A-LEVEL HISTORY OF ART HART1 Visual Analysis and Interpretation Mark scheme 2250 June 2014 Version/Stage: 1.0 Final
Mark schemes are prepared by the Lead Assessment Writer and considered, together with the relevant s, by a panel of subject teachers. This mark scheme includes any amendments made at the standardisation events which all associates participate in and is the scheme which was used by them in this examination. The standardisation process ensures that the mark scheme covers the students s to s and that every associate understands and applies it in the same correct way. As preparation for standardisation each associate analyses a number of students scripts: alternative answers not already covered by the mark scheme are discussed and legislated for. If, after the standardisation process, associates encounter unusual answers which have not been raised they are required to refer these Lead Assessment Writer. It must be stressed that a mark scheme is a working document, in many cases further developed and expanded on the basis of students reactions to a particular paper. Assumptions about future mark schemes on the basis of one year s document should be avoided; whilst the guiding principles of assessment remain constant, details will change, depending on the content of a particular examination paper. Further copies of this Mark Scheme are available from aqa.org.uk Copyright 2014 AQA and its licensors. All rights reserved. AQA retains the copyright on all its publications. However, registered schools/colleges for AQA are permitted to copy material from this booklet for their own internal use, with the following important exception: AQA cannot give permission to schools/colleges to photocopy any material that is acknowledged to a third party even for internal use within the centre.
HART1 Aims When you are marking scripts your aim should be: 1 to identify and reward the achievements of candidates; 2 to ensure consistency of assessment for all candidates, regardless of or examiner. Approach Please be positive when marking scripts, looking to reward relevant points that candidates make rather than to penalise what they don t know. A specification of this type must recognise the variety of experiences and knowledge that candidates bring examination. Please use the full mark range. The Principles of Best Fit This paper requires candidates to make three extended s in essay format. A grid is used which, while recognising the need to consider different aspects of each (AO1, AO2 and AO3), also attempts to consider the as a whole. Ultimately the should be placed at a level that best fits its qualities. The Marking Grid The marking grid covers the generic qualities of all essays written as s on this paper in terms of their knowledge (AO1), their understanding (AO2) and their ability to communicate (AO3). Guidance is also provided on how to select the correct mark within a chosen mark band. Annotating Scripts It is important that the way you arrive at a mark should be recorded on the script. This will help you with making accurate judgements and it will help any subsequent markers to identify how you are thinking, should adjustment need to be made. To this end you should: identify points of merit write a brief summative comment at the end of each, in line with the chosen mark band descriptor to avoid ambiguity put a total in the margin at the end of each. 3 of 8
Unit 1 Mark Scheme Mark range AO1 Knowledge Source, select, recall material to demonstrate knowledge effectively AO2 Understanding Demonstrate understanding through analysis and make substantiated judgements and sustained discussion and/or arguments AO3 Communication Present a clear and coherent Band 6 17 20 Band 5 13 16 Excellent Good Wholly accurate, detailed and appropriate sourcing, selection and recall Entirely inclusive description Accurate and appropriate sourcing, selection and recall Comprehensive description Excellent and sustained analysis and discussion Thoroughly relevant and wellconsidered argument and judgement Good analysis and discussion Germane argument and judgement Thoroughly clear, coherent and accurate use of language Sustained and wholly relevant organisation of material Very clear, coherent and accurate use of language Competent organisation of material Band 4 9 12 Competent Generally relevant sourcing, selection and recall Relatively comprehensive description Competent analysis and discussion Some meaningful argument and judgement Clear, coherent and accurate use of language Adequately effective organisation of material Band 3 5 8 Limited Limited sourcing, selection and recall Partial description Simplistic analysis and discussion Limited argument and judgement Limited clarity, coherence and accuracy of language Some appropriately organised material Band 2 1 4 Inadequate Poor sourcing, selection and recall Weak description Little or ineffective analysis and discussion Little or no argument and judgement Unclear and inaccurate use of language Ineffective organisation of material Band 1 0 No attempt to address the or meet assessment objectives Four marks are available for each mark band. From lowest to highest, the mark indicates the candidate has - Just met the requirements described in that particular mark band Adequately met the requirements described in that particular mark band Clearly met the requirements described in that particular mark band Convincingly met the requirements described in that particular mark band, but just failed to meet the requirements set out in the next band. 4 of 8
1 Aelbert Cuyp, A Distant View of Dordrecht, with a Milkmaid and Four Cows, and Other Figures ( The Large Dort ), c.1650 (oil on canvas) (157.5 cm x 197 cm) (National Gallery, London). Discuss the figures and animals and their setting in this painting and analyse the artist s treatment of light and space. (20 marks) Maximum 12 marks if only discussion of the figures and animals and the setting is given or if only analysis of the treatment of light and space is given. Figures, animals and setting Pastoral setting with figures, cattle and panoramic setting scene framed by rising ground on either side and by foliage and twigs in the immediate foreground none of the four figures engage with the viewer milkmaid dressed in contemporary clothes bends over, pouring milk, watched closely by a dog and seated figure two men and a sheep set back on the right appear in conversation, dressed in rustic clothing and suggesting a farmer and a shepherd cows centrally placed in the foreground each cow is different yet repetition of profiles and forward-facing poses behind the cattle and figures a view of the city of Dordrecht stretches in distance Dordrecht is identified behind two windmills one extreme left set further back while another is placed in the middle distance slightly right of centre and adjacent to farm buildings a large church rises up dominating the distant view a large building acting as a landmark is set further back against the skyline surrounded by smaller buildings calm and gentle rural activity and poses-sense of Man in harmony with Nature prominence of church and windmills suggest importance of religion and labour. Treatment of light and space Yellowing horizon creates an effect of soft light and tranquil mood- suggestive of sunrise or sunset consistent light source from the sun and cloudy sky creates an effect of light and dark areas cast shadows and tonal modelling create an illusion of depth and dimension the sun highlights the foreground leaves and brambles, and tinges the left side of the cattle, figures and buildings many animals, figures and features of the setting arranged in apparent planes, parallel picture plane, creates depth and recession branches at the front of the picture plane create a link between the picture s space and that of the viewer overlapping features and objects in the foreground and middle distance add a sense of space evident in the placing of figures, cattle, buildings, trees and foliage low horizon establishes distant view of Dordrecht approximately half of the pictorial space is taken up by the sky distance created through effects of atmospheric (aerial) perspective employing horizontal colour banding and varying degrees of definition recessional scale correctly used throughout: cattle and figures in the foreground are larger than those of the two men on the right set further back; buildings decrease in size according to their position in the distance; birds in the sky become smaller linear perspective applied buildings foreshortened cattle add an illusion of depth and dimension. Other points considered to be valid to be given credit. 5 of 8
2 Hagesandrus, Polydorus, and Athenodorus, Laocoön and his Sons, c.42 BC-20 BC (marble) (height 2.4 m) (Vatican Museums, Rome). Analyse the appearance of the figures in this sculpture and consider how material and techniques have been used. (20 marks) Maximum 12 marks if only analysis of the appearance of the figures is given or if only consideration of the use of materials and techniques is given. Appearance of the figures Complex composition of human and reptilian forms Laocoön figure dominant Laocoön has an open pose Laocoön shown with his two sons fighting off large snakes all figures are nude with accurately observed anatomical details none of the figures engage with the viewer Laocoön sits on a marble block, his body twisting as a snake sinks its fangs into his hip smaller son viewed on left leans back, looks at his father, struggling to push away another snake as it bites into his torso larger son viewed on the right is set lower and away from the block, separated but attached to his father through the writhing form of a snake, also looks at his father, one leg raised trying to free himself figures shown in dramatic movement emphasised by extreme muscular intensity as they struggle to free themselves facial expressions and poses reflect pain, fear and terror all figures are idealised and appear athletic Laocoön has a more developed physique the older son on the right has an adult body younger son on the left not so physically developed drama emphasised by strong diagonals of limbs three figures bound together by snakes adding intense drama narrative. Material and techniques colour of white marble unifies figures white marble associated with nobility, heroism and status the fragility of this sculpture and low tensile strength of the marble has resulted in significant damage, especially to protruding or delicate features multiple blocks used- some of what appear to be breaks are joints marble is relatively soft to carve allowing close anatomical detail evidenced through muscle definition, protruding veins, knees and elbows, ribs, details of hands, feet and hair a variety and contrast of textures can be seen - the smoothness of skin, folds of drapery and texture of hair translucency of marble approximates flesh falling effects of heavy drapes add physical stability sculpture pyramidal composition with stability provided by the broad base undercutting creates definitions and greater dramatic intensity produced through shadowed areas between the entwining snakes and figures and in the folds of the drapes. Other points considered to be valid to be given credit. 6 of 8
3 James Gibbs, The Radcliffe Camera (Radcliffe Library), 1737-1749 (stone and lead) (Oxford). Analyse the appearance of the building and comment on how its features express its status and function. (20 marks) Maximum 12 marks if only analysis of appearance or comment on features of status and function is given. Analysis of appearance a three storey circular domed building composed of two concentric cylinders symmetrical and harmonious composition repeating rhythms rusticated lower storey with visible jointing between blocks alternating triangular pedimented bays of round arched openings and empty round-arched niched bays pedimented bays project forward and have steps - indicative of an entrance plain and undecorated horizontal division between ground and upper level this area of transition can be read as both the attic storey of the rusticated level and as a pedestal zone for the giant order giant Corinthian order of paired three-quarter engaged columns, with smooth-shafts between the paired columns rectangular triangular pedimented windows above smaller framed square windows alternate with empty round arched niches above square blind windows with decorative swags at capital level columns support an entablature with uninterrupted plain frieze, cornice with dentils balustrade punctuated by paired urns placed directly above the paired columns below circular drum comprising alternating curved buttresses terminated with urns and rectangular windows with framing moulding and prominent key stone motif ribbed, lead-covered dome with oeils-de-boeuf windows between ribs design culminates in a domed and ribbed lantern with round headed openings and buttresses in the form of an undecorated classical order alternating rhythms on main storey give an sense of compression and/or animation verticality of the structure stressed by ribs of the dome, the curved buttresses, and paired giant columns continuous unbroken entablature provides prominent horizontal emphasis subsidiary horizontal bands created by the base of upper storey, the stringcourse on the lower storey and the entablature between drum and dome contrast between plain heavy ground floor (of Headington Hardstone), the more richly articulated upper storey (of Taynton stone) and the lead covering of the dome sense of sculpted mass: empty niches/engaged twinned columns, minimal wall piercings, rustication stepped and varied profile: projecting buttresses with urns, balustrade with urns, cornice, projecting pediments. Expression of status and function an independent and free-standing structure set in a square/ open space large scale and monumental form acts as a landmark use of classical orders suggests status and dignified authority circular form and dome recall classical temple prototypes and thus imply status 7 of 8
multiple entrances suggest ease of access multiple windows admit light for reading plain walls may provide internal surfaces for book stacks and shelves large interior for quiet contemplation and study division into storeys may indicate interior floors and so extra accommodation for study greater concentration of windows at drum level - for top-lighting use of high quality and expensive materials elaborate applied decoration implies expensive craftsmanship. Other points considered to be valid should be given credit. 8 of 8