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 in this booklet, two for each area of study. You should answer ONE question. Write your answer in Answer Booklet 0 1A. Check that this booklet has pages 2 16 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 Describe the meanings conveyed through a range of iconographic motifs in art works. Explain how iconographic motifs are used to convey meaning in art works. Evaluate the importance of iconography in conveying meaning in art. New Zealand Qualifications Authority, 2011. 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 You are advised to spend 40 minutes answering the question you choose from this booklet. INSTRUCTIONS There are twenty-four questions in this booklet, two 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 1900 1930 Fauvism and Expressionism Dada and Surrealism Architecture: Modernism to Postmodernism Modern American Art Modern New Zealand Art. Select ONE area of study and answer ONE of the two questions. The definition below may assist you in your answers. Write your answer in Answer Booklet 90491A. DEFINITION Iconography: The study of iconographic motifs (eg images, symbols, signs, icons, emblems) to convey meaning in art.
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FOURTEENTH-CENTURY ITALIAN PAINTING EITHER: QUESTION ONE Plate 1 Ambrogio Lorenzetti, Presentation in the Temple, 1342 4 Identify at least TWO iconographic motifs used to convey meaning in this altar panel. Select and name ONE other fourteenth-century altar panel, and identify at least TWO iconographic motifs used to convey meaning in the selected altar panel. motifs have been used to convey narrative meaning in each altar panel. Evaluate the effectiveness of iconography in conveying narrative and spiritual meanings in fourteenth-century Italian altar panels. OR: QUESTION TWO Select and name TWO paintings that depict the crucifixion of Jesus. Identify at least TWO iconographic motifs that convey meaning in EACH painting. motifs convey meaning about the crucifixion. Evaluate the importance of the iconography of the crucifixion of Jesus in conveying spiritual beliefs in fourteenth-century Italy.
FIFTEENTH-CENTURY ITALIAN PAINTING OR: QUESTION THREE Plate 2 Leonardo da Vinci, The Annunciation, 1472 5 Identify at least TWO iconographic motifs in this painting that convey meaning about the relationship between the Virgin Mary and the Angel Gabriel. Select and name ONE other fifteenthcentury painting that depicts the Virgin Mary with another figure, and identify at least TWO iconographic motifs in the selected painting. motifs have been used to convey meaning about the Virgin Mary s relationships with the other figures in each painting. Evaluate the effectiveness of iconography in fifteenth-century Italian painting in conveying meaning about the Virgin Mary s relationships with both heavenly and earthly figures. OR: QUESTION FOUR Select and name TWO frescoes from the Brancacci Chapel featuring St Peter. Identify at least TWO iconographic motifs in EACH painting that convey meaning about the life and work of St Peter. motifs have been used to convey meaning about the life and work of St Peter in each fresco. Evaluate the effectiveness of iconography in art in this period in conveying a sense of the spiritual importance of the life and work of St Peter.
ITALIAN RENAISSANCE SCULPTURE OR: QUESTION FIVE Plate 3 Donatello, Mary Magdalene, 1430 50 6 Identify at least TWO iconographic motifs in this sculpture used to convey a sense of spiritual experience. Select and name ONE other free-standing Italian Renaissance sculpture, and identify at least TWO iconographic motifs in the selected sculpture used to convey a sense of spiritual experience. motifs have been used to convey a sense of spiritual experience in each sculpture. Evaluate the importance of iconography in conveying a sense of spiritual experience in Italian Renaissance sculpture. OR: QUESTION SIX Select and name TWO non-religious sculptures, and identify at least TWO iconographic motifs in EACH sculpture. motifs have been used to convey meaning in each sculpture. Evaluate the importance of iconography in conveying meaning in non-religious Italian Renaissance sculpture.
HIGH RENAISSANCE AND THE DEVELOPMENT OF MANNERISM OR: QUESTION SEVEN Plate 4 Pontormo, The Entombment, 1525 28 7 Identify at least TWO iconographic motifs used to convey religious meaning in this painting. Select and name ONE other Mannerist art work, and identify at least TWO iconographic motifs used to convey religious meaning in the selected art work. Describe the meanings conveyed by the iconographic motifs you identified, and explain how iconographic motifs have been used to convey religious meaning in each art work. Evaluate the extent to which iconographic motifs were more effective than Mannerist stylistic devices in conveying religious meaning in this period. OR: QUESTION EIGHT Select and name TWO High Renaissance portraits, and identify at least TWO iconographic motifs used to convey wealth and status in EACH portrait. Describe the meanings conveyed by the iconographic motifs you identified, and explain how iconographic motifs have been used to convey wealth and status in each portrait. Evaluate the extent to which iconography was effective in conveying a sense of wealth and status in portraits in the High Renaissance.
8 VENETIAN PAINTING OR: QUESTION NINE Plate 5 Giorgione, Sleeping Venus, c. 1510 Identify at least TWO iconographic motifs in this painting. Select and name ONE other Venetian painting of a nude female, and identify at least TWO iconographic motifs in the selected painting. Describe the meanings conveyed by the iconographic motifs you identified, and explain how iconographic motifs have been used to convey meaning in each painting. Evaluate the significance of this iconography in expressing Venetian ideas about women in this period. OR: QUESTION TEN Select and name TWO Venetian paintings that depict the Virgin Mary, and identify TWO iconographic motifs in EACH painting. motifs have been used to convey meaning in each paintings. Evaluate the significance of the iconography used to depict the Virgin Mary in encouraging religious faith in this period.
NORTHERN RENAISSANCE ART OR: QUESTION ELEVEN: Plate 6 Matthias Grünewald, The Resurrection, from the Isenheim Altarpiece, c. 1515 9 Identify at least TWO iconographic motifs in this painting. Select and name ONE other Northern Renaissance painting that depicts a Christian event, and identify at least TWO iconographic motifs in the selected painting. Describe the meaning conveyed by the iconographic motifs you identified, and explain how iconographic motifs have been used to convey meaning in each painting. Evaluate the effectiveness of iconography in conveying a sense of spirituality in Northern Renaissance depictions of Christian events. OR: QUESTION TWELVE Select and name TWO religious art works that include portraits of the patrons or donors of the art works, and identify at least TWO iconographic motifs in EACH art work. Describe the meanings of the iconographic motifs you identified, and explain how iconographic motifs are used to convey meaning about the patrons or donors of each art work. Evaluate the effectiveness of this iconography in conveying a sense of the patron or donor s personality and status in this period.
CUBISM AND ABSTRACTION 1900 1930 OR: QUESTION THIRTEEN Plate 7 Juan Gris, The Open Window, 1921. 10 Identify at least TWO iconographic motifs used to convey meaning in this painting. Select and name one other painting that uses windows to convey meaning, and identify at least TWO iconographic motifs in the selected painting. Describe the meanings conveyed by the iconographic motifs you identified, and explain how windows have been used to convey meaning in each painting. Evaluate the effectiveness of the use of windows to convey meaning about new ways of seeing in this period. OR: QUESTION FOURTEEN Select and name TWO sculptures that challenge sculptural traditions. Identify at least TWO iconographic motifs in EACH sculpture. motifs have been used to challenge sculptural traditions in each sculpture. Evaluate the effectiveness of iconography in challenging western sculptural traditions.
FAUVISM AND EXPRESSIONISM OR: QUESTION FIFTEEN Plate 8 Max Beckmann, The Family, from the Hell Series, 1919 11 Identify at least TWO iconographic motifs used in this lithograph. Select and name ONE other German art work that depicts members of a family, and identify at least TWO iconographic motifs in the selected art work. Describe the meanings of the iconographic motifs you identified, and explain how these motifs are used to convey meaning about family relationships in each art work. Evaluate the effectiveness of this iconography in conveying a sense of the difficulties experienced by German families in the early twentieth century. OR: QUESTION SIXTEEN Select and name TWO art works with animal-related iconography, and identify at least TWO iconographic motifs in EACH art work. motifs have been used to convey meaning in each art work. Evaluate the success of the use of animal-related iconography in achieving the aims of Expressionist artists in this period.
DADA AND SURREALISM OR: QUESTION SEVENTEEN Plate 9 Rene Magritte, The Key to Dreams, 1927 12 Identify at least TWO iconographic motifs used in this art work. Select and name ONE other art work by Magritte, and identify at least TWO iconographic motifs in it. Describe the meanings conveyed by the iconographic motifs you identified, and explain how iconographic motifs have been used to convey meaning in each art work. Evaluate the extent to which the iconography used by Magritte was effective in conveying his ideas about reality. OR: QUESTION EIGHTEEN Select and name TWO automatist art works, and identify at least TWO iconographic motifs in EACH art work. motifs convey meaning in each work. Evaluate the extent to which the use of iconography to convey meaning was a significant aspect of automatist art.
ARCHITECTURE: MODERNISM TO POSTMODERNISM OR: QUESTION NINETEEN 13 Plate 10 Louis Kahn, Parliament Building, Dhaka, 1962 83 Identify at least TWO iconographic features of this building that convey meaning about its location and / or function. Select and name ONE other building, and identify at least TWO iconographic features that convey meaning about location and / or function in the selected building. Describe the meanings of the features you identified, and explain how these features have been used to convey meaning about each building s location and / or function. Evaluate the effectiveness of architectural iconography in expressing ideas about the location and / or functions of buildings. OR: QUESTION TWENTY Select and name TWO buildings in which materials have been used to convey meaning, and identify at least TWO different materials that have been used to convey meaning in EACH building. Describe the meanings conveyed by the materials you identified, and explain how these materials convey meaning in each building. Evaluate the extent to which materials can be used successfully to convey meaning in architecture.
MODERN AMERICAN ART OR: QUESTION TWENTY-ONE Plate 11 George Segal, The Gas Station, 1963 14 Identify at least TWO iconographic motifs used to convey meaning in this art work. Select ONE other art work that refers to modern American life, and identify at least TWO iconographic motifs in the selected art work. motifs have been used to convey meaning about modern American life in each art work. Evaluate the effectiveness of iconography in conveying meaning about the complexities of modern American life. OR: QUESTION TWENTY-TWO New ways need new techniques. And the modern artists have found new ways and new means of making their statements the modern painter can not express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or any other past culture. (Jackson Pollock) Select TWO abstract expressionist art works, and identify at least TWO different iconographic motifs and / or devices in each art work. Describe the meanings conveyed by the motifs and / or devices you identified, and explain how these motifs and / or devices convey meaning in each art work. Evaluate the extent to which this iconography was more effective in conveying modern meanings than the old forms of the Renaissance or of any other past culture.
MODERN NEW ZEALAND ART OR: QUESTION TWENTY-THREE 15 Plate 12 Shane Cotton, Red, White and Blue, 2008 Identify at least TWO iconographic motifs in this painting. Select and name ONE other modern New Zealand painting that explores cultural issues, and identify at least TWO iconographic motifs in the selected painting. motifs have been used to explore cultural issues in each painting. Evaluate the effectiveness of iconography in exploring cultural issues in New Zealand art. OR: QUESTION TWENTY-FOUR Select and name TWO art works that feature New Zealand plants, birds, insects, or animals, and identify at least TWO iconographic motifs in EACH art work. motifs have been used to convey meaning in each art work. Evaluate the importance of this iconography in conveying meaning about New Zealand life and the environment.
16 Acknowledgements Plate 1 Frederick Hartt, History of Italian Renaissance Art, 4th ed. (New York: Harry N. Abrams, Inc., 1994), p 117. Plate 2 Rolf Toman, The Art of the Italian Renaissance (Köln: Könemann, 1995), p 309. Plate 3 Plate 4 Alain J. Lemâitre, Florence and the Renaissance: The Quattrocento (Paris: Editions Pierre Terrail, 1993), p 106. Frederick Hartt, History of Italian Renaissance Art, 4th ed. (New York: Harry N. Abrams, Inc., 1994), colourplate 108. Plate 5 Rolf Toman, The Art of the Italian Renaissance (Köln: Könemann, 1995), p 397. Plate 6 Francis Russell, The World of Dürer: 1471 1528 (Nederland: Time Life International, 1972) p 25. Plate 7 http://www.ibiblio.org/wm/paint/auth/gris/open-window/gris.open-window.jpg Plate 8 Reinhard Spieler, Max Beckmann: The Path to Myth (Köln: Taschen, 1995), p 49. Plate 9 Cathrin Klingsöhr-Leroy, Surrealism (Köln: Taschen, 2004), p 63. 90491Q Plate 10 Jürgen Tietz, The Story of Architecture of the Twentieth Century (Köln: Könemann, 1999) p 71. Plate 11 Jamie James, Pop Art (London: Phaidon Press, 1996), p 85. Plate 12 http://www.michaellett.com/img/shane_cotton_rwb_2008.jpg