90490Q 904902 3 Level 3 Art History, 2012 90490 Analyse style in art 2.00 pm Wednesday 21 November 2012 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 90490A. 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. 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, 2012. 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 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 1900 1930 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 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.
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FOURTEENTH-CENTURY ITALIAN PAINTING EITHER: QUESTION ONE Plates 1.1 Giotto, The Arena Chapel (Scrovegni Chapel) (detail), c. 1305 1.2 Duccio, Maestà (reverse side detail), 1308 1311 4 (a) (b) Compare and contrast the treatment of the narrative in these two cycles. Explain the reasons for the differences between these two cycles with reference to the location and function of each cycle. Plate 1.1 Giotto, The Arena Chapel (Scrovegni Chapel) (detail), c. 1305, fresco, each scene 185 200 cm
5 Plate 1.2 Duccio, Maestà (reverse side detail), 1308 1311, tempera and gold leaf on panel, 213 396 cm (full size of entire Maestà)
FIFTEENTH-CENTURY ITALIAN PAINTING AND / OR: QUESTION TWO Plates 2.1 Uccello, The Deluge, c. 1439 1440 2.2 Leonardo da Vinci, Storm over a valley in the foot-hills of the Alps, 1504 6 (a) (b) Discuss the differences in the use of line and the treatment of the subject in these two art works. Explain the reasons for the differences between these two art works, with reference to each artist s approach to nature. Plate 2.1 Uccello, The Deluge, c. 1439 1440, fresco, 212 510 cm
7 For copyright reasons, this resource cannot be reproduced here. Plate 2.2 Leonardo da Vinci, Storm over a valley in the foot-hills of the Alps, 1504, red chalk, 21 16.3 cm
ITALIAN RENAISSANCE SCULPTURE AND / OR: QUESTION THREE Plates 3.1 Ghiberti, The Annunciation, 1403 1424 3.2 Donatello, The Annunciation, c. 1435 8 (a) (b) a Discuss the differences in the treatment of the figures and setting in these two sculptures. Explain the reasons for the differences between these two sculptures with reference to the ideas that influenced each sculptor. For copyright reasons, this resource cannot be reproduced here. Plate 3.1 Ghiberti, The Annunciation, 1403 1424, gilded bronze, 52 45 cm
9 Plate 3.2 Donatello, The Annunciation, c. 1435, gilded pietra serena (local grey sandstone), 218 168 cm
HIGH RENAISSANCE AND THE DEVELOPMENT OF MANNERISM AND / OR: QUESTION FOUR Plates 4.1 Michelangelo, Jeremiah (detail from the Sistine Chapel ceiling), 1508 1512 4.2 Pontormo, St. John the Evangelist, 1527 / 1528 10 (a) (b) Compare and contrast the stylistic characteristics of these two art works. Explain the reasons for the differences between these two art works with reference to the development of Mannerism in the sixteenth century. Plate 4.1 Michelangelo, Jeremiah (detail from the Sistine Chapel ceiling), 1508 1512, fresco, 390 380 cm
11 Plate 4.2 Pontormo, St. John the Evangelist, 1527 / 28, oil on board, 70 cm (diameter)
12 VENETIAN PAINTING AND / OR: QUESTION FIVE Plates 5.1 Titian, Francesco Maria della Rovere (Duke of Urbino), 1536 1538 5.2 Titian, Eleonora Gonzaga (Duchess of Urbino), c. 1538 (a) (b) Compare and contrast the treatment of figure and setting in these two portraits. Explain the reasons for the differences between these two portraits with reference to the role of each subject. Plate 5.1 Titian, Francesco Maria della Rovere (Duke of Urbino), 1536 1538, oil on canvas, 114.3 102.2 cm
13 Plate 5.2 Titian, Eleonora Gonzaga (Duchess of Urbino), c. 1538, oil on canvas, 114 102.2 cm
AND / OR: QUESTION SIX NORTHERN RENAISSANCE ART Plates 6.1 Rogier van der Weyden, Adoration of the Magi (central panel of the St. Columba Altarpiece), c. 1455 14 6.2 Albrecht Dürer, The Adoration of the Magi, 1504 (a) (b) Compare and contrast the setting and the treatment of light in these two art works. Explain the reasons for the differences between these two art works with reference to the developments in the use of setting in Northern Renaissance Art. Plate 6.1 Rogier van der Weyden, Adoration of the Magi (central panel of the St. Columba Altarpiece), c. 1455, oil on panel, 138 153 cm
15 Plate 6.2 Albrecht Dürer, The Adoration of the Magi, 1504, oil on panel, 100 114 cm
CUBISM AND ABSTRACTION 1900 1930 AND / OR: QUESTION SEVEN Plates 7.1 Picasso, The Acrobats (La famille de Saltimbanques), 1905 7.2 Picasso, Three Musicians (Musiciens aux masques), 1921 16 (a) (b) Discuss the treatment of form and colour in these two art works. Explain the reasons for the differences between these two art works with reference to Picasso s ideas about art. Plate 7.1 Picasso, The Acrobats (La famille de Saltimbanques), 1905, oil on canvas, 212.8 229.6 cm
17 Plate 7.2 Picasso, Three Musicians (Musiciens aux masques), 1921, oil on canvas, 200.7 222.9 cm
FAUVISM AND EXPRESSIONISM AND / OR: QUESTION EIGHT Plates 8.1 Gabriele Münter, Kandinsky and Erma Bossi at the Table, 1912 8.2 August Macke, The Artist s Wife, 1912 18 (a) (b) Discuss the treatment of the form and the application of paint in these two art works. Explain the reasons for the differences between these two art works with reference to the treatment of domestic subjects in German Expressionist Art. Plate 8.1 Gabriele Münter, Kandinsky and Erma Bossi at the Table, 1912, oil on canvas, 95.5 125.5 cm
19 For copyright reasons, this resource cannot be reproduced here. Plate 8.2 August Macke, The Artist s Wife, 1912, oil on canvas, 105 81 cm
20 DADA AND SURREALISM AND / OR: QUESTION NINE Plates 9.1 Marcel Duchamp, The Bride Stripped Bare by Her Bachelors, Even or The Large Glass, 1915 1923 9.2 René Magritte, Evening Falls (Le Soir qui Tombe), 1924 (a) (b) Discuss the composition and treatment of space in these two art works. Explain the reasons for the differences between these two art works with reference to Dada and / or Surrealist ideas about time and space. For copyright reasons, this resource cannot be reproduced here. Plate 9.1 Marcel Duchamp, The Bride Stripped Bare by Her Bachelors, Even or The Large Glass, 1915 1923, oil, varnish, lead wire, lead foil, and dust on two glass panels, 277.5 175.8 cm
21 Plate 9.2 René Magritte, Evening Falls (Le Soir qui Tombe), 1924, oil on canvas, 160.5 114 cm
ARCHITECTURE: MODERNISM TO POSTMODERNISM AND / OR: QUESTION TEN 22 Plates 10.1 Frank Lloyd Wright, Solomon Guggenheim Museum, New York, USA designed 1946; built 1956 1959 10.2 Frank Gehry, Guggenheim Museum, Bilbao, Spain, 1991 1997 (a) (b) Compare and contrast the external appearances of these two buildings. Explain the reasons for the differences between these two buildings with reference to the function and location of each building. Plate 10.1 Frank Lloyd Wright, Solomon Guggenheim Museum, New York, USA designed 1946; built 1956 1959, steel frame and concrete
23 Plate 10.2 Frank Gehry, Guggenheim Museum, Bilbao, Spain, 1991 1997, limestone, glass, and titanium
MODERN AMERICAN ART AND / OR: QUESTION ELEVEN Plates 11.1 Roy Lichtenstein, Mr Bellamy, 1961 11.2 Duane Hanson, Repairman, 1974 24 (a) (b) Discuss the different treatment of the figure in these two art works. Explain the reasons for the differences between these two art works with reference to male roles in modern America. For copyright reasons, this resource cannot be reproduced here. Plate 11.1 Roy Lichtenstein, Mr Bellamy, 1961, oil on canvas, 143.5 107.9 cm
25 For copyright reasons, this resource cannot be reproduced here. Plate 11.2 Duane Hanson, Repairman, 1974, polyvinyl acetate, acrylic and oil paint, lifesize
MODERN NEW ZEALAND ART AND / OR: QUESTION TWELVE Plates 12.1 Richard Killeen, The Glorious Dead, 1968 12.2 Ralph Hotere, A Return to Sangro (from the Sangro Litany), 1978 26 (a) (b) Discuss the use of colour and text in these two art works. Explain the reasons for the differences between these two art works with reference to each artist s response to war. Plate 12.1 Richard Killeen, The Glorious Dead, 1968, oil on canvas, 792 787 cm
27 For copyright reasons, this resource cannot be reproduced here. Plate 12.2 Ralph Hotere, A Return to Sangro (from the Sangro Litany), 1978, oil on canvas, 81 29 cm
28 Acknowledgements Plate 1.1 John T. Paoletti and Gary M. Radke, Art in Renaissance Italy (London: Laurence King, 2005), p 46. Plate 1.2 Plate 2.1 http://commons.wikimedia.org/wiki/file:duccio_di_buoninsegna_-_stories_of_the_passion _(Maestà,_verso)_-_WGA06782.jpg Rolf Toman (ed),the Art of the Italian Renaissance: Architecture, Sculpture, Painting, Drawing (Köln: Könemann, 1995), p 263. Plate 2.2 Peter Hohenstatt, Leonardo da Vinci (Köln: Könemann, 1998), p 108 Plate 3.1 http://www.friendsofart.net/en/art/lorenzo-ghiberti/the-annunciation Plate 3.2 Rolf Wirtz, Donatello, 1386 1466 (Köln: Könemann, 1998), p 52. Plate 4.1 Rolf Toman (ed),the Art of the Italian Renaissance: Architecture, Sculpture, Painting, Drawing (Köln: Könemann, 1995), p 321. Plate 4.2 Ibid., p 342. Plate 5.1 Plate 5.2 http://3.bp.blogspot.com/-ygouwomzkmg/tze7w0ribsi/aaaaaaaaads/jiiiohcr0ca /s1600/federicorovere1536.jpg http://2.bp.blogspot.com/-nskfvc_4o9s/tze7zdh1q_i/aaaaaaaaadw/eqa1grmb5pa /s1600/portraitofeleonora.jpg 90490Q Plate 6.1 Stephan Kemperdick, Rogier van der Weyden, 1399 / 1400 1464 (Köln: Könemann, 1999), p 79. Plate 6.2 Martin Bailey, Dürer (London: Phaidon Press, 1995), p 85. Plate 7.1 Carsten-Peter Warncke, Pablo Picasso, 1881 1973 (Cologne: Taschen, 1992), p 129. Plate 7.2 Ibid., p 282. Plate 8.1 Shulamith Behr, Women Expressionists (Oxford: Phaidon, 1988), p 49. Plate 8.2 Plate 9.1 Plate 9.2 German Expressionism: The Colours of Desire (Sydney: International Cultural Corp. of Australia, 1989), p 68. Techniques of Modern Artists (London: New Burlington Books, 1987), p 65. Depicted image is a reconstruction by Richard Hamilton, 1965 1966. http://stars-turned-green.blogspot.co.nz/2011/09/pictura.html Plate 10.1 Jürgen Tietz, The Story of Architecture of the 20th Century (Köln: Könemann, 1999), p 63. Plate 10.2 Paul Johnson, Art: A New History (London: Weidenfeld & Nicolson, 2003), p 739. Plate 11.1 Marco Livingstone, Pop Art: A Continuing History (London: Thames and Hudson, 2000), p 76. Plate 11.2 Martin H. Bush, Sculptures by Duane Hanson (Wichita, USA: Wichita State University, 1985), p 96. Plate 12.1 Ron Brownson (ed), Art Toi: New Zealand Art at Auckland Art Gallery Toi o Tamaki (Auckland: Auckland Art Gallery Toi o Tamaki, 2011), p 219 Plate 12.2 Gregory O Brien, Hotere: Out the Black Window (Wellington: Godwit Publishing, 1997), p 107. Art History 90490, 2012