HART4. Topic Coverage Guidance

Transcription

1 HART4 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 4 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 4 Investigation and Interpretation (2) TOPIC 1 ART AND ARCHITECTURE IN THIRTEENTH- AND FOURTEENTH-CENTURY EUROPE Definition of Gothic in painting, sculpture and architecture National differences within the Gothic paintings Narrative Animal imagery Decorative Forms- influence of antiquity Animal imagery Civic Status of the artist Influence of antiquity 1. Examine and account for the use of animal imagery in painting and/or drawing and/or sculpture during the thirteenth and/or fourteenth century. Refer to at least three specific examples in your answer. Manuscript illuminating Hawking, Scene from Genoese treatise on the Seven Vices, British Museum (c.1370) Christ in Majesty and the Evangelists, Central tympanum sculpture, Main Door of Royal (West) Portal, Chartres Cathedral ( ) Ambrogio Lorenzetti, The Effects of Good Government in the City and Countryside, Siena (c ) 2. Consider the materials and structure of three Gothic cathedrals, discussing the idea that they are products of advanced technology and engineering Strasbourg Cathedral, (c ). St Etienne, Auxerre, (begun 1215). Notre Dame, Paris, (after 1258) Notre Dame, Rouen, (after 1200). 3. Analyse and comment on the representation of the Madonna (Virgin) and Child in three panel paintings made during this period. Duccio, Rucellai Madonna, (c.1285) Pere Serra, Madonna and Child with Angels, (c.1350) The Wilton Diptych, (c.1395) 4. Discuss examples of sculpture on the exteriors of three buildings constructed or significantly developed during this period, considering the relationship between these sculptures and the architecture. Notre Dame Cathedral, Reims (after 1252) Orvieto Cathedral, Lorenzo Maitani s on west façade (c ) South Strasbourg Cathedral, Transept Double Portal, (c.1235)

4 TOPIC 2 ART AND ARCHITECTURE IN SIXTEENTH-CENTURY EUROPE High renaissance in Italy and its definition and regional variations Mannerism and its definition paintings Mythology Narrative Forms- influence of antiquity Palaces Status of the artist Influence of antiquity Northern High Renaissance- for comparison 1. Examine the differences and similarities between two sculptural representations of the human figure, each made by a different artist during the sixteenth century. Michelangelo, David, ( ) Tilman Riemenschneider, St Barbara, (c ) 2. Analyse and discuss the representation of the Madonna (Virgin) in three sixteenth-century paintings, each by a different artist. Albrecht Dürer, The Feast of the Rose Garlands (1506) Raphael, The Sistine Madonna, (c ) Parmigianino, Madonna of the Long Neck, (c.1534) 3. With reference to three sixteenth-century narrative paintings each by a different artist, discuss the compositional arrangement and assess contributions to telling the story in each work. Raphael, Expulsion of Heliodorus, ( ) Titian, Bacchus and Ariadne, ( ) Breugel the Elder, Conversation of St Paul, (1567) 4. Analyse the architectural characteristics of three sixteenth-century religious buildings, discussing how each conveys its religious purpose. Bramante, Antonio da Sangallo, Michelangelo, Giacomo della Porta, Giacomo Vignola, Carlo Maderno, St Peter's, Rome ( ) Giacomo Vignola and Giacomo della Porta, Il Gesù, Rome ( ) Andrea Palladio and Antonio da Ponte, II Redentore, Venice (1576-?)

5 TOPIC 3 ART AND ARCHITECTURE IN EIGHTEENTH-CENTURY EUROPE Rococo and Neo-classicism and definitions of both paintings Mythology/ Fêtes Galantes History paintings/narrative Contemporary History Landscape Commemorative Forms- influence of antiquity - Protestant and Catholic Palaces Civic buildings Status of the artist Influence of antiquity 1. Examine the differences and similarities between two sculptures, each containing two or more figures and each made by a different artist in the eighteenth-century. Rene-Michel Slodz, Tomb of Languet de Gergy, (1753) Louis-François Roubiliac, Tomb of Sir Joseph and Lady Elizabeth Nightingale, (1761) 2. Investigate and discuss how relationships between men and women are represented in three eighteenth century paintings, each by a different artist. Boucher Hercules and Omphale (c.1730) Gainsborough Mr and Mrs Andrews (c.1749) Watteau Pilgrimage to Cythera (1717) 3. Analyse and discuss three portraits and/or group portraits, each painted by a different artist during this period. Gainsborough, Mr and Mrs Andrews, (c.1749) Hyacinthe Rigaud, Louis XIV, (1701) J-L David, The Death of Marat, (1793) 4. Analyse the architectural characteristics of two churches, one Protestant and one Catholic, built in the eighteenth century. What differences and similarities do you find between your chosen churches? Nicholas Hawksmoor, Christ Church, Spitalfields, London ( ) Balthasar Neumann, Pilgrimage Church of Vierzehnheiligen, ( )

6 TOPIC 4 ART AND ARCHITECTURE IN TWENTIETH-CENTURY EUROPE AND AMERICA Understanding/definition of major styles Fauvism Cubism Futurism Expressionism Dada Surrealism Abstract and non-figurative work Abstraction Commemorative Domestic Mass Housing Civic Influence of non-european art forms Modernity 1. Investigate and discuss why some sculptors used found objects in their work during this period. Make reference to three sculptures, each by a different artist. Picasso, Glass of Absinthe, (1914) Duchamp, Bottle rack, (1914) Meret Oppenheim, Object: Fur Breakfast, (1936) 2. Examine and discuss three paintings that show the artistic development and/or change in the work of one artist during this period. Picasso- development Seated Female Nude (1910) Still-Life with Chair Caning, (1912) Still Life with Fruit Dish on a Table, ( ) Picasso- change La Vie, (1903) Les Demoiselles d'avignon, (1907) Girl in Front of a Mirror, (1932) 3. Examine three paintings by one artist, demonstrating how they are associated with either Italian Futurism or Surrealism. Italian Futurism Boccioni The City Rises, (1910) The Street Penetrates the House, (1910) Charge of the Lancers, (1915) Surrealism Max Ernst Two Children are Threatened by a Nightingale, (1924) The Horde, (1927) Europe After the Rain II, ( ) 4. Analyse the use of materials in three works of architecture constructed during this period. Bruno Taut, Glass Pavilion, Cologne (1914) Le Corbusier, Villa Savoye, Poissy ( ) Frank Lloyd Wright, Johnson Wax Administrative Building, Racine ( )