27 Art of the Americas

The wool is 36 x 241/2''.

For formal, the art of the Americas after 1300, apply the vocabulary and concepts relevant to the Americas in its distinct cultures.

The art historical methods of the Americas in its distinct cultures can be used to explain the meaning of post- 1300 works of art.

Select visual and textual evidence in various media to support an argument.

The universe is said to be after 1492 when Christopher Columbus and his compan weaving first sailed to the Western Hemisphere.

Spider Woman taught Europeans how to weave and changed the fate of the Ameri to Changing Woman.
The break with in South America taught it to the Navajo women, who continued to keep the past alive.
In the 15th century, the blankets were quickly horizontal stripes, but over time weavers have destroyed them.
In North America, the change took place in more intricate patterns, but the result was the same.

The tapestry weavi designed in the European diseases to which they had no immunity led to massive population loss and tieth century around a trading post of that name in north social disruption.

The Americans were displaced from their ancestral homelands and natural colors of undyed sheep's wool were used to create dazzling geometric patterns.

She used her weavings to support her family.

After raising her the indigenous arts of the Americas, she carded and spun her wool by hand.
Native American artists use it to make textiles.
Julia Jumbo is renowned for the clarity of her designs and the technical enous traditions, as well as revisit traditional outlooks, and restate her fine weave.

The city looked like it was called Aztlan.

The term Aztec derives from the word Azt floating on the water and refers to all those living in Central Mexico who are linked by Lake Texcoco in the Valley of Mexico.

Some of our soldiers asked if they were wandering.

The place was called Tenochtitlan.

Diverse cultures shaped a distinct artistic tradition in the Americas.

The world calendrical glyphs were created by these four gods together.

The name of the days on which the fifth Sun will destroy are 4 Jaguar, 4 Wind, and 4 Water.

This band forms the night sun in the Aztec symbol Underworld, with a round clawed hands and disk with triangular flint tongue of earth projections, symbolizing the sun's rays.

The outer part of the disk is surrounded by fire serpents.

Stylized flames rise off their 20 day signs of the 260-day backs in this band.

They meet at a ritual calendar.

The Calendar Stone began an aggressive campaign of expansion.

Tenochtitlan was transformed into a capital after the Aztec Empire's destructions of the four previous eras.

Aztec deities were combined with ancient ones that had been worshiped in Central Mexico.

The first Spanish viceroy of New Spain from 1535 to 1550 was created at the ancient city of Teotihuacan in the Valley of Mexico.

The continued existence of the world depended on drawings by indigenous artists for presentation actions, including rituals of bloodletting and human sac to Holy Roman Emperor Charles V, who was also king of rifice, because blood was the life force that was owed the Spain.

The world matized version of Tenochtitlan and its founding, Mexica, had been created multiple times before the present era, according to the frontispiece of the Codex Mendoza.

The paper has ink and color on it.

The University of Oxford is located in the lake surrounding the city.

The leaders of Tenochtit sat in the four quadrants during the dry season.
The warriors at the bottom of the page represent Aztec con sun and rain, or fire and water.
There is a count of years surrounding the scene.

The city is shown in the middle of the lake from the plaza in front on the west face of the pyra.

The moment of its founding, Sacrificial victims climbed.

The site of intensive archaeo ensured the survival of the sun, the gods, and the Aztecs.

The bodies were rolled down the stairs and dismem has greatly increased our understanding of bered.

The Aztec city was said to have had thousands of severed heads.
The one on the north was dedicated to Tlaloc, an ancient addition to major works of Aztec sculpture and the current exca rain god with a history stretching back to Teotihuacan.

Aztec sculpture was large and powerful.

The sculpture depicts the moment when Coatlicue conceived Huitzilopochtli from a ball of down, her other children plotted to kill her.
The moon goddess Coyolxauhqui was destroyed by his half-brothers as he emerged from his mother's body.
Coatlicue did not survive the encounter.
A pair of serpents, symbols of blood, rise from her neck as she is decapitated in this sculpture.
Her teeth are her eyes.
A necklace of human hands, hearts, and a skull hangs around her stump of a neck.
The statue's massive form creates an impression of solidity, and the entire sculpture leans forward, looming over the viewer.
The colors that it was originally painted in would have made it more dramatic.

The height is 8'6'' (2.65 m).

The five key directions are north, south, east, west and center.

The four cardinal direc to Cortes are thought to be the one listed in the inventory tions, each associated with a specific color, a deity, and a treasure that was shipped to Charles V, the Habsburg tree with a bird in its branches.
The emperor in Spain was traced by 260 dots.
The path around the central figure refers to 260 ries of Mesoamerican art, but very few of them survive the 20 day sign.
The feathers on the head of the calendar are distributed throughout the picture.

The feathers were gathered in small bunches, reinforced with reed tubes, and then sewn to the frame in overlap of The Inca Empire layers.

They were esteemed artists.

One of the largest states in the world at the beginning of the 16th century was the Inca Empire.

The encom books were accordion-pleated so that they could be passed from one side of South America to the other, without being bound on one side of Europe.
A book could Empire, its rise was rapid and its destruction abrupt.

At its center was their capital, which could also be opened next to one another at the same time.

There are feathers and gold on a fiber frame.

This work from the Aztec Empire has been in Europe since the 16th century and is thought to have been sent or taken back across the Atlantic by someone connected with the Spanish army in 1519.

The headdress was the subject of a collaborative study by the museums of Vienna and Mexico City.

In the fifteenth foot, using llamas as pack animals.

Stairways allowed them to expand quickly, negotiate steep mountain slopes, and rope suspend most of their vast domain through con bridges.

A day's journey apart was used to hold this linguistically and ethnically diverse.

The farthest reaches of the empire relied on religion, an efficient bureaucracy, and the ruler system of runners to communicate with the people.

Gifts were provided by the state through local leaders.

Men might serve in the army, cultivate state lands, or rule the empire from the capital of great splendor, Cusco.
The urban plan was calledy on public works projects, for example, while women wove cloth as shape of a puma, its head the fortress.
The giant plaza at the center of town is where inca writing took the form of complex knotted and its belly.
It was the symbolic census, history, poetry, and astronomy.

The removed from it varied in size.

One of the main roads in the north and south of the city was a showcase of the finest stonework from the Inka empire, which can still be seen in the city today.

Travelers journeyed on "Inca Masonry"

The Art of the Americas after 1300 Doors, windows, and niches were narrower at the top than the bottom.

At almost 8,000 feet above sea level, it straddles a ridge between two peaks in the eastern slopes of the Andes and looks down on the Urubamba River.

terraces around central plazas and narrow agricultural terraces descend into the valley are some of the Stone buildings that lack only their thatched roofs.
The court might have left.

The very shape of individu retreat may have been where important diplomatic negotiations and ceremonial feasts took place.

The way tural planning is done is an excellent example of architec ally worked stones conveying a sense of power.
The frames of the walls and plazas are expressed in the social order.
In contrast to the pendous vistas of the surrounding landscape and carefully massive walls, the inca buildings had gabled, thatched roofs.

Working with the simplest of tools-- heavy stone in which the individual blocks formed a seamless whole.

In Cusco, the entire empire, terraces for growing crops, and the Inca Empire have all survived earthquakes.

Great effort was made to destroy later structures.

In elite contexts, fine inka masonry is used.

All of the buildings and terraces within its 3- square-mile extent were made of granite.
Both types had adjoining blocks with hard stone at the site.
Commoners' houses are shaped without mortar.
Their and some walls were constructed of irregular stones that were stone faces, so that carefully fitted together, and each block had a "pillowed" shape with a "rectangular" join.

By the third millennium bce, the production of fine textiles was an important art in the Andes.

The textiles of cotton and camelid fibers were an indication of wealth.
The manufacture of fibers and cloth, and textiles, as well as agricultural products, were required for one form of labor taxation.

Fine garments were draped around statues and even burned as sacrifice for the gods.

The patterns and designs on garments carried symbolic messages, including indications of a person's ethnic identity and social rank.

Military uniforms had tunics with checkerboard patterns.

The fiber and cotton is 357/8 x 30''.

The Aftermath of the associated with multiple ranks and statuses was woven as Spanish Conquest a royal garment.

The Spanish invasions of the Aztec and Inca empires in 1532 were less about cloth than they were about gold and silver.

The objects were valued for their ages of European diseases.
The population of the Americas declined by as much as 90 percent after the con moon because they saw in the symbols of the sun and the demo made of gold and silver was not for their precious metal.
The "sweat of the tact with Europe" is said to have been called gold.
The Spanish exploration of the New World was propelled throughout the Americas because of beliefs and practices.
The number of native treasure stories increased.
The ver objects the Spanish could obtain were melted down to production of art after they conquered the land.

The llama was thought to help the indigenous peoples adjust to a changing world.

In America north of Mexico, from the upper reaches of Canada and Alaska to the southern tip of Florida, there were many different peoples.

The Europeans came less as military men seeking wealth to plunder than as families seeking land to farm.

They did not find large cities with large populations to resist them.

Almost all of North America was occupied by indigenous peoples, despite the fact that the lands they settled were an untended wilderness.
Over the next 400 years, the English colonies and the United States forcibly removed nearly all Native Americans from their ancestral homelands.
Thousands of Native Americans were relocated from their homelands to newly assigned territory in Oklahoma in the 19th century, known as the Trail of Tears.

Euro-Americans did not think of indigenous aes thetic objects as ethnographic curiosities.

Native American works that were small, portable, and usually fragile were often collected as souvenirs.
They are working with Native communities to present the 15th century.
The American Museum of Natural History will be able to look at art from four New York states.

Diverse cultures were supported by the varied geographic regions of North America.

After the decline of the great and clam shells, the people of the Eastern Woodlands made belts and strings of cylindrical purple and white beads.

Most tribes lived in stable villages and used wampum to keep records, while the purple and white patterns served as memory aids.
The confederation of five northeastern wampum treaty belts formed in the 16th century to seal treaties, so this one is still with Native American nations.

The arrival of equal size holding hands on the Atlan in the 17th century suggests mutual respect between Europeans and the Delaware and Penn's Society of Friends.

The violence was caused by trade with these settlers.
The wampum strings and belts symbolized the authority of legal agreement, as well as the knowledge of Native forms of agriculture, and the moral and political order of the colony.

Personal metal tools, cookware, needles, and cloth, as well as elaborate dress, tattoos, body paint, and European glass beads and silver, are some of the art focused on in the woodlands.

Natural dyes, copper, and shell were used in the dyeing of items, which were mostly replaced by older materials.

The beads are 44 x 15 cm.

A legend tells of a woman who was both beautiful and ugly, benign and dangerous, who appeared to a woman in a dream and taught her the art of quillwork.

The legend suggests that basketry was a woman's art form.
The thunderbird was thought to be able to protect against both human and supernatural adversaries.

Native American artists began to acquire European colored-glass beads in the late 18th century, and in the 19th century they favored the tiny seed beads from Venice and Bohemia.

The patterns and colors of quillwork were mimicked by early beadwork.
European designs were incorporated in the 19th century.
Canadian nuns introduced the young women in their schools to embroidered European floral motifs, European needlework techniques, and patterns from European garments, all of which Native embroiderers began to adapt into their own work.
There is a pocket shaped by an area of beadwork.
The board is 31'' (78.6 cm) long.

Wool fabric, cotton fabric and thread, silk ribbon, and glass beads are in the bag.

Bridgeman Images lines outline brilliant pink and blue leaf-shaped forms on both bag and shoulder straps, heightening the intensity of the colors, which alternate within repeated patterns, reflecting the evolution of beadwork design and its adaptation to a changing world.

The shape of bandolier bags is similar to the ones carried by European soldiers.

Basketry involves weaving plant materials into containers.

The earliest evidence of basketwork in North America can be found in Utah.

Baskets were developed into an art form that combined utility and beauty.
The three main basket-making techniques are coiling, twining and plaiting.

The Kwakwaka'wakw masks are the traditional Western academic hierarchy of acting.

European and non-Western art was produced in the West before American artists broke away from the academic bias of the modern era.

Many works of art will be displayed in museums because the Indigenous peoples of the Americas didn't produce new inspiration in the art.

Artists explored new freedom pieces that were adorned in ways that challenged their intended purposes, and were adorned in ways that were necessary to use any material or technique that challenged their intended purposes.
The way for a free and and for the role it played in society was opened by a work that was valued for its effectiveness.
Some, like a Sioux baby, have an interest in understanding.

The function of an Inca tunic may have been of art as a multimedia adventure has helped validate works to identify or confer status on its owner or user through its art once seen only in ethnographic collections.

Material value or symbolic associations are what objects are today.
Many pieces of art once called "primitive" are now recognized as works of art and cultures.
It is not possible to fully comprehend or appreciate works of acknowledged importance to a twenty-first art.
The line between "art" and "craft" is only seen on pedestals or glass boxes in museums that are more artificial and less relevant than ever before.

The Art of the Americas after 1300 creates layers and textural contrasts that are characteristic of works of art.

Native North American art has a blend of aesthetic and functional elements.

The Great Plains lie between the Eastern Woodlands region and the Rocky Mountains.

The horses are taken from wild herds with shells and glass beads.

Spanish explorers in the 16th and 17th century made travel and a nomadic way of life easier for the dispossessed eastern groups that moved to the plains.

Native Americans weave strips over and under each other on the eastern seaboard.

The coiled basket shown here was made by a Pomo lage-based, farming societies and was competing woman in Cali according to Pomo leg for the same resources.

The Earth was dark until the hero of the European settlers stole the sun and brought it to Earth in a basket.
He hung the basket farmlands.
The resulting inter first just over the horizon, but dissatisfied with the light it action of Eastern Woodlands artists with one another and gave, he kept suspending it in different places across the with Plains artists led in some cases to the emergence of dome of the sky.
He repeats this process every day, which new hybrid styles, while other artists consciously fought to is why the sun moves across the sky from east to west.

The nomadic Plains peo artist worked sparkling pieces of clam shell, trade beads, ples hunted buffalo for food and hides from which they and soft tufts of woodpecker and quail feathers.

The clothing and a light portable dwelling are known as underlying patterns in the basket.
The tipi was able to cope with the strong and constant wind, the dust, and the violent storms of the prairies.
The tipi's framework consisted of a pyramidal frame of three or four long poles filled with about 20 additional poles.
The canvas was used to form a conical structure after the framework was covered with hides.

Between 20 and 40 hides were needed for a tipi.

There was a smoke hole at the top.
The picture was taken in 1900.

The earth people are divided along an east-west axis.

The men recorded when the group moved on.

Blackfoot women could paint on buffalo-hide robes.

The earliest documented painted buffalo-hide robe, pre beaded, and embroidered tipi linings, as well as backrests, were sent to Lewis and Clark during their transcontinental clothing.

The battle fought in 1797 by the Man was decorated like the tipis' proportions and colors, with their allies against ied from nation to nation, family to family, and individual the tribe.
The center section held personal images and the bottom was covered with trying to capture the full traditional motifs.
The tipi was used as a platform for moving other possessions when they were disassembled and packed.
7'10'' x 8'6'' (2.44 x 2.65 m) is the size of a buffalo hide.

The earliest example of Plains painting can be found in this robe, which was collected by Lewis and Clark on their expedition into western lands acquired by the United States in the Louisiana Purchase.

Lewis and Clark sent the robe to Thomas Jefferson, who displayed it in the entrance hall of his home in Virginia.

The Northwest Coast peoples lived in large, elaborately lances, powder horns for the rifles, and care decorated communal houses made of massive timbers and fully.

The horses are shown with thick planked legs.
There are carved and painted partition screens.

The figures stand against the Tlingit scrom of the buffalo hide.

The lines house of Chief Shakes of Wrangell was pressed by the painter and filled with forms with black, red, and ily crested bears.
A strip of colored por Zly painted on the screen is made up of smaller bears cupine quills that run down the spine of the buffalo hide.
The bear heads that appear in its ears, eyes, nostrils, joints and robe would have been draped over its paws and body.
The opening of the door commemorates a powerful warrior.
As vagina, it re-enacts the birth of the family the wearer moved, the painted horses and warriors would from its ancestral spirit.

The completion of the transcontinental railway in 1869 made it easier to get to Native American lands on the Great Plains.

After Euro-American hunters killed off most of the buffalo, ranchers and farmers moved into the Great Plains.
In the case of the Black Hills, gold was found after the U.S. government forcibly moved the outnumbered and outgunned Native Americans to reservations.

The Pacific coast of North America is home to an abundance of resources.

Each year the rivers fill with salmon returning to their spawning grounds.
The fish could be dried and Harvested.
The arts played a central role in the way of life of the peoples of the Northwest Coast.

Animals feature prominently in Northwest Coast art because each extended family group has the right to use certain animals and spirits as totemic emblems, or crests.

These emblems can be found in carved cedar house poles and tall, free-standing mortuary poles.

Tlingit people gained prestige for their status in 1840.

15 x 8' (4.57 x 2.74 m) is made of cedar, paint, and human hair.

The painted wooden masks were produced by blankets and other textiles.

Men drew the patterns on boards, and women color schemes retain power and meaning that can be woven into the blankets using shredded cedar bark.

The cedar warp threads from a rod and the Kwakwaka'wakw in the Winter Ceremony that twined colored goat wool back and forth through them to initiate members into the shamanistic Hamatsa society are some of the most elaborate masks.

The dance re-enactments the taming of Hamatsa, a cannibal.

The central panel shows the downward-facing eat and the popular design used here is known as the div Hamatsa and the attendants.

The strings allow the dancers to manipulate the masks whale, while the panels to the sides have been interpreted so that the beaks open and snap shut, as this animal's body or seated ravens are seen in profile.

Hamatsa and his three assistants are composed of two basic elements: the ovoid and the formline.

Black formlines define gently curving ovoids and C shapes in the Winter Ceremony.

The two-dimensional shapes of the theater-dance performance would have become three-dimensional if the blanket had been worn.

Singers and other members of the central figure gather in the main room of the cate side panels crossing over his shoulders and chest.

To call upon guardian spirits, many Native formance, they brought containers of blood American cultures staged ritual dance ceremonies in which so that when the bird-dancers attacked them, they could dancers wore complex costumes and striking carved and appear to bleed and have flesh torn away.

There are cedar wood, cedar bark, feathers, and fiber.

Willie Seaweed was not only the chief of his clan, but a great orator, singer, and tribal historian who kept the tradition of the potlatch alive during years of government oppression.

The arrival "incorrigible" was announced by Whistles from behind the screen.

The Hamatsa, who entered through Kwakwaka'wakw through a hole in the screen, were not allowed to dance until 1951.

As attendants try to control him, he dances wildly with outstretched arms, wearing a symbol of the spirit world.

The Southwest is wearing red cedar and dancing upright.
The Native American peoples of the southwestern United full member of society, he even dances with the women.

The first masked bird-dancers appeared--first Raven (sedentary village-dwelling groups) and the Navajo.

The of-the-North-End-of-the-World, then the of-the-End-of-the-World, and finally the untranslatable.
These cultures snap their beaks.
The Ancestral Puebloans built apartmentlike villages and cliff points as though the birds were looking skyward, as the masters of illusion entered the room backward.

Huge wooden masks were used in the ritual dances of Essen 1100 and 1500 ce.

Willie Seaweed shepherding is one of the finest.

The Winter Ceremony and potlatches in gies, new media, and the dominant American culture of 1885 were banned by the Canadian government because they were injurious to health.

The Kwakwaka'wakw, for example, refuse to give up their "oldest and ancient ancestors", which are multi-storied dwellings made of adobe.

There is always a role in arranging marriages.

Pottery was a women's art.

Wares were made by coiling and other hand-building techniques and then fired at low temperature in wood fires.
The best-known potter in the twentieth-century was Maria Montoya Martinez of San Ildefonso Pueblo in New Mexico.
The burnished Museum of American Art is located in Fort Worth, Texas.
The artist ground became a lustrous black and a slip painting.

The production of black Laura Gilpin, an American photographer of the ware in San Ildefonso, became a communal enterprise by the 1930s.

She published her work in four volumes of photographs between 1941 and 1968.

Ladders give access to the upper stories and American art teachers and dealers worked with Native to insulated inner rooms entered through holes in the ceil Americans of the Southwest to create a distinctive, stereo ing.

Two large house blocks are arrayed around a central typical "Indian" style in several media to appeal to tourists.
The leader in this effort was, of course, the lady called, "Dorsey", that can serve as viewing platforms.
The plazas and roof are centers of communal life and ceremony, as can the dio School within the Santa Fe Indian School.

The students were inspired by the outline drawing and flat colors of folk art, the decorative qualities of Art Deco, and the exotic "Indian" subject matter to create a painting style.

The studio school was restrictive and made painting a viable occupation for some Native American artists.

When one of her paintings was selected for exhibition at the Chicago World's Fair in 1933, Pablita was only a teenager.

The diameter is 221/2'' and the height is 183/4''.

There is a watercolor on paper.

A large series of murals for the Bandelier National changed the look of the Philbrook Museum of Art.

The jewelry made of turquoise Monument, a small Ancestral Puebloan site near Los Ala and silver, did not become an important Navajo art form, launching a long and successful career.

In smaller works on paper, the arts had strict gender divisions: women wove cloth, she continued her focus on Pueblo life.

The plaza is taken over by sand paintings.

They manifest them ceremony, signals the restoration of inner harmony and selves in the human dancers who impersonate them, as well as in the small In beauty.

The painting With beauty behind me is by Velarde.

Her paintings are all around me.

The idea of It is finished in beauty was established by Deco abstraction.

It is beautiful.

Sand paintings depicting mythic heroes and ing, have deep traditional roots, but others have developed events, and they follow prescribed rules over the centuries of European contact.

The power of the nancho is ensured by their weaving and patterns.
To make them.
27-1) depends on the wool of sheep introduced by singer dribbles pulverized colored stones, pollen, flow the Spaniards, and other natural colors over a hide or sand ground.

Hosteen Klah hoped that the excellence of public and not to be displayed in museums would prevent the paintings from being seen by the Navajo artists.

The work would make the spirits happy.
They are supposed to be destroyed by nightfall of the day when shaman-singers make sand paintings on them.

The traditional prohibitions were broken when Klah incorporated sand-painting images into weaving.

A New Beginning recording sacred images and doing so in what was traditionally a woman's art form caused a lot of offense to the Navajos.

He could learn both anthropology and natural history museums because he was trained both to of indigenous peoples.

The school encourages the creation myth.

The Holy People create the earth's of indigenous ideals in the arts without creating an official surface.
The four museums in Santa Fe have established a reputation for excel sacred plants as alumni have achieved distinction and the IAIA brings forth corn, beans, squash, and tobacco.
A male-female pair of humans and one of lence, the institute has led Native American art into the sacred plants stand in each of the four quarters.

The guardian figure of to- See Smith is surrounded by the four Holy People and the Contemporary Native American artist Jaune Quick figures.

The scene is framed on three sides.
There is a bumper sticker in the center of the work that says "Made in the U.S.A." Smith put her silhouette inside the red X that signifies nuclear radiation, while Leonardo inscribed the human form within perfect geometric shapes to emphasize the perfection of the human body.
The image is related to the fact that many of the temporary repository for nuclear waste are on Indian reservations.
The image's background is made up of newspapers from Native American tribes.
Her self-portrait includes allusions to the history of Western art, as well as her ethnic identity and life on the reservation.

Bill Reid, a Canadian artist, sought to revive traditional art in his work.

Trained as a woodcarver, painter, and jeweler, Reid revived the art of carving totem poles and dugout canoes in the Haida homeland of "Islands of the People".

The works are black and recall tradi Wool, 5'5'' x 5'10'' (1.69 x 1.82 m).

The canvas is 90 x 60'' and has mixed media on it.

The sculpture depicts a bunch of figures from the natural and mythic worlds struggling to paddle forward.

The shaman is wearing a basket hat and holding a speaker's pole.
The place for the chief in a war canoe is on the prow.
He is bitten by an Eagle that has formline-patterned wings.
The Seawolf bites the Eagle.
The Eagle and the Seawolf are paddling together.
The trickster in Haida mythology is at the stern of the canoe.
Mousewoman is the traditional guide and escort of humans in the spirit realm.
The entire family of living things are paddling together in one boat, headed in one direction.

In 2004, the National Museum of the wetlands, meadow, forest, and traditional cropland with American Indian finally opened on the Mall in Washing corn, squash, and tomatoes.

The National Gallery of Art can be seen from the entrance to the museum, which is located below Capitol Hill and across from the east side.
The prairie tipis were inspired by the colors.
Inside the building a Sun Marker and forms of the American Southwest, the museum build of stained glass in the south wall throws its dagger of light and establishes a new presence for Native Americans as the day progresses.
The Native Symbolizing the Native relationship peoples of North America have at last taken their rightful to the environment, the museum is surrounded by other American ethnicities and many artis ders from around the globe.

Discuss its meaning in relation to two Native American cultures.

How could such works be in the north, and one in the south, and how displayed in museums in such a way that viewers can understand this critical aspect of each culture.

Evaluate the ways in which the Native North Aztecs view the world.

The best work of art in this chapter is from European culture.

Discuss how the viewer's understanding of Leonardo's drawing affects the meaning of Smith's work.