify events and natural
elements
Masked dancers embody kachinas in annual festivals dedicated
to rain, fertility, hunting

Jemez kachina doll helps ensure a successful corn crop
PART 4
THEMES
The natural phenomena represented by kachinas include the
solstices, constellations, plants, and animals
Elaborate headdress on the Jemez kachina contains cloud
symbols, denoting its effectiveness in bringing rain
Carries a rattle and a sprig from a Douglas fir tree (represented
by a feather)
20
Connecting with the Gods
Some individuals intermediate between people and deities
Rulers depicted interacting with the divine realm
Reinforces power, divine right to rule
PART 4
THEMES
21
Artwork: Stela of Naram-Sin

4.2.7 Stela of Naram-Sin, c. 2254–2218 BCE. Pink sandstone,
6’7” × 3’5”. Musée du Louvre, Paris, France
Stela of Naram-Sin
Commemorates the Akkadian king’s victory over the Lullubi
people
He is located closest to the sun god: reinforces the king’s status
Favorable connection with the gods ensured prosperity for his
kingdom
PART 4
THEMES
Naram-Sin, an Akkadian king who ruled central Mesopotamia
(part of modern Iraq) around 2254–2218 bce, was both head of
church and state
Naram-Sin’s horned helmet and larger size emphasize his
importance
The sun god is not depicted in human form but appears
symbolically as a sunburst
23
Artwork: Virgin of Vladimir
4.2.8 Virgin of Vladimir, 12th century (before 1132). Tempera
on panel, 30¾ × 21½”. Tretyakov Gallery, Moscow, Russia

Virgin of Vladimir
Icons (portable religious images)
Used by the Eastern Orthodox Church during the Middle Ages
Inspires devotion; believed to communicate with God
Gold backgrounds, linear outlines, stylized poses, haloes for
Madonna and Child
PART 4
THEMES
Many icons were painted on wood panels, so they could be
carried around, although some were attached to chapel screens
in churches
This icon, probably made in Constantinople, was intended to
bless and protect the city in which it was housed (it has been in
Moscow almost continuously since 1395)
Only the faces are original; the rest of the panel, probably
damaged by people touching it, has been repainted
The Orthodox Church required the form and content of icons to
follow traditional rules
25
Artwork: Gianlorenzo Bernini, The Ecstasy of St. Teresa
4.2.9 Gianlorenzo Bernini, The Ecstasy of St. Teresa, 1647–52.
Polychromed marble, gilt, bronze, yellow glass, fresco, and
stucco, 4’11” high (figures only). Cornaro Chapel, Santa Maria
della Vittoria, Rome, Italy

Bernini, The Ecstasy
of St. Teresa
Typical of the Baroque style
Depicts St. Teresa’s vision: she is about to be pierced by an
angel’s arrow, infusing her with divine love
Theatrical staging; dramatic light
Intensity of her piety serves as an example to be followed by
the devout
PART 4
THEMES
Gianlorenzo Bernini (1598–1680) made this sculpture between
1647 and 1652 to decorate a funerary chapel for the Cornaro
family in the Church of Santa Maria della Vittoria in Rome,
Italy
The combination of accurate and believable details with an
exaggerated picture of devotion reflects the Catholic Church’s
new emphasis at that time on believers establishing a strongly
personal relationship with Christ
27
Gianlorenzo Bernini: The Ecstasy of
St. Teresa

PART 4
THEMES
Video:
Artwork: Book of the Dead
of Hunefer
4.2.10 Book of the Dead of Hunefer: Last Judgment before
Osiris, c. 1275 bce. Painted papyrus, height 15⅜”. British
Museum, London, England
Judgment and
the Afterlife
Scroll with spells designed to help navigate the way into the
afterlife
Buried with the scribe Hunefer
Pleads his case to judges
His soul is weighed on a scale
He is proven to have lived an honorable life
PART 4
THEMES
The act of judging a life before the deceased is allowed to pass
into the afterlife has been the theme of numerous artworks
In many judgment scenes, scales are featured as a symbol of
justice in which a life is “held in the balance” before the soul is

allowed to pass on
Hunefer is presented to Osiris
30
Artwork: Gislebertus,
The Last Judgment
4.2.11 Gislebertus, The Last Judgment, c. 1120–35. Tympanum
from west Portal, Cathedral of Saint-Lazare, Autun, France
Judgment and
the Afterlife (contd.)
Bottom row of figures await judgment
Christ’s right: souls of the blessed and angels
Christ’s left: scales and the ravaged bodies of the damned
Grotesque appearance sent a
strong message to churchgoers
PART 4
THEMES
In twelfth-century Europe, depictions of the Last Judgment took
on an ominous tone
The Romanesque characteristic of elongated and somewhat
angular figures on the sculpture throughout the whole portal
creates a visually dynamic tension
A pair of hands comes down from above to gather the sixth

figure from the right for his weighing
In the center of the carved tympanum, Christ is shown as larger
than all the rest of the figures, indicating his key role in the
judgment of humankind
32
Artwork: Johannes Vermeer, Woman Holding a Balance
4.2.12 Johannes Vermeer, Woman Holding a Balance, c. 1664.
Oil on canvas,
16¾ × 16”. National Gallery of Art, Washington, D.C.
Judgment and the Afterlife (further contd.)
Vermeer subtly includes religion in a scene from everyday life
Painting behind the woman shows the Last Judgment
Scales are empty, but balanced
Actions, not possessions, are the true indication of worth
PART 4
THEMES
Johannes Vermeer (1632–1675) focuses on an ordinary moment,
in which the woman is standing at a table by a window near her
open jewelry boxes
34
Sacred Places
Allow us to feel connected and at peace
Marked by artist and architects

Places of personal retreat
Communal worship
Connected to nature, religion, or community
PART 4
THEMES
Plan of Lascaux Caves
4.2.13a Plan of Lascaux Caves, Dordogne, France
Pigment on limestone rock in Hall of the Bulls
4.2.13b Hall of the Bulls. Pigment on limestone rock, Lascaux
Caves
Hall of the Bulls, Lascaux Caves, France
Required great effort
Overlapping images: the site was visited repeatedly over time
Indicates the place was significant
Likely purposes: storytelling, teaching hunting techniques, and
representing ritual practices
PART 4
THEMES

The walls of the Lascaux Caves in southern France were painted
sometime between 17,000 and 15,000 bce
Similar paintings have been found in other places in France and
Spain, indicating that these paintings were part of a widespread
cultural practice by people who either moved from place to
place or shared ideas with others
38
Plan and section of catacomb of Priscilla
4.2.14a Plan and section showing part of the catacomb of
Priscilla, 2nd and 3rd centuries CE. Via Salaria, Rome, Italy
Catacomb of Priscilla
4.2.14b Fresco from the Cubicle of the Velata, catacomb of
Priscilla, 2nd and 3rd centuries CE, Via Salaria, Rome, Italy
Catacomb of Priscilla, Rome, Italy
Series of underground tunnels
Burial places and temples
Sacred for pagans, Jews, and Christians
Imagery, such as the praying figure, was familiar to all three
faiths
Interpreted differently by each

PART 4
THEMES
Constructed outside the city of Rome, Italy, between the second
and fourth centuries ce
An underground system of tunnels measuring between 60 and 90
miles in length and containing the ancient remains of 4 million
people
Using imagery, such as this prayerful person, that was familiar
to practitioners of other religions probably helped win potential
converts to Christianity
41
Artwork: Main entrance portal (iwan), Masjid-i-Shah
4.2.15 Main entrance
portal (iwan) with muqarnas
vaulting. Masjid-i-Shah,
early 17th century,
Isfahan, Iran
Main entrance portal (iwan), Masjid-i-Shah
Muslims pray five times a day, facing direction of Mecca
Mosque features include: iwans (vaulted entrances), minarets
(large towers), mihrab (prayer niche)
Decoration: foliage designs, intricate blue tile work, calligraphy
PART 4

THEMES
In addition to the Taj Mahal, Shah Jahan was responsible for the
building of Masjid-i-Shah, also known as The Mosque of the
Imam in Isfahan (present-day Iran)
Minarets rise above the city to call citizens to prayer
In its central courtyard there is a large pool for cleansing before
prayer
The muqarnas (or stalactite vaults) are decorative elements
originally used to cover the tombs of holy men
One description suggests that the muqarnas sanctify the space
by symbolizing “the rotating dome of heaven.”
43
“The Abode of Paradise”:
The Taj Mahal
For more examples of exquisite Islamic decoration, watch:
PART 4
THEMES
Video:
Artwork: Ise Jingu, Japan
4.2.16 Ise Jingu, site dates from 4th century CE, rebuilt 1993,
Mie Prefecture, Japan
Ise Jingu, Japan

Shinto religion: well-being is connected to natural elements
(water, trees, mountains, sun)
Shrines built on sacred sites
Simple design, natural materials
Rebuilt every 20 years because nature is cyclical and is renewed
PART 4
THEMES
Shinto focuses on the here and now and reveres nature itself as
a deity
Sites, such as a mountain, were once worshiped directly, but
over time shrines were built as places to worship a god, known
as a Kami, that was important to a particular area
Ise Jingu is one of thousands of shrines throughout Japan
dedicated to the sun goddess Amaterasu Omikami
Local residents visit the shrine to revere the goddess and seek
her assistance
46
Artwork: Rothko Chapel
4.2.17 Rothko Chapel, 1966–71, Menil Collection, Houston,
Texas
Rothko Chapel
Houston, Texas

Open to people of all beliefs
Contains 14 paintings by Rothko
Intense colors inspire contemplation
Rothko wanted to create an environment to transport viewers
beyond everyday experience
PART 4
THEMES
Mark Rothko (1903–1970) was a Russian-born American
Abstract Expressionist painter
Rothko worked closely with the architects on the designs for the
chapel
Canvases employ a restricted, dark palette of colors ranging
from maroon and plum to black
The chapel was part of the artist’s search for the simplest means
to express universal truths that are spiritual but not connected to
any particular religious doctrine
48
Spiritual Resonance
To explore more places with spiritual resonance, watch:
The Gothic Cathedral of Chartres
The Pyramids of Giza

Video:
Video:
PART 4
THEMES
Spiritual Resonance (contd.)
To explore more places with spiritual resonance, watch:
St. Peter’s Basilica and the
Sistine Chapel
Teotihuacan:
Ancient Mexico’s “Place of the Gods”
Video:
Video:
PART 4
THEMES
Chapter 4.2 Copyright Information
This concludes the PowerPoint slide set for Chapter 4.2
Gateways to Art: Understanding the Visual Arts

Third Edition
By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 4
THEMES
Picture Credits for Chapter 4.2
4.2.1 John Hios/akg-images
4.2.2a Dom-Museum Hildesheim
4.2.2b Dom-Museum Hildesheim
4.2.2c Ralph Larmann
4.2.3 India Museum, Calcutta
4.2.4 The Cleveland Museum of Art, James Albert and
Mary Gardiner Ford Memorial Fund, 1961.198
4.2.5 © Peter Arnold, Inc./Alamy
4.2.6 Photo by Photo Services. Courtesy National Museum
of the American Indian, Smithsonian Institution, Washington,
D.C. (18/2023)
4.2.7 Musée du Louvre, Paris
4.2.8 State Tretyakov Gallery, Moscow
4.2.9 Photo Scala, Florence/ Fondo Edifici di Culto – Min.
dell’Interno
4.2.10 British Museum, London
4.2.11 Hervé Champollion/ akg-images
4.2.12 National Gallery of Art, Washington, D.C., Widener
Collection, 1942.9.97
4.2.13a Ralph Larmann
4.2.13b Colorphoto Hans Hinz, Allschwil, Switzerland
4.2.14a Ralph Larmann

4.2.14b © Araldo de Luca/ Corbis
4.2.15 © B. O’Kane/Alamy
4.2.16 Courtesy Jingu Administration Office
4.2.17 Photo Hickey-Robertson. © 1998 Kate Rothko Prizel
& Christopher Rothko ARS, NY and DACS, London
PART 4
THEMES
4 Steps to Critiquing Art Work
Developed by Edmund Feldman
 
Description      -        Analysis        -      Interpretation 
    -        Evaluation 
 
Describe 
This  stage  is  like  taking  inventory.  You  want  to  come
  up  with  a  list  of  everything  you  see  in  the 
work.  Stick  to  the  facts.  Imagine  that  you  are  describi
ng  the  artwork  to  someone  over  the 
telephone.    Express  what  you  see  in  detail. 
 
Analyze 
Try  to  figure  out  what  the  artist  has  done  to  achieve
  certain  effects.  Consider  different  elements 
and  principles  used  by  the  artist  and  why  the  artist  m
ight  have  chosen  to  incorporate  these 
essentials.

• Questions  to  consider: 
o
Use  the  vocabulary  you  learned  in  class.  For  example,
  if  you’re  looking  at  mostly 
red,  yellow  and  blue  refer  to  the  colors  as  primary  co
lors. 
o
How  are  the  elements  of  art  (color,  shape,  line,  textur
e,  space,  form,  value)  and 
the  principles  of  design  (balance,  harmony,  emphasis,  m
ovement/rhythm,  unity, 
variety)  used  in  this  artwork? 
o
What  do  you  notice  about  the  artist's  choice  of  materi
als? 
o What  grabs  your  attention  in  the  work,  why?   
o
Do  you  see  any  relationship  to  the  things  you  listed 
during  the  description  stage? 
 
Interpret 
Try  to  figure  out  what  the  artwork  is  about.  Your  ow
n  perspectives,  associations  and  experiences 
meet  with  "the  evidence"  found  in  the  work  of  art.  A
ll  art  works  are  about  something.  Some  art 
works  are  about  color,  their  subject  matter,  and  social
  or  cultural  issues.  Some  art  works  are  very 
accessible  —
  that  is,  relatively  easy  for  the  viewer  to  understand 
what  the  artist  was  doing. 
Other  works  are  highly  intellectual,  and  might  not  be 
as  easy  for  us  to  readily  know  what  the

artist  was  thinking  about. 
o
What  is  the  theme  or  subject  of  the  work?    (What  fr
om  the  artwork  gives  you 
that  impression?) 
o
What  mood  or  emotions  does  the  artwork  communicate?
 
o
What  is  the  work  about;  what  do  you  think  it  means
  or  what  does  it  mean  to 
you?  (What  from  the  artwork  gives  you  that  impression
?) 
o Why  do  you  think  that  artist  created  this  work? 
 
Evaluate 
This  is  a  culminating  and  reflecting  activity.  You  need
  to  come  to  some  conclusions  about  the 
artwork  based  on  all  the  information  you  have  gathered
  from  your  description,  analysis,  and 
interpretation. 
o
What  are  your  thoughts  on  the  artwork  based  on  the  t
hree  steps  above  and  why? 
o Why  do  you  like  or  dislike  the  artwork  (explain). 
o
  What  have  you  seen  or  learned  from  this  work  that 
you  might  apply  to  your  own

artwork  or  your  own  thinking? 
Art Criticism Worksheet
 
Artist: 
 
Title: 
 
Date: 
 
Medium: 
 
 
1. Describe  (What can be seen in the artwork? Facts only)
2. Analyze  (What elements/principles are incorporated in the
artwork, why?)
3. Interpret  (What is the meaning of the artwork, based on
steps 1 and 2?)

4. Evaluate  (What is your evaluation of the work, based on
steps1, 2, 3?)

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