Edexcel GCE

Art and DesignUnit 4 : A2 Externally Set Assignment

Inside,Outside,

In Between

Sunday, 17 February 13

The starting points will help you generate ideas.

You may follow them closely,use them as background informationor develop your own interpretation of the theme.

Read the whole paper as any section may provide the inspiration for your focus.

Provide evidence that each of the four Assessment Objectives has been addressed.

Sunday, 17 February 13

Louise BourgeoisMaman, 1999, Steel and marble, 9271 x 8915 x 10236 mm, Tate

Tate: Louise Bourgeois: Maman Work of the Week, 1 June 2010

"Maman", the giant egg-carrying spider, is a nurturing and protective symbol of fertility and motherhood, shelter and the home. With its monumental and terrifying scale, however, "Maman" also betrays this maternal trust to incite a mixture of fear and curiosity.

You Tube video Maman

Sunday, 17 February 13

Placing work of art inside, outside or in between specific

environments can have an important impact on our

perception of them.

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Sunday, 17 February 13

Damien Hirst BBC News, placement of the statue in pictures.

The Virgin Mother, 2005, Painted bronze, 10232 x 4620 x 2065 mm

Sunday, 17 February 13

Barbara Hepworth

The Family of Man, Bronze, 1970, complete groups at

Yorkshire Sculpture Park

Interview Hepworth

ancestors and an “Ultimate form”. In between they cover the various ages of man. They are abstract, but clearly represent people, becoming more sophisticated as they mature.

“I kept on thinking of large works in a landscape: this has always been a dream in my mind.”

The Family consists of 9 separate pieces – individuals starting with a young girl and finishing with

Sunday, 17 February 13

Howard Hodgkin

Dark Evening, 2011, 52.7 x 66cm

The North Sea, 2000, 33.6 x 38.6cm, Oil on wood

Sunday, 17 February 13

Deviating from accepted formats creates interesting and

dynamic optical effects

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Sunday, 17 February 13

Anthony FrostAnthony Frost's paintings are bright, full of colour and expression. They include repeated motifs (lines, triangles and dots) and a mix of materials (acrylic, hessian, sail cloth, string and other materials that come to hand). This hints at a complexity in the work, which at first sight appears quite straightforward. Although there is an element of planning in each work, there is also a random element which manifests itself in the creative process: Adding a piece of material or a tie that can change the painting's direction in unplanned ways. – Zimmer Stewart Gallery

The Beats, 25 x 25 cm, Mixed media on canvas

Electric Honey, 76 x 61 cm, Mixed media on canvasSublime Frequencies II ,76 x 50 cm, Mixed media on canvas

Sunday, 17 February 13

Patrick Hughes

Three minute film

Open Space, 2012, 69 x 155 x 21 cm 

Authorities, 2008,11 x 242 x 42 cm

Sunday, 17 February 13

Artist who use gallery space as an integral part of the work of art with installations that utilise the buildings they are houses in...

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Sunday, 17 February 13

Anish Kapoor

Svayambh, 2007, Wax and oil-based paintDimensions variable

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Craftworkers also exploit the potential of the interesting shaped

surfaces on the many different forms they create

Sunday, 17 February 13

Craftworkers

Sunday, 17 February 13

Capturing the effects of light when passing from inside to

outside

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Sunday, 17 February 13

Edward Hopper

Summer Evening 1947; Oil on canvas, 30 x 42 inches

Nighthawks, 1942Oil on canvas84.1 x 152.4 cm

Morning Sun, 1952, Oil on canvas, 28 1/8 x 40 1/8 inches

“ Maybe I am not very human - what I wanted to do was to paint sunlight on the side of a house.”

Sunday, 17 February 13

Ken Howard

Cannareggio, Venice, 2005

Summer Evening, Sennen

From the Royal Exchange, Rain Effect

Sunday, 17 February 13

Zoos and wildlife parks provide spectacular opportunities for artists to encounter terrifying

wild creatures in what would be perilously close proximity wild

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Sunday, 17 February 13

Henri Rousseau, Surprised, 1891, Oil on canvas, 129.8 x 161.9 cm

Cologne Cathedral, Germany

Sunday, 17 February 13

Anyone who can experienced breaking down on a busy motorway,

and stepped out of a safe and comfortable vehicle, noisy and

dangerous roadside verge, will be aware of how powerful an

experience such a transition can be.

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Sunday, 17 February 13

Edward Seago

The Anvil Cloud , Oil on canvas, 101.6 x 127 cm The Rainbow , after 1945, Oil on board, 22.2 x 27.1 cm

Evening Haze, Thurne Dyke, Norfolk , Oil on canvas board, 21.6 x 26.7 cm

A Norfolk Village, Aldeby , Oil on canvas, 75.9 x 101.5 cm

Sunday, 17 February 13

John Virtue John Virtue's monochromatic landscape is from a series of views of London taken from different points along the River Thames. St Paul's Cathedral can be seen from the river, looking towards Blackfriars Bridge, its monumental dome modelled in viscous black paint. Initially, it seems as if little else is distinguishable, but gradually other details start to emerge, such as the steeple of a church on the horizon. This painting and 'Landscape No.664', another work by John Virtue in the Government Art Collection, are the result of a unique working process which Virtue has developed during his career. He applies paint to the canvas using a wide gamut of tools, including brushes, rollers, basting syringes, spray guns and calligraphy brushes, and sometimes even his fingers and toes.

Landscape No.662 , 2003 White acrylic, black ink, shellac & emulsion on canvas, 183 x 183 cm

Sunday, 17 February 13

JMW TurnerTurner is perhaps the best-loved English Romantic artist. He became known as 'the painter of light', because of his increasing interest in brilliant colours as the main constituent in his landscapes and seascapes.

Dutch Boats in a Gale1801, Oil on canvas, 162.5 x 221 cm

The Fighting Temeraire, 1839, Oil on canvas90.7 x 121.6 cm

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Portals into different worlds or environments are often explored by

artists and writers. Doorways, windows and mirrors have been

used as devices to allow the viewer glimpses into secret places. Self-portraits often allow the viewer to effectively step into the painter’s studio or even gain access to the

artist psyche.

Sunday, 17 February 13

Jan Van EyckThis work is a portrait of Giovanni di Nicolao Arnolfini and his wife, but is not intended as a record of their wedding. His wife is not pregnant, as is often thought, but holding up her full-skirted dress in the contemporary fashion. The ornate Latin signature translates as 'Jan van Eyck was here 1434'. The mirror reflects two figures in the doorway. One may be the painter himself. Arnolfini raises his right hand as he faces them, perhaps as a greeting.

The Arnolfini Portrait, 1434, Oil on oak, 82.2 x 60 cm

Sunday, 17 February 13

VelasquezLas Meninas, c. 1656, oil on canvas, 318 x 276 cm, Museo Nacional del Prado, Madrid

video

This, the most famous of Velázquez’s works, offers a complex composition built with admirable skill in the use of perspective, the depiction of light, and the representation of atmosphere. The Infanta Margarita, wears white and appears in the center of the composition, surrounded by her ladies in waiting, the “meninas”, along with two court buffoons and a mastiff. The King and Queen are reflected in the mirror at the back of the room, leading to series of extraordinarily complex spatial relations.

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When a building loses its roof or windows, nature is quick to invade and reclaim the space. Artists have

often used this imagery to make powerful statements about the

fragility of human existence and the futility of attempting immortality.

Sunday, 17 February 13

Richard WilsonJohn CromeJohn Sell CotmanThomas GirtinRichard Parkes BoningtonJohn Constable

English Romanticism

Sunday, 17 February 13

JMW Turner

Before he had entered the Royal Academy schools at the age of 14, Turner had worked as an architectural draughtsman. This training is evident in his fascination with the famous ruins of Tintern Abbey. Tourists of the time were as much impressed by the way that nature had reclaimed the monument as by the scale and grandeur of the buildings. Turner's blue-green washes over the abbey's far wall blend stone and leaf together.

Ruins of West Front, Tintern Abbey c.1794-5, Watercolour and graphite on paper, 32,5 x 23,5 cm

Sunday, 17 February 13

John PiperChrist Church, Newgate Street, 1941

Incendiary bombs gutted Christ Church during the Blitz. Impression of east end of church, built by Wren, as it looked from nave the morning after it had been gutted by incendiary bombs from a Nazi air attack. Christ Church steeple, also seriously damaged, was re-erected in 1960 but the church was never fully restored. This is one of a group of paintings John Piper produced in December 1940 and January 1941 featuring London's bomb-damaged churches.

Sunday, 17 February 13

Anselm Kiefer

Shulamite ,1983. Oil, emulsion, woodcut, shellac, acrylic, and straw on canvas. 541 x 368.3 cm

Audio Athanor

Athanor, 1991, oil, sand, ash, gold leaf and lead foil on canvas, 225 x 380 cm

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The ability to visualise the finished piece as if it was trapped inside the raw material has been appreciated

by many sculptors.

Sunday, 17 February 13

Michelangelo

Pietà, St Peters, Rome, 1499–1500

David, 1501-1504 Gallery of the Academy of Fine Arts‘In every block of marble I see a statue as plain as though it stood before me, shaped and perfect in attitude and action. I have only to hew away the rough walls that imprison the lovely apparition to reveal it to the other eyes as mine see it’

Sunday, 17 February 13

Auguste Rodin

The Kiss, Le Baiser, 1901-4, Pentelican marble, object: 1822 x 1219 x 1530 mm, 3180 kg Sunday, 17 February 13

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The idea of releasing a person or animal from an inorganic block and bringing it to life has inspired artist

for many centuries

Sunday, 17 February 13

Ron Mueck

"Peek inside and you can see teeth, gums and even a little faux saliva," writes Plagens of "Mask II." "Stand beside it for a moment, and you'll swear you can hear him snore." Mask II, 2000

Ron Mueck is a London-based photo-realist artist. Born in Melbourne, Australia,  to parents who were toy makers, he labored on children’s television shows for 15 years before working in special effects for films . Muek then started his own company making models to be photographed for advertisements. Eventually he concluded that photography pretty much destroys the physical “presence” of the original object, and so he turned to fine art and sculpture.

‘A seven-foot adolescent girl in a bathing suit, "Ghost" was "the perfect metaphor for her poignant discomfort with her own body’

Ghost, 1998 Fibreglass, silicon, polyurethane foam, acrylic fibre and fabric

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Many naturally occurring objects have startling contrasts between their inner and

outer surfaces. Fruits such as watermelon, lychee, coconut, kiwi fruit

and shells like abalone, conch and mussel demonstrate this. Some organic structures including jellyfish and prawns

are so transparent that their internal organs can be seen through their outer

skins. Still life painters have been fascinated by these objects.

Sunday, 17 February 13

Pierre DupuisNature morte avec des oiseaux morts

Sunday, 17 February 13

Juan Sánchez Cotán

Juan Sanchéz Cotán developed the basic components of "bodegones," or still lifes: dark background, mostly fruits and vegetables, shadows and shades to create a realistic appearance, and the use of various types of lighting. His still lifes are executed flawlessly and look almost like photographs.

Still Life with Game, Vegetables, Fruit, 1602

Quince, Cabbage, Melon, and Cucumber, 1602

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Many of these painters simply revelled in the sumptuousness and beauty of such

objects, seeking no other purpose that to produce as lifelike an image as possible.

Sunday, 17 February 13

Laura Shechter

“Once the outlines of the images are transferred to the canvas, I start painting. I control my light source--that's why it's dark in here. I want a very specific light--I'm really trying to capture a Moment of Light. My goal is to convey the precise visual sensation of the surfaces of the objects at one instant of light.”

White Porcelain Heart, 2002, Oil on Canvas Still Life with White Heron, 1998, Oil on Canvas

Sunday, 17 February 13