Level 3 Art History, 2010

Transcription

1 Q Level 3 Art History, Analyse style in art Credits: Five 2.00 pm Wednesday 17 November 2010 QUESTION BOOKLET There are twelve questions in this booklet, one for each area of study. You should answer TWO questions. Write ALL 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 Identify a range of stylistic characteristics in selected art works. Distinguish between the styles of selected art works. Achievement with Merit Explain the reasons for differences in stylistic characteristics in selected art works. Achievement with Excellence Comprehensively relate stylistic characteristics to their context. New Zealand Qualifications Authority, 2010 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 60 minutes 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, philosophical.

3 3 This page has been deliberately left blank.

4 FOURTEENTH-CENTURY ITALIAN PAINTING QUESTION ONE Plates 1.1 Simone Martini, Maesta (detail), Simone Martini, Annunciation (detail), (a) (b) Compare and contrast the stylistic characteristics of the figure of the Virgin Mary in these two paintings. Explain the reasons for the differences between the two figures with reference to the influences on fourteenth-century Sienese painting. Plate 1.1 Simone Martini, Maesta (detail), , fresco, size of fresco cm

5 5 Plate 1.2 Simone Martini, Annunciation (detail), 1333, tempera on wood, size of altar panel cm

6 QUESTION TWO FIFTEENTH-CENTURY ITALIAN PAINTING Plates 2.1 Piero della Francesca, Enthroned Madonna and Saints Adored by Federico da Montefeltro, c Leonardo da Vinci, Madonna of the Rocks, (a) (b) Compare and contrast the setting and use of light in these two paintings. Explain the reasons for the differences between the two paintings with reference to the personal style of each artist. Plate 2.1 Piero della Francesca, Enthroned Madonna and Saints Adored by Federico da Montefeltro, c , oil on panel, cm

7 7 Plate 2.2 Leonardo da Vinci, Madonna of the Rocks, , oil on panel, cm

8 ITALIAN RENAISSANCE SCULPTURE QUESTION THREE Plates 3.1 Donatello, David, Michelangelo, David, (a) (b) Discuss the different proportions and poses of these two sculptures. Explain the reasons for the differences between the two sculptures with reference to the heroic tradition in Renaissance sculpture. Plate 3.1 Donatello, David, , bronze, cm (h)

9 9 Plate 3.2 Michelangelo, David, , marble, 517 cm (h)

10 QUESTION FOUR 10 HIGH RENAISSANCE AND THE DEVELOPMENT OF MANNERISM Plates 4.1 Pontormo, Joseph in Egypt, c Raphael, The Transfiguration, c (a) (b) Discuss the differences in composition and the treatment of space in these two narrative paintings. Explain the reasons for the differences between the two paintings with reference to stylistic developments in Italian painting in the early sixteenth century. Plate 4.1 Pontormo, Joseph in Egypt, c , oil on panel, cm

11 11 Plate 4.2 Raphael, The Transfiguration, c , oil on panel, cm

12 12 VENETIAN PAINTING QUESTION FIVE Plates 5.1 Giovanni Bellini, St Francis in the Desert, 1470s 5.2 Giorgione, The Tempest, c (a) (b) Compare and contrast the atmosphere and depiction of landscape in these two paintings. Explain the reasons for the differences between the two paintings with reference to the treatment of religious and non-religious subjects in Venetian art. Plate 5.1 Giovanni Bellini, St Francis in the Desert, 1470s, oil and tempera on panel, cm

13 13 Plate 5.2 Giorgione, The Tempest, c , oil on canvas, cm

14 14 NORTHERN RENAISSANCE ART QUESTION SIX Plates 6.1 Hieronymous Bosch, Christ Crowned with Thorns, 1500s 6.2 Matthias Grünewald, The Mocking of Christ, 1502 (a) (b) Discuss the differences in the composition and treatment of figures in these two paintings. Explain the reasons for the differences between the two paintings with reference to the depiction of religious events in Northern Renaissance art. Plate 6.1 Hieronymous Bosch, Christ Crowned with Thorns, 1500s, oil on panel, cm

15 15 Plate 6.2 Matthias Grünewald, The Mocking of Christ, 1502, oil on panel, cm

16 16 CUBISM AND ABSTRACTION QUESTION SEVEN Plates 7.1 Georges Braque, Fruit Dish, Ace of Clubs, Juan Gris, Teacups, 1914 (a) (b) Discuss the use of form and colour in these two paintings. Explain the reasons for the differences between the two paintings with reference to the individual styles of Cubist painters. Plate 7.1 Georges Braque, Fruit Dish, Ace of Clubs, 1913, oil, gouache and charcoal on canvas, cm

17 17 Plate 7.2 Juan Gris, Teacups, 1914, collage, oil and charcoal on canvas, cm

18 18 FAUVISM AND EXPRESSIONISM QUESTION EIGHT Plates 8.1 André Derain, Portrait of Henri Matisse, Maurice de Vlaminck, Portrait of André Derain, 1906 (a) (b) Compare and contrast the use of colour and application of paint in these two portraits. Explain the reasons for the differences between the two paintings with reference to the ideas and interests of the Fauve painters. Plate 8.1 André Derain, Portrait of Henri Matisse, 1905, oil on canvas, cm

19 19 Plate 8.2 Maurice de Vlaminck, Portrait of André Derain, 1906, oil on cardboard, cm

20 20 DADA AND SURREALISM QUESTION NINE Plates 9.1 Marcel Duchamp, Bicycle Wheel, 1964 (after lost original of 1913) 9.2 Giorgio de Chirico, The Uncertainty of the Poet, 1913 (a) (b) Discuss the different approaches to traditional art-making processes in these two art works. Explain the reasons for the differences between the two art works with reference to early twentiethcentury ideas about western art-making traditions. Plate 9.1 Marcel Duchamp, Bicycle Wheel, 1964 (after lost original of 1913), metal wheel mounted on painted wooden stool, (height) cm

21 21 Plate 9.2 Giorgio de Chirico, The Uncertainty of the Poet, 1913, oil on canvas, cm

22 ARCHITECTURE: MODERNISM TO POSTMODERNISM QUESTION TEN Plates 10.1 Peter Behrens, AEG Turbine Factory, Berlin, I. M. Pei, Louvre Entrance Pyramid, Paris, (a) (b) Compare and contrast the stylistic characteristics of these two architectural structures. Explain the reasons for the differences between the two structures with reference to the impact of new materials and technologies on architectural design in the twentieth century. Plate 10.1 Peter Behrens, AEG Turbine Factory, Berlin, 1900, steel, glass, concrete

23 23 Plate 10.2 I. M. Pei, Louvre Entrance Pyramid, Paris, , steel, glass

24 24 MODERN AMERICAN ART QUESTION ELEVEN Plates 11.1 Audrey Flack, Wheel of Fortune, Richard Estes, Telephone Booths, 1967 (a) (b) Compare and contrast the treatment of light and form in these two paintings. Explain the reasons for the differences between the two paintings with reference to the aims and ideas of superrealist artists. Plate 11.1 Audrey Flack, Wheel of Fortune, , oil over acrylic, cm

25 25 Plate 11.2 Richard Estes, Telephone Booths, 1967, acrylic on masonite, cm

26 26 MODERN NEW ZEALAND ART QUESTION TWELVE Plates 12.1 Colin McCahon, Victory Over Death 2, Michael Parekowhai, The Indefinite Article, 1990 (a) (b) Compare and contrast the use of text and setting in these two art works. Explain the reasons for the differences between the two art works with reference to the ideas of each artist. Plate 12.1 Colin McCahon, Victory Over Death 2, 1970, acrylic on unstretched canvas, cm

27 27 Plate 12.2 Michael Parekowhai, The Indefinite Article, 1990, synthetic polymer paint on wood, cm

28 28 Acknowledgements Plate 1.1 Frederick Hartt, History of Italian Renaissance Art, 4th ed. (New York: Harry N. Abrams, 1994), p 116. Plate 1.2 Timothy Hyman, Sienese Painting (London: Thames and Hudson, 2003), p 46. Plate 2.1 John T. Paoletti and Gary M. Radke, Art in Renaissance Italy (London: Laurence King Publishing, 2005), p 336. Plate 2.2 Ibid., p 362. Plate 3.1 Alain J. Lemâitre and Erich Lessing, Florence and the Renaissance (Paris: Terrail, 1993), p 95. Plate 3.2 Paoletti and Radke, Art in Renaissance Italy, p 388. Plate 4.1 Ibid., p 442. Plate 4.2 Frederick Hartt, Italian Renaissance Art (New York: Thames and Hudson, 1994), p 516. Plate 5.1 Paoletti and Radke, Art in Renaissance Italy, p 330. Plate 5.2 Rolf Toman (ed.), The Art of the Italian Renaissance (Cologne: Könemann, 1995), p Q Plate 6.1 Walter Bosing, Bosch: The Complete Paintings (Cologne: Taschen, 2000), p 75. Plate Plate Plate Plate 8.1 John Russell, The Meanings of Modern Art (London: Thames and Hudson, 1985), p 52. Plate 8.2 Plate 9.1 http// Michael Lloyd, Ted Gott and Christopher Chapman, Surrealism: Revolution by Night (Canberra: National Gallery of Australia, 1993), p 7. Plate 9.2 Ibid., p 5. Plate jpg/800px-aeg_by_peter_behrens.jpg Plate 10.2 Jürgen Tietz, The Story of Architecture of the Twentieth Century (Cologne: Könemann, 1999), p 91. Plate Plate jpg Plate 12.1 Hamish Keith, The Big Picture (Auckland: Random House Publishing, 2007), p 253. Plate 12.2 Oliver Stead, Lines in the Sand (Auckland: David Bateman, 2008), p 55.