Images Related to 1.1: Line, Shape, and the Principle of Contrast

This sunken relief depicts two figures (Pharaoh Akhenaten and his wife Nefertiti) seated across from one another with three children. The sun is carved above them.

4.6.6 Relief of Akhenaten, Egypt, c. 1353–1335 BCE, p. 632

3.4.2b Drawing of a section from the Raimondi Stela. This section depicts the details of the figure’s face and hands. 3.4.2c Drawing of a section from the Raimondi Stela. These drawings depict the figure both right side up and upside down.

3.4.2b and c Drawings of Raimondi Stela, Peru, 460–300 BCE, p. 430

Cross-and-carpet page introducing the Gospel according to St. Matthew. The image of a cross can be clearly detected within the rest of the pattern through the use of a red outline.

3.2.12a Cross-and-carpet page, Lindisfarne Gospels, 710–721 CE, p. 399

Yin and yang symbol.

3.3.24 Yin and yang symbol, p. 425

Page from the Koran with Kufic and Maghribi scripts.

3.2.11 Page from the Koran, probably late 13th century, p. 398

Drawing of a figure of a man with outstretched arms and legs. The figure is situated within a square and a circle. These geometric shapes assist in measuring the ideal proportions of the human body.

4.4.1 Leonardo da Vinci, Vitruvian Man, c. 1490, p. 603

Woodcut depicting four horses and riders.

2.3.2 Albrecht Dürer, “The Four Horsemen,” 1498, p. 227

Fresco panel from the Sistine Chapel ceiling showing an image of a man (God) surrounded by two medallions and four young, nude males seated on pedestals.

2.4.7 Michelangelo, Separation of Light and Darkness, 1508–10, p. 246

Ink drawing of a male (a satyr) head in profile.

1.3.8 Michelangelo, Head of a Satyr, c. 1520–30, p. 80

An engraving illustrating how a camera obscura works.

2.8.1 Optics: the principle of the camera obscura, 1752, p. 316

Woodblock print depicting two courtesans.

3.8.10 Kitagawa Utamaro, Two Courtesans, second half of 18th century, p. 510

Eighteenth-century drawing of a man with a traditional Maori tattoo on his face.

3.5.13 Sydney Parkinson, Drawing of a Maori tattoo, 1784, p. 454

Woodcut of a large ocean wave, three boats with figures, and a snow-capped mountain (Mount Fuji) in the background.

2.3.5 Katsushika Hokusai, “The Great Wave off Shore at Kanagawa,” 1826–33, p. 229

Pen and ink drawing of a man sowing a field with setting sun in the background.

2.1.20 Vincent van Gogh, Sower with Setting Sun, 1888, p. 205

Contour drawing of a mother holding her child.

2.1.25 Egon Schiele, Mother and Child, 1918, p. 207

Photograph of a residence of rectangular form, long horizontal windows, elevated from the ground with posts.

2.5.32 Le Corbusier, Villa Savoye, 1928–31, p. 278

A black, white, and gray painting depicting various abstracted forms: limbs, people screaming, a bull, a horse, a ceiling light, and a figure holding a lantern.

4.7.10 Pablo Picasso, Guernica, 1937, p. 646

Enamel image comprised of a blond woman staring at herself in a hand mirror.

3.9.30 Roy Lichtenstein, Girl in Mirror, 1964, p. 541

Photograph of a spiral jetty made of white pieces of rock jutting out from the shoreline of a body of water.

2.4.16 Robert Smithson, Spiral Jetty, 1969–70, p. 252

Room-sized installation of wooden slats lit with blue light.

1.2.12 Carol Mickett and Robert Stackhouse, In the Blue (Crest), 2008, p. 68