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© 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.

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Level 3 Art History, 201290490 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 ExcellenceIdentify a range of stylistic characteristics in selected art works.

Explain the reasons for differences in stylistic characteristics in selected art works.

Comprehensively relate stylistic characteristics to their context.

Distinguish between the styles of selected art works.

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: The common features that identify the characteristics of the works of an artist, a period, or an art movement.

Context: 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

(a) Compare and contrast the treatment of the narrative in these two cycles.

(b) 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

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Plate 1.2 Duccio, Maestà (reverse side detail), 1308 –1311, tempera and gold leaf on panel, 213 × 396 cm (full size of entire Maestà)

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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

(a) Discuss the differences in the use of line and the treatment of the subject in these two art works.

(b) 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

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Plate 2.2 Leonardo da Vinci, Storm over a valley in the foot-hills of the Alps, 1504, red chalk, 21 × 16.3 cm

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Plate 3.1 Ghiberti, The Annunciation, 1403 –1424, gilded bronze, 52 × 45 cm

ITALIAN RENAISSANCE SCULPTURE

AND / OR: QUESTION THREE

Plates 3.1 Ghiberti, The Annunciation, 1403 –1424

3.2 Donatello, The Annunciation, c. 1435

(a) Discuss the differences in the treatment of the figures and setting in these two sculptures.

(b) Explain the reasons for the differences between these two sculptures with reference to the ideas that influenced each sculptor.

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Plate 3.2 Donatello, The Annunciation, c. 1435, gilded pietra serena (local grey sandstone), 218 × 168 cm

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Plate 4.1 Michelangelo, Jeremiah (detail from the Sistine Chapel ceiling), 1508 –1512, fresco, 390 × 380 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

(a) Compare and contrast the stylistic characteristics of these two art works.

(b) Explain the reasons for the differences between these two art works with reference to the development of Mannerism in the sixteenth century.

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Plate 4.2 Pontormo, St. John the Evangelist, 1527 / 28, oil on board, 70 cm (diameter)

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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) Compare and contrast the treatment of figure and setting in these two portraits.

(b) 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

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Plate 5.2 Titian, Eleonora Gonzaga (Duchess of Urbino), c. 1538, oil on canvas, 114 × 102.2 cm

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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

NORTHERN RENAISSANCE ART

AND / OR: QUESTION SIX

Plates 6.1 Rogier van der Weyden, Adoration of the Magi (central panel of the St. Columba Altarpiece), c. 1455

6.2 Albrecht Dürer, The Adoration of the Magi, 1504

(a) Compare and contrast the setting and the treatment of light in these two art works.

(b) 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.

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Plate 6.2 Albrecht Dürer, The Adoration of the Magi, 1504, oil on panel, 100 × 114 cm

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Plate 7.1 Picasso, The Acrobats (La famille de Saltimbanques), 1905, oil on canvas, 212.8 × 229.6 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

(a) Discuss the treatment of form and colour in these two art works.

(b) Explain the reasons for the differences between these two art works with reference to Picasso’s ideas about art.

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Plate 7.2 Picasso, Three Musicians (Musiciens aux masques), 1921, oil on canvas, 200.7 × 222.9 cm

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Plate 8.1 Gabriele Münter, Kandinsky and Erma Bossi at the Table, 1912, oil on canvas, 95.5 × 125.5 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

(a) Discuss the treatment of the form and the application of paint in these two art works.

(b) Explain the reasons for the differences between these two art works with reference to the treatment of domestic subjects in German Expressionist Art.

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Plate 8.2 August Macke, The Artist’s Wife, 1912, oil on canvas, 105 × 81 cm

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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

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) Discuss the composition and treatment of space in these two art works.

(b) Explain the reasons for the differences between these two art works with reference to Dada and / or Surrealist ideas about time and space.

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Plate 9.2 René Magritte, Evening Falls (Le Soir qui Tombe), 1924, oil on canvas, 160.5 × 114 cm

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Plate 10.1 Frank Lloyd Wright, Solomon Guggenheim Museum, New York, USA designed 1946; built 1956–1959, steel frame and concrete

ARCHITECTURE: MODERNISM TO POSTMODERNISM

AND / OR: QUESTION TEN

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) Compare and contrast the external appearances of these two buildings.

(b) Explain the reasons for the differences between these two buildings with reference to the function and location of each building.

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Plate 10.2 Frank Gehry, Guggenheim Museum, Bilbao, Spain, 1991–1997, limestone, glass, and titanium

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Plate 11.1 Roy Lichtenstein, Mr Bellamy, 1961, oil on canvas, 143.5 × 107.9 cm

MODERN AMERICAN ART

AND / OR: QUESTION ELEVEN

Plates 11.1 Roy Lichtenstein, Mr Bellamy, 1961

11.2 Duane Hanson, Repairman, 1974

(a) Discuss the different treatment of the figure in these two art works.

(b) Explain the reasons for the differences between these two art works with reference to male roles in modern America.

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Plate 11.2 Duane Hanson, Repairman, 1974, polyvinyl acetate, acrylic and oil paint, lifesize

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Plate 12.1 Richard Killeen, The Glorious Dead, 1968, oil on canvas, 792 × 787 cm

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

(a) Discuss the use of colour and text in these two art works.

(b) Explain the reasons for the differences between these two art works with reference to each artist’s response to war.

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Plate 12.2 Ralph Hotere, A Return to Sangro (from the Sangro Litany), 1978, oil on canvas, 81 × 29 cm

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Acknowledgements

Plate 1.1 John T. Paoletti and Gary M. Radke, Art in Renaissance Italy (London: Laurence King, 2005), p 46.

Plate 1.2 http://commons.wikimedia.org/wiki/File:Duccio_di_Buoninsegna_-_Stories_of_the_Passion _(Maestà,_verso)_-_WGA06782.jpg

Plate 2.1 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 http://3.bp.blogspot.com/-YGouwOMZKmg/TZE7W0RIBSI/AAAAAAAAADs/JIIiOhCR0cA /s1600/federicorovere1536.jpg

Plate 5.2 http://2.bp.blogspot.com/-nsKFvc_4O9s/TZE7ZdH1Q_I/AAAAAAAAADw/EqA1GRMb5PA /s1600/portraitofeleonora.jpg

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 German Expressionism: The Colours of Desire (Sydney: International Cultural Corp. of Australia, 1989), p 68.

Plate 9.1 Techniques of Modern Artists (London: New Burlington Books, 1987), p 65. Depicted image is a reconstruction by Richard Hamilton, 1965–1966.

Plate 9.2 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.

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