Level 3 Art History, 2011

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1 90490Q Level 3 Art History, Analyse style in art 2.00 pm ednesday Wednesday 1 16 November 2011 Credits: Five QUESTION BOOKLET There are twelve questions in this booklet, one for each area of study. You should answer TWO questions. Write your answers in Answer Booklet 0 0A. Check that this booklet has pages 2 28 in the correct order and that none of these pages is blank. YOU MAY KEEP THIS BOOKLET AT THE END OF THE EXAMINATION. For copyright reasons, these resources cannot be reproduced here. Achievement Criteria Achievement Achievement with Merit Achievement with Excellence Identify a range of stylistic characteristics in selected art works. Distinguish between the styles of selected art works. Explain the reasons for differences in stylistic characteristics in selected art works. Comprehensively relate stylistic characteristics to their context. New Zealand Qualifications Authority, All rights reserved. No part of this publication may be reproduced by any means without the prior permission of the New Zealand Qualifications Authority.

2 2 You are advised to spend one hour answering the questions you choose from this booklet. INSTRUCTIONS There are twelve questions in this booklet, one for each of the following areas of study: Fourteenth-century Italian Painting Fifteenth-century Italian Painting Italian Renaissance Sculpture High Renaissance and the Development of Mannerism Venetian Painting Northern Renaissance Art Cubism and Abstraction Fauvism and Expressionism Dada and Surrealism Architecture: Modernism to Postmodernism Modern American Art Modern New Zealand Art. Select TWO questions, and answer BOTH parts (a) and (b) of EACH question. The definitions below may assist you in your answers. Write ALL your answers in Answer Booklet 90490A. DEFINITIONS Style: Context: The common features that identify the characteristics of the works of an artist, a period, or an art movement. The circumstances in which artists work, eg personal, social, historical, cultural, geographical, environmental, economic, political, religious, artistic, gender, class, and philosophical.

3 3 This page has been deliberately left blank.

4 FOURTEENTH-CENTURY ITALIAN PAINTING EITHER: QUESTION ONE Plates 1.1 Duccio, The Last Supper (from the back of the Maesta), Pietro Lorenzetti, The Last Supper, c (a) (b) Compare and contrast the treatment of space and form in these two interior scenes. Explain the reasons for the differences between the two paintings with reference to developments in Sienese narrative painting in the fourteenth century. Plate 1.1 Duccio, The Last Supper (from the back of the Maesta), , panel, cm

5 5 Plate 1.2 Pietro Lorenzetti, The Last Supper, c , fresco, cm

6 FIFTEENTH-CENTURY ITALIAN PAINTING AND / OR: QUESTION TWO Plates 2.1 Masaccio, Madonna and Child Enthroned, Masaccio, Madonna and Child Enthroned, (a) (b) Compare and contrast the treatment of the figure and space in these two paintings. Explain the reasons for the differences between these two paintings with reference to developments in Masaccio s painting style. Plate 2.1 Masaccio, Madonna and Child Enthroned (San Giovenale Altarpiece, central panel), 1422, tempera on cloth on panel, cm

7 7 Plate 2.2 Masaccio, Madonna and Child Enthroned (Pisa Altarpiece, central panel), 1426, wood panel, cm

8 ITALIAN RENAISSANCE SCULPTURE AND / OR: QUESTION THREE Plates 3.1 Ghiberti, The Baptism of Christ, Donatello, The Head of John (The Feast of Herod), (a) (b) Discuss the differences in the treatment of figures and composition in these two relief sculptures. Explain the reasons for the differences between the two relief sculptures with reference to each sculptor s treatment of the narrative. Plate 3.1 Ghiberti, The Baptism of Christ, , gilt bronze, cm

9 9 Plate 3.2 Donatello, The Head of John (The Feast of Herod), , gilt bronze, cm

10 10 HIGH RENAISSANCE AND THE DEVELOPMENT OF MANNERISM AND / OR: QUESTION FOUR Plates 4.1 Raphael, La Bella Giardiniera, c Raphael, Sistine Madonna, (a) (b) Discuss the different stylistic characteristics of these two paintings. Explain the reasons for the differences between the two paintings with reference to the impact of different influences on Raphael s style of painting. Plate 4.1 Raphael, La Bella Giardiniera, c. 1507, oil on wood, cm

11 11 Plate 4.2 Raphael, Sistine Madonna, , oil on canvas, cm

12 12 VENETIAN PAINTING AND / OR: QUESTION FIVE Plates 5.1 Giovanni Bellini, The Crucifixion, c Tintoretto, The Crucifixion (detail), 1565 (a) (b) Compare and contrast the treatment of composition and space in these two paintings. Explain the reasons for the differences between the two paintings with reference to changes in narrative painting in Venetian art. Plate 5.1 Giovanni Bellini, The Crucifixion, c , oil on panel, cm

13 13 Plate 5.2 Tintoretto, The Crucifixion (detail), 1565, oil on canvas, cm size of whole painting

14 NORTHERN RENAISSANCE ART AND / OR: QUESTION SIX 14 Plates 6.1 Jan Van Eyck, Timotheos, Albrecht Dürer, Portrait of Oswolt Krel, 1499 (a) (b) Compare and contrast the treatment of the figure and setting in these two portraits. Explain the reasons for the differences between the two portraits with reference to the characteristics of Northern Renaissance portraiture. Plate 6.1 Jan Van Eyck, Timotheos, 1432, oil on panel, cm

15 15 Plate 6.2 Albrecht Dürer, Portrait of Oswolt Krel, 1499, oil on panel, cm

16 CUBISM AND ABSTRACTION AND / OR: QUESTION SEVEN Plates 7.1 Umberto Boccioni, Street Noises Invade the House, Piet Mondrian, Broadway Boogie Woogie, (a) (b) Discuss the use of composition and colour in these two paintings. Explain the reasons for the differences between the two paintings with reference to each artist s response to modern city life. Plate 7.1 Umberto Boccioni, Street Noises Invade the House, 1911, oil on board, cm

17 17 Plate 7.2 Piet Mondrian, Broadway Boogie Woogie, , oil on canvas, cm

18 FAUVISM AND EXPRESSIONISM AND / OR: QUESTION EIGHT Plates 8.1 Emile Nolde, The Dance Round the Golden Calf, Ernst Kirchner, Striding into the Sea, (a) (b) Discuss the treatment of the figures in these two paintings. Explain the reasons for the differences between the two paintings with reference to primitive influences in German Expressionist Art. Plate 8.1 Emile Nolde, The Dance Round the Golden Calf, 1910, oil on canvas, cm

19 19 Plate 8.2 Ernst Kirchner, Striding into the Sea, 1912, oil on canvas, cm

20 20 DADA AND SURREALISM AND / OR: QUESTION NINE Plates 9.1 Hannah Hoch, My Domestic Mottoes, Max Ernst, the chinese nightingale, 1920 (a) (b) Compare and contrast the treatment of the subject matter in these two art works. Explain the reasons for the differences between the two art works with reference to the role of subject matter in Dada art. Plate 9.1 Hannah Hoch, My Domestic Mottoes, 1922, collage on cardboard, cm

21 21 Plate 9.2 Max Ernst, the chinese nightingale, 1920, photomontage, cm

22 ARCHITECTURE: MODERNISM TO POSTMODERNISM AND / OR: QUESTION TEN Plates 10.1 Mies Van der Rohe, Weissenhof Estate, Stuttgart, Walter Gropius, Graduate Centre, Harvard, (a) (b) Discuss the modernist characteristics of these two buildings. Explain the reasons for the differences between the two buildings with reference to the development of modernism in Europe and the United States. Plate 10.1 Mies Van der Rohe, Weissenhof Estate, Stuttgart, 1927, concrete, steel, glass

23 23 Plate 10.2 Walter Gropius, Graduate Centre, Harvard, 1950, concrete, steel, glass

24 MODERN AMERICAN ART AND / OR: QUESTION ELEVEN 24 Plates 11.1 Edward Hopper, Rooms by the Sea, Mark Rothko, Untitled, 1954 (a) (b) Discuss the use of colour and paint in these two paintings. Explain the reasons for the differences between the two paintings with reference to the different aims of each artist. Plate 11.1 Edward Hopper, Rooms by the Sea, 1951, oil on canvas, cm

25 25 Plate 11.2 Mark Rothko, Untitled, 1954, oil on unprimed canvas, cm

26 MODERN NEW ZEALAND ART AND / OR: QUESTION TWELVE Plates 12.1 Colin McCahon, This is the Promised Land, Jeffrey Harris, Figures in Landscape, (a) (b) Compare and contrast the stylistic characteristics of these two paintings. Explain the reasons for the differences between the two paintings with reference to each artist s approach to landscape. Plate 12.1 Colin McCahon, This is the Promised Land, 1948, oil on canvas, cm

27 27 Plate 12.2 Jeffrey Harris, Figures in Landscape, 1977, oil on hardboard, cm

28 28 Acknowledgements Plate duccio13maesls.jpg Plate 1.2 Timothy Hyman, Sienese Painting (London: Thames and Hudson, 2003), p 76. Plate 2.1 James H. Beck, Italian Renaissance Painting (Köln: Könemann, 1999), p 117. Plate 2.2 Ibid., p 121. Plate Plate 3.2 Rolf Toman, The Art of the Italian Renaissance (Köln: Könemann, 1995), p 191. Plate Plate 4.2 Rolf Toman, The Art of the Italian Renaissance (Köln: Könemann, 1995), p 338. Plate 5.1 Plate 5.2 Bernard Aikema and Beverly Brown, Renaissance Venice and the North: Crosscurrents in the time of Dürer, Bellini and Titian (London: Thames and Hudson 1999), p 211. David Rosand, Painting in Sixteenth-Century Venice (Cambridge: Cambridge University Press, 1997), p 155, plate XXIII Q Plate 6.1 Plate 6.2 Giorgio T. Faggin, The Complete Paintings of the Van Eycks (Harmondsworth: Penguin Books, 1986), plate XXX. Angela Ottino della Chiesa, The Complete Paintings of Dürer (London: Weidenfeld and Nicolson, 1971), plate XIII. Plate Plate 7.2 Susanne Deicher, Mondrian (Köln: Taschen, 2004), p 88. Plate 8.1 Dietmar Elger, Expressionism (Köln: Taschen, 1991), p 104. Plate 8.2 Lucius Grisebach, Kirchner (Köln: Taschen, 1996), p 79. Plate 9.1 Dietmar Elger, Dadaism (Köln: Taschen, 2004), p 46. Plate 9.2 Ibid., p 75. Plate 10.1 Jürgen Tietz, The Story of Architecture of the Twentieth Century (Köln: Könemann, 1999), p 39. Plate 10.2 Ibid., p 57. Plate 11.1 Rolf G. Renner, Hopper (Köln: Taschen, 2002), p 84. Plate 11.2 David Anfam, Abstract Expressionism (London: Thames and Hudson, 1990), plate 127, p 161. Plate Plate

Level 3 Art History, 2011

90491Q 904912 3 Level 3 Art History, 2011 90491 Describe the meaning of iconographic motifs 2.00 pm ednesday Wednesday 1 16 November 2011 Credits: Four QUESTION BOOKLET There are twenty-four questions