Credits
Last updated: October 28, 2026
Cultural Capital images
The Cultural Capital task uses real museum objects and archive photographs, not stock photography or illustration. Every image below is public domain or CC0, checked against the holding institution’s own per-object rights record rather than a policy page — a collection can be open access in general and still hold objects that are not. Each plate carries its full object credit and a link to the institution’s own listing, so you can verify the piece yourself.
The bank holds 156 objects across eight registers in two worlds: highbrow, folk, the popular print, and Bourdieu’s contested subjects from Distinction, and the Iran world’s four, cut by its own art history. The tag is used in sampling and in scoring, so it is a measurement decision and not a caption.
| Register | World | Objects |
|---|---|---|
| Highbrow | General | 19 |
| Folk | General | 18 |
| Popular print | General | 16 |
| Contested | General | 40 |
| Persian manuscriptsنسخههای خطی | Iran | 16 |
| Qajar paintingنقاشی قاجار | Iran | 15 |
| Qajar-era photographyعکاسی قاجار | Iran | 16 |
| Applied arts | Iran | 16 |
| Popruled empty | — | 0 |
How each plate counts: the questions every plate is asked, which readings set it against which, and a map of where the objects come from.
Why folk was emptied and refilled
Six objects shipped tagged Folk: a Benin royal palace plaque, an Ottoman sultan’s imperial monogram, an elite Wari tunic, a kente prestige cloth, a signed master calligraphy, a monastic icon. Every one is its own society’s consecrated court or ecclesiastical art, and all six were retagged Highbrow in August 2026.
Calling them Folk had turned the register into a proxy for Europe-versus-everywhere-else, in the language of a taste hierarchy. It also meant the bank had never held folk art of any origin, European included. The eleven vernacular objects that replaced them the next day — things made to be used, worn out and eaten off — are all Cleveland Museum of Art, all CC0, four of them European or Euro-American, six three-dimensional, four made after 1889.
Why contested is signed
Bourdieu found some of his diagnostic subjects rise with education and some fall — the bark of a tree from 15.5 to 60.5 per cent answering “beautiful”, a sunset over the sea from 88.5 down to 65. Averaged unsigned, the two cancel. So forty objects carry the sign and twenty are scored in reverse. Twenty-three are paintings, prints or drawings and seventeen are photographs, because Bourdieu asked about subjects and no one medium holds all twenty-one of them.
One object removed
A north Queensland Aboriginal rainforest shield was CC0 and clean, but shields of that class are initiation-restricted and their designs clan-owned; the community’s own published account records a living norm under which reuse is authorised by the oldest clan member. A CC0 dedication releases a museum’s copyright and cannot grant that permission, and this project has no way to seek it. It is gone.
Where the placements come from
The plates below are only one of the banks this battery draws on. Media Diet places outlets into registers, and the music and film passes use published genre structures — and a reader is scored against those placements, so whose judgement they are is not a detail. Every source the outlet and genre banks rest on is listed here, rendered from the same records the instrument reads rather than transcribed, so this list cannot fall behind the bank.
The named works
Beyond the genres, the music, film, visual and literature passes ask about named works and artists — 2051 musicians, 1316 films and series, 488 visual artists and 1366 authors and poets. None carries a published placement, by construction: audience data for individual artists and titles is commercial and unpublishable, so nothing here is read against a baseline and nothing here is scored.
They exist to catch one thing a genre list cannot — the distance between the genre somebody claims and the work they can actually name. The classifications behind them are this project’s own and unsourced, which is acceptable because a misfiled artist cannot move a number. Where a work is Iranian it carries its name in Persian as well; a recognition task that shows only a transliteration is a transliteration quiz.
Music has a rung between the genres and the names: 140 subgenres on the General track and 54 on the Iran one. Each subgenre entry names the reference works it leans on — genre histories, AllMusic’s style pages, the Persian music sources — and carries a standing of canon, popular or dismissed, so that a listener of what critics deride is measured as a listener rather than as an absence. The names under them are placed by this project.
Film & TV has the same rung: 105 subgenres on the General track and 44 on the Iran one, with the titles under them. 21 of the General subgenres are television forms rather than film genres, because the bank has always held series. On the Iran track the rungs are the categories Persian film discourse actually sorts by — festival cinema, the home network, the Ramadan slot, Sacred Defence — rather than translations of the General ones, and every title carries its Persian name.
Fine Arts has it too: 43 subgenres on the General track and 36 on the Iran one — schools, movements, forms and scenes under each register, the mall-gallery painter and the tattoo shop beside the Old Masters — with the artists under them. Each entry names the reference works it leans on, Gombrich and Grove Art and a museum’s own department names, and on the Iran track Pakbaz’s history of Iranian painting and Seif on the coffeehouse painters. Every Iranian subgenre and artist carries its Persian name.
| Visual artists | Count | Asked as |
|---|---|---|
| Public domain | 200 | Plates — the work is shown |
| In copyright | 288 | Names — reproduces nothing, needs no clearance |
Three of the six Iranian registers hold fewer than five public-domain artists — مکتب سقاخانه (4 of 20), نقاشیخط (3 of 20), مدرن و آوانگارد (1 of 55) — so a plates-only Iranian visual task could show the classical half and almost none of the modern.
Literature has it too: 107 shelves on the General track and 112 on the Iran one, poetry divided as finely as fiction and the airport thriller and the Instagram poet at full strength beside the classics, with 748 authors under the General shelves and 618 under the Iranian ones. Each General shelf names the heading it leans on — a Thema or BISAC code, a prize remit, the Penguin Classics list, a bookseller’s own table — and 61 of the 107 say plainly that the cut is this project’s own, because no trade heading draws the line there. Every Iranian shelf and author carries its Persian name.
Three elements were added on 6 September 2026 without a ladder of their own. Sport is 28 lines on the General track and 24 on the Iran one, Games 19 and 12; both are asked at Surface only, what is followed or played and never who, since athletes, teams and streamers are where a taste question turns into a loyalty question. Podcasts & creators has two rungs: 15 categories on the General track and 12 on the Iran one, with 126 and 70 shows and channels under them — podcast, YouTube or both — and no third rung, because a show is already a name. It carries no political hosts, a rule read on the premise of the show rather than the biography of the host, and the categories, placements and standings are this project’s own. Every Iranian line, category and show carries its Persian name.
Object credit, plate by plate
Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, from the series Thirty-six Views of Mount Fuji. Katsushika Hokusai, c. 1830–32. H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929.
Public domain / CC0 — Metropolitan Museum of Art Open Access — View at the source collection →
The Mi’raj, or The Night Flight of Muhammad on his Steed Buraq, Folio 3v from a Bustan of Sa’di. Sultan Muhammad Nur, c. 1525–35. Purchase, Louis V. Bell Fund and The Vincent Astor Foundation Gift, 1974.
Public domain / CC0 — Metropolitan Museum of Art Open Access — View at the source collection →
Study of a Young Woman. Johannes Vermeer, c. 1665–67. Gift of Mr. and Mrs. Charles Wrightsman, in memory of Theodore Rousseau Jr., 1979.
Public domain / CC0 — Metropolitan Museum of Art Open Access — View at the source collection →
Wheat Field with Cypresses. Vincent van Gogh, 1889. Purchase, The Annenberg Foundation Gift, 1993.
Public domain / CC0 — Metropolitan Museum of Art Open Access — View at the source collection →
Self-Portrait. Rembrandt (Rembrandt van Rijn), 1660. Bequest of Benjamin Altman, 1913.
Public domain / CC0 — Metropolitan Museum of Art Open Access — View at the source collection →
Strolling in a misty valley. Mei Qing, 1649. Purchase, Soong Family Gift, in memory of Dr. T.V. Soong, 1994.
Public domain / CC0 — Metropolitan Museum of Art Open Access — View at the source collection →
Tughra (Insignia) of Sultan Süleiman the Magnificent (r. 1520–66). Unknown artist, c. 1555–60. Rogers Fund, 1938.
Public domain / CC0 — Metropolitan Museum of Art Open Access — View at the source collection →
Calligraphic Galleon. ’Abd al-Qadir Hisari, dated 1180 AH/1766–67 CE. Louis E. and Theresa S. Seley Purchase Fund for Islamic Art and Rogers Fund, 2003.
Public domain / CC0 — Metropolitan Museum of Art Open Access — View at the source collection →
Tunic. Wari artist, 650–1000 CE. Gift of Claudia Quentin, 2021.
Public domain / CC0 — Metropolitan Museum of Art Open Access — View at the source collection →
Shiva and Parvati Playing Chaupar: Folio from a Rasamanjari Series. Devidasa of Nurpur, dated 1694–95. Gift of Dr. J. C. Burnett, 1957.
Public domain / CC0 — Metropolitan Museum of Art Open Access — View at the source collection →
Terracotta psykter (vase for cooling wine). Oltos, c. 520–510 BCE. Gift of Norbert Schimmel Trust, 1989.
Public domain / CC0 — Metropolitan Museum of Art Open Access — View at the source collection →
Ōtsu, from the series The Fifty-Three Stations of the Tōkaidō Road (Tōkaidō gojūsan tsugi, Ōtsu). Utagawa Hiroshige, 1841–44. Purchase, Joseph Pulitzer Bequest, 1918.
Public domain / CC0 — Metropolitan Museum of Art Open Access — View at the source collection →
Plaque with equestrian ọ́bà (king) and attendants. Ìgùn Ẹ́rọ̀nwwọ̀n (brass-casting guild) artists, Edo peoples, c. 1540–70. The Michael C. Rockefeller Memorial Collection, Gift of Nelson A. Rockefeller, 1965.
Public domain / CC0 — Metropolitan Museum of Art Open Access — View at the source collection →
Icon triptych of Ewosṭatewos and eight of his disciples. Northern Highlands artist, late 17th century. Louis V. Bell Fund, 2006.
Public domain / CC0 — Metropolitan Museum of Art Open Access — View at the source collection →
Landscape with Goatherd. John Singer Sargent, 1890–1891. Oil on canvas. The Metropolitan Museum of Art, Gift of Mrs. Francis Ormond, 1950.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Jar (Olla). Acoma or Laguna Pueblo potter, Southwest, 1875. Cleveland Museum of Art, 1923.1079.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Saltillo Sarape. Saltillo region, Coahuila, Mexico, c. 1840–60. Cleveland Museum of Art, 1921.568.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Head Shawl (Phulkari). Punjab, India, 1800s. Cleveland Museum of Art, 1925.475.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Embroidered Raffia Pile Cloth. Kuba peoples, Democratic Republic of the Congo, 1900s. Cleveland Museum of Art, 1992.102.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Sarong. North Coast of Java, Indonesia, early 1900s. Cleveland Museum of Art, 1917.27.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Jar-shaped Basket. Timbisha (Panamint) Shoshone weaver, Death Valley, California, c. 1900–1910. Willow, bulrush and yucca root, coiled. Cleveland Museum of Art, 1917.466.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Sifting Basket. Possibly a Chokwe-style maker, Democratic Republic of the Congo or Angola, before 1915. Plant fibres and dye. Cleveland Museum of Art, 1915.464.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Tile with a New Testament scene. Delft, Holland, Netherlands, c. 1600s–1700s. Glazed ceramic. Cleveland Museum of Art, 1927.223.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Slipware Dish. Pennsylvania, early 1800s. Red terracotta with yellow and transparent glaze. Cleveland Museum of Art, 1976.162.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Crazy Quilt. Watertown, New York, c. 1887–1900. Silk, ribbons, lace and velvet, embroidered, with heat transfers. Cleveland Museum of Art, 2000.63.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Tankard. Aumund (Vegesack), Germany, c. 1750. Faience with a pewter cover. Cleveland Museum of Art, 1982.340.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Embroidered quilt with pomegranates and tulips. Turkey, 1600s–1700s. plain weave: linen; embroidery, running stitch: silk. Cleveland Museum of Art, Gift of Mr. and Mrs. J. H. Wade.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Kantha (Ceremonial Quilt). India, East Bengal, 19th century, 1800s. embroidery: cotton thread on cotton tabby ground. Cleveland Museum of Art, Gift of The Textile Arts Club.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Cap. Syria or Egypt, Mamluk Dynasty (1250–1517), 1300s. lampas, quilted: silk. Cleveland Museum of Art, John L. Severance Fund.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Madonna of Humility. Fra Angelico, c. 1440. Tempera on panel. Rijksmuseum, Purchased with the support of the Vereniging Rembrandt.
Public domain — Rijksmuseum (the public-domain mark on the object’s image record), verified per object — View at the source collection →
The Crucifixion of Saint Andrew. Caravaggio, 1606–7. Oil on canvas. Cleveland Museum of Art, Leonard C. Hanna Jr. Fund.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Standing Buddha. India, Kashmir, c. 900. Brass with silver and copper inlay. Cleveland Museum of Art, John L. Severance Fund.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Quilt. America, Pennsylvania, Cowan, Late 19th century, c. 1880 (?). cotton, piecework. Cleveland Museum of Art, Gift of Dr. James B. Birch.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
San Francisco de Assisi: santo de retablo. America, New Mexico, 17th–18th century, 1600s–1700s. Oil on wood. Cleveland Museum of Art, Gift of Hugh Bryden McGill.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Our Lady of Sorrows: santo de bulto. America, New Mexico, 17th–18th century, 1600s–1700s. Painted wood. Cleveland Museum of Art, Gift of Hugh Bryden McGill.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
A man falling over on a cobbled street in Rome, his wife praying to Sansovino’s Virgin and Child, 27 May 1851. Mixed media. 1851. 1 painting : watercolour and engraving ; paper 30. Wellcome Collection, Wellcome Collection.
Public domain — Wellcome Collection (the image’s own Public Domain Mark or CC0), verified per object — View at the source collection →
Fan Quilt, Mt. Carmel. Residents of Bourbon County, Kentucky, n.d, 1893. Cotton, wool, silk, velvet, lace, ribbon, silk thread, paint, chromolithographic paper decals, and canvas. Smithsonian Institution, Smithsonian American Art Museum, Gift of Herbert Waide Hemphill, Jr.
CC0 — Smithsonian Open Access, verified per object (the record’s and the image’s own usage statements) — View at the source collection →
Scrap metal at Allegheny Ludlum Steel Corp., Brackenridge, Pennsylvania, c. 1941. Library of Congress, Prints & Photographs Division, Farm Security Administration/Office of War Information Color Photographs, LC-DIG-fsac-1a35061.
Public domain — Library of Congress, FSA/OWI Color Photographs — View at the source collection →
Insulators and transmission wires in the switchyard of the TVA’s Chickamauga Dam, Tennessee, June 1942. Library of Congress, Prints & Photographs Division, Farm Security Administration/Office of War Information Color Photographs, LC-DIG-fsac-1a35273.
Public domain — Library of Congress, FSA/OWI Color Photographs — View at the source collection →
Timber, reforestation project, Maryland (?), between 1941 and 1942. Photographer unidentified. Library of Congress, Prints & Photographs Division, Farm Security Administration/Office of War Information Color Photographs, LC-DIG-fsac-1a34439.
Public domain — Library of Congress, FSA/OWI Color Photographs — View at the source collection →
Baskets of eggplants, between 1941 and 1942. Photographer unidentified. Library of Congress, Prints & Photographs Division, Farm Security Administration/Office of War Information Color Photographs, LC-DIG-fsac-1a34448.
Public domain — Library of Congress, FSA/OWI Color Photographs — View at the source collection →
Sunrise or sunset, between 1941 and 1942. Photographer unidentified. Library of Congress, Prints & Photographs Division, Farm Security Administration/Office of War Information Color Photographs, LC-DIG-fsac-1a34438.
Public domain — Library of Congress, FSA/OWI Color Photographs — View at the source collection →
The First Communion. Eugène Carrière (French, 1849–1906), c. 1896. Oil on canvas. The Metropolitan Museum of Art, Gift of Chester Dale, 1963, 63.138.5.
Public domain (CC0) — Metropolitan Museum of Art Open Access — View at the source collection →
Spanish Peasants Dancing the Bolero. John Frederick Lewis (English, 1805–1876), 1836. Lithograph in colours with hand-colouring on ivory wove paper. Art Institute of Chicago, 1991.620.
Public domain — Art Institute of Chicago Open Access — View at the source collection →
Still Life with Dead Game, Fruits, and Vegetables in a Market. Frans Snyders (Flemish, 1579–1657), 1614. Oil on canvas. Art Institute of Chicago, 1981.182.
Public domain — Art Institute of Chicago Open Access — View at the source collection →
Still Life with Vegetables, Partridge, and a Jug. Adolphe-Félix Cals (French, 1810–1880), 1858. Oil on canvas. Cleveland Museum of Art, 1980.242.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Texture background for motion picture and filmstrip. Bark of oak tree, 1942. Photograph by John Ferrell. Library of Congress, Prints & Photographs Division, Farm Security Administration/Office of War Information Black-and-White Negatives, LC-USF34-011603-D.
Public domain — Library of Congress, FSA/OWI Black-and-White Negatives — View at the source collection →
Wrecked car of construction worker. Starke, Florida, 1940. Photograph by Marion Post Wolcott. Library of Congress, Prints & Photographs Division, Farm Security Administration/Office of War Information Black-and-White Negatives, LC-USF34-056722-D.
Public domain — Library of Congress, FSA/OWI Black-and-White Negatives — View at the source collection →
Landscape view. 1935–42. 1 transparency : safety ; 4 x 5 inches or smaller. Library of Congress.
Public domain — Library of Congress, FSA/OWI Black-and-White Negatives — View at the source collection →
Eiffel Tower. Unknown, 1890s. Albumen silver print. The Metropolitan Museum of Art, Museum Accession.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Rubens, Helena Fourment (1614–1673), and Their Son Frans (1633–1678). Peter Paul Rubens, c. 1635. Oil on wood. The Metropolitan Museum of Art, Gift of Mr. and Mrs. Charles Wrightsman, in honor of Sir John Pope-Hennessy, 1981.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Young Girl with a Cat, after a portrait of Julie Manet by Renoir. Berthe Morisot, 1889. Drypoint on laid paper. The Metropolitan Museum of Art, Purchase, Rogers Fund and Jacob H. Schiff Bequest, 1922.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
A Woman Weaving, Seated at a Hand Loom. Kitagawa Utamaro, c. 1796. Woodblock print; ink and color on paper. The Metropolitan Museum of Art, Rogers Fund, 1914.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Still Life. Georg Flegel, probably c. 1625–30. Oil on wood. The Metropolitan Museum of Art, Gift of Dr. W. Bopp, 1921.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
The Peasants’ Brawl. Sebald Beham, 1531–50. Engraving; second state of two (Pauli). The Metropolitan Museum of Art, Anne and Carl Stern Fund, 1962.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Standing Pregnant Woman (Study for the Pregnant Virgin Mary). Bartolomeo Cesi, 1576–1629. Red chalk, highlighted with white; squared in black chalk. The Metropolitan Museum of Art, Harry G. Sperling Fund, 1976.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Corporal Israel Spotts, Company G, 200th Pennsylvania Volunteers. Reed Brockway Bontecou, April–May 1865. Albumen silver print from glass negative. The Metropolitan Museum of Art, Gift of Stanley B. Burns, M.D. and The Burns Archive, 1992.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Young Mother Nursing Her Baby. Kitagawa Utamaro. Woodblock print; ink and color on paper. The Metropolitan Museum of Art, H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Kern County, California. Bull snake. Lee, Russell, 1903–1986, photographer, 1942. 1 negative : nitrate ; 2 1/4 x 2 1/4 inches or smaller. Library of Congress.
Public domain — Library of Congress, FSA/OWI Black-and-White Negatives — View at the source collection →
Rope along river front, Dubuque, Iowa. Vachon, John, 1914–1975, photographer, 1940. 1 negative : nitrate ; 35 mm. Library of Congress.
Public domain — Library of Congress, FSA/OWI Black-and-White Negatives — View at the source collection →
Child of a migratory farm laborer in the field during the harvest of the community center’s cabbage crop, FSA labor camp, Tex. Rothstein, Arthur, 1915–1985, photographer, 1942. 1 slide : color. Library of Congress.
Public domain — Library of Congress, FSA/OWI Black-and-White Negatives — View at the source collection →
Mrs. Norris with homegrown cabbage, one of the many vegetables which the homesteaders grow in abundance, Pie Town, New Mexico. Lee, Russell, 1903–1986, photographer, 1940. 1 slide : color. Library of Congress.
Public domain — Library of Congress, FSA/OWI Black-and-White Negatives — View at the source collection →
A Swedish clergyman showing the chalice to children at their first communion. Wood engraving after E. Oehme, 1881. Oehme, Erwin (Ernst Erwin), 1831–1907, c. 1881. 1 print : phototype ; image 31. Wellcome Collection, Wellcome Collection.
Public domain — Wellcome Collection (the image’s own Public Domain Mark or CC0), verified per object — View at the source collection →
El Shatt, the United Nations Relief and Rehabilitation Administration’s refugee camp for Yugoslavs. Gilmore, Otto, photographer, 1944. 1 negative : nitrate ; 2 1/4 x 2 1/4 inches or smaller. Library of Congress.
Public domain — Library of Congress, FSA/OWI Black-and-White Negatives — View at the source collection →
Peasant Couple Dancing. Albrecht Dürer, 1514. Engraving. Cleveland Museum of Art, Gift of Charlotte Trenkamp in memory of Henry Trenkamp Jr.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Jigger at the square dance. Pie Town, New Mexico. Lee, Russell, 1903–1986, photographer, 1940. 1 negative : safety ; 3 1/4 x 4 1/4 inches or smaller. Library of Congress.
Public domain — Library of Congress, FSA/OWI Black-and-White Negatives — View at the source collection →
Peasant Children Dancing. Le Nain, 1650s. Oil on canvas. Cleveland Museum of Art, Gift of Mrs. Salmon P. Halle in memory of Salmon Portland Halle.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Landscape. Jean Charles Cazin, c. 1895. Oil on canvas. Art Institute of Chicago, Henry Field Memorial Collection.
Public domain — Art Institute of Chicago Open Access — View at the source collection →
Mountain Brook. Albert Bierstadt, 1863. Oil on canvas. Art Institute of Chicago, Purchased with funds provided by Mrs. Herbert A. Vance; fund of an anonymous donor; Wesley M. Dixon Jr. Fund and Endowment; Henry Horner Straus and Mr. And Mrs. Frederick G. Wacker Jr. Endowment funds; through prior acquisitions of various donors, including Samuel P. Avery Endowment, Mrs. George A. Carpenter, Frederick S. Colburn, Mr. And Mrs. Stanley Feinberg, Field Museum of Natural History, Mr. And Mrs. Frank Harding, International Minerals and Chemicals Corp., Mr. And Mrs. Ralph Loeff, Mrs. Frank C. Miller, Mahlan D. Moulds, Mrs. Clive Runnells, Mr. And Mrs. Stanley Stone, and the Charles H. And Mary F.S. Worcester Collection.
Public domain — Art Institute of Chicago Open Access — View at the source collection →
Rocky, Wooded Landscape with a Dell and Weir. Thomas Gainsborough, c. 1782–1783. Oil on canvas. Cleveland Museum of Art, Mr. And Mrs. William H. Marlatt Fund.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Mexican beet worker’s child near East Grand Forks, Minnesota. Lee, Russell, 1903–1986, photographer, 1937. 1 negative : safety ; 3 1/4 x 4 1/4 inches or smaller. Library of Congress.
Public domain — Library of Congress, FSA/OWI Black-and-White Negatives — View at the source collection →
Figure of a Girl with Cat. Nymphenburg Porcelain Factory, c. 1770. Porcelain. Cleveland Museum of Art, Bequest of Mrs. Severance A. Millikin.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Virgin and Child in a Landscape. Jan Gossaert, 1531. Oil on wood. Cleveland Museum of Art, John L. Severance Fund.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Stack of Wheat (Thaw, Sunset). Claude Monet, 1890–91. Oil on canvas. Art Institute of Chicago, Gift of Mr. And Mrs. Daniel C. Searle.
Public domain — Art Institute of Chicago Open Access — View at the source collection →
Aftenstemning fra Skagen. P.S. Krøyer, 1893. Olie på træ. Statens Museum for Kunst.
Public domain — Statens Museum for Kunst (the CC public-domain mark on the object’s record), verified per object — View at the source collection →
Boats on the Nile at sunset, Egypt. Coloured lithograph by Louis Haghe after David Roberts, 1847. David Roberts, 1 May 1847. 1 print : lithograph with tint plate, with watercolour and gum arabic. Wellcome Collection, Wellcome Collection.
Public domain — Wellcome Collection (the image’s own Public Domain Mark or CC0), verified per object — View at the source collection →
A woman breast-feeding her child. Line engraving by MD after J.Ch., [16--]. H, J.C., 1600–1699. 1 print : line engraving. Wellcome Collection, Wellcome Collection.
Public domain — Wellcome Collection (the image’s own Public Domain Mark or CC0), verified per object — View at the source collection →
Moulin Rouge, La Goulue. Henri de Toulouse-Lautrec, 1891. Color lithograph on tan wove paper. Art Institute of Chicago, Mr. And Mrs. Carter H. Harrison Collection.
Public domain — Art Institute of Chicago Open Access — View at the source collection →
Palais de Glace. Jules Chéret, 1891. Color lithograph on cream wove paper. Art Institute of Chicago, Gift of Mary A. Young.
Public domain — Art Institute of Chicago Open Access — View at the source collection →
Overture for The Woman from Seville, for Piano, by Cecile Chaminade. Théophile-Alexandre Pierre Steinlen, published May 18, 1889. Lithograph in blue, red, lavender, black and cream on cream wove paper, folded to create sheet music cover. Art Institute of Chicago, The Charles Deering Collection.
Public domain — Art Institute of Chicago Open Access — View at the source collection →
Salon des Cent, XXme Exposition du Salon des Cent (mars-avril 1896) Hall de la Plume, 31 rue Bonaparte, Paris. Alfons Maria Mucha, 1896. Lithografie in kleur. Rijksmuseum, Gift of J.H.L. Hanau, De Bilt.
Public domain — Rijksmuseum (the public-domain mark on the object’s image record), verified per object — View at the source collection →
Mensen op straat. Théophile Alexandre Steinlen (mentioned on object), 1896. Rijksmuseum, Gift of P.F. Maas, Apeldoorn.
Public domain — Rijksmuseum (the public-domain mark on the object’s image record), verified per object — View at the source collection →
Brennabor. Leonhard F. Willy Fries, c. 1910. Lithografie in kleur. Rijksmuseum.
Public domain — Rijksmuseum (the public-domain mark on the object’s image record), verified per object — View at the source collection →
The Chap-Book (Blue Lady). William Henry Bradley, August 1894. Color zincograph on thin cream wove paper. Smithsonian Institution, Museum purchase through gift of Mrs. Gilbert W. Chapman and Ely Jacques Kahn.
CC0 — Smithsonian Open Access, verified per object (the record’s and the image’s own usage statements) — View at the source collection →
Teamwork Builds Ships. William Dodge Stevens, 1918. Lithograph on paper. Smithsonian Institution, Gift of Unknown Donor.
CC0 — Smithsonian Open Access, verified per object (the record’s and the image’s own usage statements) — View at the source collection →
Gee I wish I were a Man, I’d Join the Navy. Howard Chandler Christy, after 1917. Lithograph on paper. Smithsonian Institution, Gift of Unknown Donor.
CC0 — Smithsonian Open Access, verified per object (the record’s and the image’s own usage statements) — View at the source collection →
The Antikamnia Calendar, January and February, 1897: The Diagnosis. Louis Crusius, 1896. Chromolithograph on paper with string binding. Smithsonian Institution.
CC0 — Smithsonian Open Access, verified per object (the record’s and the image’s own usage statements) — View at the source collection →
Drink McLaughlin’s XXXX Coffee / Gathering Eggs in Grandpa’s Barn. Donaldson Brothers, c. 1891. Chromolithograph. Smithsonian Institution, Gift of Carol MacDonald.
CC0 — Smithsonian Open Access, verified per object (the record’s and the image’s own usage statements) — View at the source collection →
The great East River suspension bridge: connecting the cities of New York and Brooklyn. Currier & Ives, c. 1890. 1 print : chromolithograph. Library of Congress.
No known restrictions on publication — Library of Congress, popular graphic arts; published before 1930 — View at the source collection →
The queen of the turf Maud S. Driven by W.W. Bair: by Harold, dam Miss Russell, by Pilot Jr. Currier & Ives, 1880. 1 print : chromolithograph. Library of Congress.
No known restrictions on publication — Library of Congress, popular graphic arts; published before 1930 — View at the source collection →
Prang’s Easter cross / after Mrs. O.E. Whitney. L. Prang & Co., publisher, 1872. 1 print : chromolithograph ; sheet 27.1 x 17.9 cm. Library of Congress.
No known restrictions on publication — Library of Congress, popular graphic arts; published before 1930 — View at the source collection →
Saint Mary (the Blessed Virgin). Chromolithograph, 1907. 1907. 1 print. Wellcome Collection, Wellcome Collection.
Public domain — Wellcome Collection (the image’s own Public Domain Mark or CC0), verified per object — View at the source collection →
Gran Hotel Inglaterra, Habana. Jackson, William Henry, 1843–1942, photographer, 1900. 1 photomechanical print : photochrom, color. Library of Congress.
Public domain — Library of Congress, FSA/OWI Black-and-White Negatives — View at the source collection →
“Isfandiyar’s Third Course: He Slays a Dragon”, Folio 434v from the Shahnama (Book of Kings) of Shah Tahmasp. c. 1530. Opaque watercolor, ink, silver, and gold on paper. Gift of Arthur A. Houghton Jr., 1970
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
“Amr has the Infidels Thrown into the Sea”, Folio from a Khavarannama (The Book of the East) of ibn Husam al-Din. c. 1476–86. Ink, opaque watercolor, and gold on paper. Rogers Fund, 1955
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
“Isfandiyar’s Fourth Course: He Slays a Sorceress”, Folio from a Shahnama (Book of Kings) of Firdausi. c. 1330–40. Ink, opaque watercolor, gold, and silver on paper. Bequest of Monroe C. Gutman, 1974
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
“The Seven Sleepers of Ephesus”, Folio from a Falnama (Book of Omens). 1550s. Ink, opaque watercolor, and gold on paper. Rogers Fund, 1935
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
“Muhammad Revives the Sick Boy”, Folio from a Falnama (Book of Omens) of Ja’far al-Sadiq. 1550s. Ink, opaque watercolor, and gold on paper. Purchase, Francis M. Weld Gift, 1950
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
“The Concourse of the Birds”, Folio 11r from a Mantiq al-Tayr (Language of the Birds). c. 1600. Ink, opaque watercolor, gold, and silver on paper. Fletcher Fund, 1963
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Folio from a Mu’nis al-ahrar fi daqa’iq al-ash’ar (The Free Man’s Companion to the Subtleties of Poems) of Jajarmi. dated 741 AH/1341 CE. Ink, opaque watercolor, and gold on paper. Cora Timken Burnett Collection of Persian Miniatures and Other Persian Art Objects, Bequest of Cora Timken Burnett, 1956
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
The Old man and the Youth. second quarter 17th century. Ink, transparent and opaque watercolor, and gold on paper. Fletcher Fund, 1925
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Illustrated Folio from a Shahnama. mid-17th century. Ink and opaque watercolor on paper. The Metropolitan Museum of Art, Anonymous Gift, 2017.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Shahnama (Book of Kings) of Firdausi. Abu’l Qasim Firdausi, 1074–79 AH/1663–69 CE. Opaque watercolor, ink, silver and gold on paper. The Metropolitan Museum of Art, Gift of Alexander Smith Cochran, 1913.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Folio from a Qur’an Manuscript. Muhammad al-Zanjani, dated 531 AH/1137 CE. Ink, gold, and opaque watercolor on paper. The Metropolitan Museum of Art, Purchase, Friends of Islamic Art Gifts, 1996.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Qur’an Manuscript with Lacquer Binding. early 19th century. Manuscript: Ink, opaque watercolor, and gold on paper; Binding: pasteboard; painted and lacquered. The Metropolitan Museum of Art, Gift of Shamina Talyarkhan, 2006.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Portrait of Muhammad Shah Qajar and his Vizier Haj Mirza Aghasi. second quarter 19th century. Ink, opaque watercolor, and gold on paper. The Metropolitan Museum of Art, Gift of Abolala Soudavar, in memory of Ezzat-Malek Soudavar, 2014.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Nasir Al-Din Shah Qajar (r. 1848–1896) with a Cannon. c. 1850. Opaque watercolor, ink, and gold on paper. The Metropolitan Museum of Art, Purchase, 2017 and 2018 NoRuz at The Met Benefits, 2023.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Penbox with Portrait of Muhammad Shah Qajar. 1840s. Papier-mache; painted and varnished. The Metropolitan Museum of Art, Purchase, 2017 and 2018 NoRuz at The Met Benefits, 2022.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Pen and Ink Box (lid). Iran, Qajar period (1779–1925), 1800s. lacquer over papier maché. Cleveland Museum of Art, Gift of George W. Bierce.
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Lacquer Covers of the Davis Album. dated 1217 AH/ 1802–3 CE. Papier-maché; painted in opaque watercolor and gold, and lacquered. The Metropolitan Museum of Art, Theodore M. Davis Collection, Bequest of Theodore M. Davis, 1915.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Mirror Case with Lid. Iran, Qajar period (1779–1925), 1800s. Varnished lacquer and opaque watercolor over papier-mâché. Cleveland Museum of Art, Gift of the Estate of Mrs. Jacob Perkins.
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Octagonal Mirror Case with Lid. Iran, probably Isfahan, Qajar period (1779–1925), 1800s. Varnished lacquer and opaque watercolor over papier-mâché. Cleveland Museum of Art, Gift of Mrs. L. E. Holden.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Firman of Muhammad Shah Qajar. dated 1250 AH/1835 CE. Ink, opaque watercolor, and gold on paper. The Metropolitan Museum of Art, Gift of Layla S. Diba, in memory of Mahmood T. Diba, 2013.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
The Birth of Rustam, page from a copy of the Shahnama of Firdausi. Iran, Safavid dynasty (1501–1722), dated c. 1620. Opaque watercolor and gold on paper. Art Institute of Chicago, Ann McNear Collection.
Public domain — Art Institute of Chicago Open Access — View at the source collection →
Double Page from the Qur’an. Iran, Safavid dynasty (1501–1722), 16th century. Opaque watercolor and gold on paper. Art Institute of Chicago, Ann McNear Collection.
Public domain — Art Institute of Chicago Open Access — View at the source collection →
A Persian man beats a div (demon) with a stick. Gouache painting by a Persian artist, ca. Ca. 1750 (?). 1750. 1 painting : gouache on paper ; image 11 x 12 cm. Wellcome Collection, Wellcome Collection.
Public domain — Wellcome Collection (the image’s own Public Domain Mark or CC0), verified per object — View at the source collection →
Calligraphy Painting. Isma’il Jalayir, c. 1860. Opaque watercolor and ink on paste board. The Metropolitan Museum of Art, Purchase, 2017 NoRuz at The Met Benefit, 2018.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
“Conquering the Qamus Fort,” Folio from a Hamla-yi Haidari (Attack of the Lion). 19th century. Opaque watercolor, gold, and ink on paper. The Metropolitan Museum of Art, Purchase, 2017 and 2018 NoRuz at The Met Benefits, 2019.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Mirror Case. Aqa Ahmad, dated 1269 AH/1852–53 CE. Pasteboard, papier-maché; opaque watercolor, gilded, and lacquered. The Metropolitan Museum of Art, Purchase, 2017 and 2018 NoRuz at The Met Benefits, 2023.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
A Young Prince. Ca. 1820. Oil on canvas. The Metropolitan Museum of Art, Purchase, 2017 and 2018 NoRuz at The Met Benefits, 2019.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Prince Holding a Falcon. Ca 1820. Oil on canvas. The Metropolitan Museum of Art, Purchase, 2017 NoRuz at The Met Benefit, 2017.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Dancer. Early 19th century. Oil and gold on canvas. The Metropolitan Museum of Art, The Friends of the Department of Islamic Art Fund, 1971.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
The fire ordeal of Prince Siyavash. Gouache painting by a Persian artist, ca. Ca. 1800 (?). 1800. 1 painting : gouache on paper ; image 11 x 12 cm. Wellcome Collection, Wellcome Collection.
Public domain — Wellcome Collection (the image’s own Public Domain Mark or CC0), verified per object — View at the source collection →
An uncle visiting Majnun and Layla in the desert, from the story Layla and Majnun by Nizami, a 12th century Iranian poet. Gouache painting by a Persian artist. Ca. 1800–99. 1 painting : gouache, with pencil ; image 14. Wellcome Collection, Wellcome Collection.
Public domain — Wellcome Collection (the image’s own Public Domain Mark or CC0), verified per object — View at the source collection →
![[Persepolis], Luigi Pesce, 1850s](/images/plates/w720/met-262203.webp)
[Persepolis]. Luigi Pesce, 1850s. Albumen silver print from paper negative. The Metropolitan Museum of Art, Gift of Charles K. and Irma B. Wilkinson, 1977.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
![[The New Gate, Teheran], Luigi Pesce, 1850s](/images/plates/w720/met-262204.webp)
[The New Gate, Teheran]. Luigi Pesce, 1850s. Albumen silver print from paper negative. The Metropolitan Museum of Art, Gift of Charles K. and Irma B. Wilkinson, 1977.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Tomba sulla rocca a Persepolis. Luigi Pesce, 1858. Salted paper print from paper negative. The Metropolitan Museum of Art, Gift of Kay Gregory, 1967.
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![[L’antica porta d’ingrezza a Persepolis], Luigi Pesce, 1858](/images/plates/w720/met-271272.webp)
[L’antica porta d’ingrezza a Persepolis]. Luigi Pesce, 1858. Salted paper print from paper negative. The Metropolitan Museum of Art, Gift of Kay Gregory, 1967.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
![[Peacock’s Throne Room, Teheran], Luigi Pesce, 1858](/images/plates/w720/met-271281.webp)
[Peacock’s Throne Room, Teheran]. Luigi Pesce, 1858. Salted paper print from paper negative. The Metropolitan Museum of Art, Gift of Kay Gregory, 1967.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Persia - Dervishes. Bain News Service, c. 1910–15. Glass negative. Library of Congress.
No known restrictions on publication — Library of Congress, bain collection; published before 1930 — View at the source collection →
Persia - Mohmammedan priests. Bain News Service, c. 1910–15. Glass negative. Library of Congress.
No known restrictions on publication — Library of Congress, bain collection; published before 1930 — View at the source collection →
Palace attendants (runners), Persia. Bain News Service, 1918. Glass negative. Library of Congress.
No known restrictions on publication — Library of Congress, bain collection; published before 1930 — View at the source collection →
Shah of Persia arriving in Ourmiah. Bain News Service, 1911. Glass negative. Library of Congress.
No known restrictions on publication — Library of Congress, bain collection; published before 1930 — View at the source collection →
![Pupils of school & group of anti-royalists, Tabriz, Persia [Large group of uniformed children with adults in rear; large balconied building with striped columns in background], Bain News Service, 1908](/images/plates/w720/loc-2014683274.webp)
Pupils of school & group of anti-royalists, Tabriz, Persia [Large group of uniformed children with adults in rear; large balconied building with striped columns in background]. Bain News Service, 1908. Glass negative. Library of Congress.
No known restrictions on publication — Library of Congress, bain collection; published before 1930 — View at the source collection →
Téhéran. Famille Persane. Photoglob Co., c. 1890–1910. Colour photochrom print. Library of Congress.
No known restrictions on publication — Library of Congress, photochrom prints; published before 1930 — View at the source collection →
![Shah of Persia [Iran], Bain News Service, c. 1915–20](/images/plates/w720/loc-2014701461.webp)
Shah of Persia [Iran]. Bain News Service, c. 1915–20. Glass negative. Library of Congress.
No known restrictions on publication — Library of Congress, bain collection; published before 1930 — View at the source collection →
Exterieur van een paleis van de zilesultan in Teheran. Antoine Sevruguin, c. 1880–95. Albuminedruk. Rijksmuseum.
Public domain — Rijksmuseum (the public-domain mark on the object’s image record), verified per object — View at the source collection →
Lezende leerlingen en volwassenen op de binnenplaats van een school in Perzië. Antoine Sevruguin, c. 1880–95. Albuminedruk. Rijksmuseum.
Public domain — Rijksmuseum (the public-domain mark on the object’s image record), verified per object — View at the source collection →
Man zittend in het kleine paviljoen van de Fin-tuinen bij Kashan. Antoine Sevruguin, c. 1880–95. Albuminedruk. Rijksmuseum.
Public domain — Rijksmuseum (the public-domain mark on the object’s image record), verified per object — View at the source collection →
Ruitergezelschap verlaat Shiraz, op de achtergrond de Koranpoort. Antoine Sevruguin, c. 1880–95. Albuminedruk. Rijksmuseum.
Public domain — Rijksmuseum (the public-domain mark on the object’s image record), verified per object — View at the source collection →
Silk Kashan Carpet. 16th century. Silk (warp, weft and pile); asymmetrically knotted pile. The Metropolitan Museum of Art, Gift of Mrs. Douglas M. Moffat, 1958.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Carpet. 16th century. Silk (warp and weft), wool (pile), metal wrapped thread; asymmetricaly knotted thread, brocaded. The Metropolitan Museum of Art, Mr. and Mrs. Isaac D. Fletcher Collection, Bequest of Isaac D. Fletcher, 1917.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Velvet Panel with Hunting Scene. c. 1540. Silk, flat metal thread; cut and voided velvet. The Metropolitan Museum of Art, Fletcher Fund, 1972.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Velvet Fragment with Design from Nizami of Ganja’s Khusrau and Shirin. 16th century. Silk; cut velvet. The Metropolitan Museum of Art, Purchase, The Seley Foundation Inc., Schimmel Foundation Inc., Ruth Blumka and Charles D. Kelekian Gifts, and Rogers Fund, 1978.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Luster Star-Shaped Tile. dated 608 AH/1211–12 CE. Stonepaste; luster-painted on opaque glaze with inglaze painting. The Metropolitan Museum of Art, H.O. Havemeyer Collection, Gift of Horace Havemeyer, 1940.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Pear-Shaped Bottle with a Bullock Design. second half 17th century. Stonepaste; luster-painted on opaque white glaze. The Metropolitan Museum of Art, Edward C. Moore Collection, Bequest of Edward C. Moore, 1891.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Bahram Gur and Azada. 12th–13th century. Stonepaste; polychrome inglaze and overglaze painted on opaque monochrome glaze (mina’i). The Metropolitan Museum of Art, Purchase, Rogers Fund, and Gift of The Schiff Foundation, 1957.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Shahnama (Book of Kings) of Firdausi. Abu’l Qasim Firdausi, 1475–1675. Leather; tooled and gilded; ink on paper. The Metropolitan Museum of Art, Gift of Alexander Smith Cochran, 1913.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Chintz door curtain. Iran, Isfahan, Qajar period (1779–1925), 1800s. Cotton: plain weave; chintz; hand drawing and block printing: bleach, mordant, and dye. Cleveland Museum of Art, Sundry Purchase Fund.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Tile depicting Khusrau Happening upon Shirin Bathing. Iran; Probably Tehran, Qajar dynasty (1789–1925), late 19th century. Fritware with molded decoration and underglaze painting. Art Institute of Chicago, Lucy Maud Buckingham Collection.
Public domain — Art Institute of Chicago Open Access — View at the source collection →
Standard. early 18th century. Silver with black inlay. The Metropolitan Museum of Art, Gift of Marilyn Jenkins, 1984.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Tile from a Mihrab. dated 722 AH/1322–23 CE. Stonepaste; modeled, painted under transparent glaze. The Metropolitan Museum of Art, Gift of William Mandel, 1983.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Beggar’s Bowl (Kashkul). late 19th–early 20th century. Steel; pierced, gold damascened. The Metropolitan Museum of Art, Gift of Jonathan Lipkin, 2018.
Public domain / CC0 — Metropolitan Museum of Art Open Access, verified per object — View at the source collection →
Royal Carpet with Silk and Metal Thread. Iran, Isfahan, Safavid period, 1600–1625. Cotton: warp; cotton and silk: wefts; silk: pile, asymmetrical knot; gilt- and silver-metal thread: brocaded. Cleveland Museum of Art, Purchase from the J. H. Wade Fund.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Luster Dish with Seated Prince. Iran, Kashan, Seljuq period of Iran, 1170–1220. Fritware with luster-painted design. Cleveland Museum of Art, John L. Severance Fund.
CC0 — Cleveland Museum of Art Open Access — View at the source collection →
Dish. Late 17th-early 18th century. Stone-paste painted under glaze. Smithsonian Institution, Gift of Charles Lang Freer.
CC0 — Smithsonian Open Access, verified per object (the record’s and the image’s own usage statements) — View at the source collection →
The studies behind the taste readings
Two readings are scored from the taste lists and both lean on published work rather than on this project’s own hunch. Reflective Taste is the Reflective & Complex factor of Rentfrow & Gosling (2003), scored against its correlate with Openness. Bandwidth is the omnivore count of Peterson & Kern (1996) divided by the list it was counted over. Its expectation about Openness rests on Chan (2019) and Kraaykamp & van Eijck (2005), who both found the broad higher on that trait; its expectation about social position, and the one pairing it predicts will come back empty — economic left–right — rest on Chan alone; and its minimum number of elements is set by Warde et al. (2007), who showed that who comes out an omnivore depends on which genres were listed. The standing portrait under the maps follows Bryson (1996), who found that broad taste has a pattern to its exclusions; the standings themselves — canon, popular, dismissed — were placed by this project, bank by bank, and are credited above with the works they sit on. Under the maps themselves, Media, Music, Film & TV, Literature, Sport, Games, and Podcasts & creators each name the study their map leans on, or declines to lean on, and those are listed here with the rest.
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Quotes, passages, figures
Every line in Quote Resonance is attributed to a real person and drawn from documented speeches, writing or interviews — none are invented or AI-generated. The lines are the two curated banks the invitation deals: 449 from a century of political speech in Iran, shown in Persian with the English under each, and 220 from two and a half centuries of it in the United States. Sourcing confidence is tracked per line (verified against multiple independent sources, translation-only, disputed, or unconfirmed pending further research) rather than presented as uniformly certain; lines that did not survive an independent fact-check pass were removed rather than included.
Historical Attribution’s passages are quoted as printed, read from the archives’ own page images where a page exists. On the Iran track they come from the University of Manchester Library’s Nashriyah collection of the 1979 press, from Wayback Machine captures of the papers’ sites, from the papers’ and the speakers’ own archives, and from the Kar archive online; on the general track from the Library of Congress’s Chronicling America, the Internet Archive, GovInfo, the American Presidency Project, and the White House and agency archives. Each passage carries its own citation and, where the archive states one, the archive’s rights statement. The full sourcing notes live in this project’s own research documentation, not published on the site itself.
Typefaces
Space Grotesk (display), IBM Plex Sans (body), and IBM Plex Mono (data/labels) — all open-source, via Google Fonts.