HART3. Topic Coverage Guidance

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1 HART3 Document title Topic Coverage Guidance Copyright 2010 AQA and its licensors. All rights reserved. The Assessment and Qualifications Alliance (AQA) is a company limited by guarantee registered in England and Wales (company number ). Registered address: AQA, Devas Street, Manchester M15 6EX

2 Topic Coverage Guidance HART 3 AS skills and knowledge form the basis of A2 study. So the visuals skills and understanding from HART 1 should be incorporated into coverage, as will the study of the eight themes from HART 2- Subjects and genres Materials, techniques and processes Form and style Form and function Historical and social contexts Social and cultural status Gender, nationality and ethnicity Generic specification requirements as a framework for teaching Each of the topics for Units 3 and 4 has five generic requirements and these must be met by your selection of what to teach. Therefore, in the broadest sense, you know you must teach: how and why formal features, materials and techniques, subject matter in painting and sculpture, and function in architecture, contribute to understanding and interpreting specific works how and why different styles relate to specific works of art and architecture how and why the work of individual artists and architects has significance in your selected periods how and why historical, social, economic and cultural contexts contribute to understanding and interpreting individual works of painting, sculpture and architecture how and why philosophical, historical and art historical concepts and ideas are relevant to your selected art historical periods and contribute to an understanding and interpretation of specific works of art and architecture.

3 HART 3 Investigation and Interpretation (1) TOPIC 1 ART AND ARCHITECTURE IN FIFTEENTH-CENTURY EUROPE Early renaissance in Italy and its regional variations Definition of renaissance paintings Mythology Narrative Forms- influence of antiquity Single and multi-figure Palaces Status of the artist Science and perspective Influence of antiquity Northern Renaissance- for comparison 1. Examine three fifteenth-century sculptural representations of religious themes to demonstrate how religious purpose is conveyed in each work. Lorenzo Ghiberti, East Doors on 'Gates of Paradise', Baptistery Florence ( ) Luca della Robbia Cantoria, Duomo, Florence above South Sacristy door ( ) Veit Stoss Altar of the Church of Our Lady, Cracow ( ) 2. Analyse three fifteenth-century religious buildings, explaining how each building communicates religious faith and belief. Brunelleschi, Pazzi Chapel, Florence (c ) Pietro Lombardo and workshop, Sta Maria dei Miracoli, Venice ( ) St George's Chapel, Windsor Castle, England ( ) 3. Analyse, discuss and comment on three fifteenth-century painted altarpieces, each by a different artist. Jan van Eyck, Ghent Altarpiece, (completed 1432) Gentile da Fabriano, Adoration of the Magi, (1423) Fra Angelico, San Marco Altarpiece, (1440) 4. Consider the influence of secular patrons on the production of three works of art and/or architecture made in the fifteenth century. Botticelli, Primavera, (c.1482) Giovanni Amadeo, Colleoni Chapel, Bergamo (c ) Donatello, Gattamelata, (c )

4 TOPIC 2 ART AND ARCHITECTURE IN SEVENTEENTH-CENTURY EUROPE Understanding/definition of the Baroque contexts- spectator involvement Northern and Southern European responses Landscape Genre Single and multi-figure groups -Protestant and Catholic Palaces Country Houses Status of the artist 1. Analyse three seventeenth-century sculptural representations of religious themes made by one or more artists and show how religious purpose is conveyed in each work. Bernini, Ecstasy of St Theresa, Cornaro Chapel, S. Maria della Vittoria, Rome( ) Bernini, Tomb of Pope Urban VIII, St Peter's, Rome ( ) Hendrik Frans Verbruggen, Pulpit, Church of St Michael and St Gudula, Brussels ( ) 2. How and why did artists represent landscape in the seventeenth century? Discuss in relation to three paintings, each by a different artist Hobbema, The Avenue, Middelharnis, (1689) Claude, Landscape with Dancing Figures, (The Marriage of Isaac and Rebekah) (1648) Rubens, Autumn Landscape with View of Het Steen in Morning Light, (c.1636) 3. How did royal patronage influence art in the seventeenth century? Refer to three specific paintings and/or sculptures in your answer. Velázquez, Equestrian Portrait of Philip IV, ( ) Bernini, Bust of Louis XIV, (1665) Charles Le Brun, The Assumption of Personal Rule by Louis XIV (The King Governs Alone), Versailles ( ) 4. Analyse three seventeenth-century Catholic churches, explaining how each building communicates religious faith and belief. Bernini, Sant' Andrea al Quirnale, Rome ( ) Guarino Guarini, San. Lorenzo, Turin ( ) Pietro da Cortona, Sta Maria della Pace, Rome ( )

5 TOPIC 3 ART AND ARCHITECTURE IN NINETEENTH-CENTURY EUROPE Understanding/definition of major nineteenth-century styles- Classicism Romanticism Realism Impressionism Symbolism Neo-Impressionism Post-Impressionism Historical- both past and present Landscape Modern life Commemorative Single and multi-figure groups Country Houses Domestic housing New building types municipal buildings, museums, art galleries, railway stations, hospitals etc New methods and materials Revivalism Status of the artist The Modern world Women artists Influence of non-european art forms 1. Examine three nineteenth-century works of art, each made by a different artist, in which the artist has depicted a relationship between man and woman. How is the relationship conveyed in each work? Prud'hon, Rutger Jan Schimmelpenninck with his Wife and Children, ( ) Manet, Le Déjeuner sur L'Herbe, (1863) Rodin, The Kiss, (1886 and later versions) 2. Analyse and discuss three works of art, each by a different nineteenth-century artist, in which the artist appears to be critical of the world in which they lived. Géricault, The Raft of the Medusa, (1819) Courbet, The Painter's Studio, (1855) Honore Daumier, Guizot, (1833/34) 3. Analyse and interpret three nineteenth-century landscape paintings each created by a different artist. Friedrich, Easter Morning, (1833) Pissarro, Route de Port-Marly, ( ) Van Gogh, Wheat Field with Crows, (1890) 4. Analyse and discuss three examples of nineteenth-century architecture, each by a different architect, in which iron and/or steel was used as a building material. Jesse Hartley, The Albert Dock, Liverpool, (Opened 1845) Jules Saulnier, The Menier Chocolate Factory, Noisiel-sur-Marne, France ( ) Alfred Waterhouse, Natural History Museum, London ( )

6 TOPIC 4 ART AND ARCHITECTURE IN EUROPE AND THE UNITED STATES OF AMERICA Understanding/definition of major late twentieth-century styles/trends Abstract Expressionism Pop Art Minimalism Conceptual Art Op Art Post-Modernism YBAs Abstract and non-figurative work Mixed media Abstracted/ stylised figures Abstract and non-figurative Installation art Ready-mades and found objects Variety of building types, both private and public Continuation of the International style Post-war brutalism Post-Modernism Other Media Photography Performance Video - Turner Prize/ Saatchi & Saatchi Public response/ controversy Status of the artist- celebrity Women artists 1. Analyse and interpret three sculptural representations of the human figure, each made by a different artist during this period. Giacometti, Man Pointing, (1947) Edward Kienholz, The Wait, ( ) Jake and Dinos Chapman, Great Deeds Against the Dead, (1994) 2. Discuss the differences and similarities between two paintings, both of which are associated with either Abstract Expressionism or Pop Art. De Kooning, Woman 1, ( ) Richard Hamilton, $he, ( ) Rothko, Ochre and Red on Red, (1954) Warhol, Marilyn Diptych, (1962) 3. Examine the work of two artists, working during this period, who have used performance and/or video as an art form and discuss their reasons for this. Joseph Beuys, I Like America, America Likes Me, (1974) Marina Abramovic, Balkan Baroque, (1997) Martha Rosler, Born to be Sold: Martha Rosier reads the Strange Case of Baby S/M, (1988) Gary Hill Tall Ships (1992) 4. Analyse and discuss three examples of domestic architecture built between 1946 and Mies van der Rohe, Lake Shore Drive Apartments, Chicago ( ) Ralph Erskine, Byker Estate, Newcastle on Tyne ( ) Mario Botta, Casa Rotonda, Stabio, Switzerland ( )

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