L3–ARTR
3
993703
Level 3 Art History, 2014
91482, 91483, and 91484
2.00 pm Thursday 20 November 2014
RESOURCE BOOKLET
Refer to this booklet to answer the questions for Art History 91482, 91483, and 91484.
Check that this booklet has pages 2 – 36 in the correct order and that none of these pages is blank.
YOU MAY KEEP THIS BOOKLET AT THE END OF THE EXAMINATION.
For copyright reasons, the resources in this booklet cannot be reproduced here.
© New Zealand Qualifications Authority, 2014. 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
INSTRUCTIONS
This booklet contains the plates for Art History 91482, 91483, and 91484.
There are five plates for each of the Level 3 areas of study:
•
Early Renaissance: Plates 1–5 (pages 3–8)
•
Late Renaissance to Mannerism: Plates 6–10 (pages 10–14)
•
Early Modernism 1900–1940: Plates 11–15 (pages 15–19)
•
Modernist Design and Architecture 1900–1960: Plates 16–20 (pages 20–24)
•
Modernism to Postmodernism: Plates 21–25 (pages 25–29)
•
Contemporary Diversity: Plates 26–30 (pages 30–34).
Make sure you read your chosen questions carefully before making your plate selection.
3
EARLY RENAISSANCE
Plate 1: Ambrogio Lorenzetti, The Effects of Good Government in the City (detail from The Allegory of
Good and Bad Government), c. 1338–1339, fresco, 700 × 200 cm
This is part of a series of frescoes located in the Sala dei Nove (Salon of Nine) in the Palazzo
Pubblico, Siena, Italy.
The Allegory of Good and Bad Government
shown in situ in the Sala dei Nove. The
room measures 2.96 × 7.7 × 14.4 m.
4
Plate 2: Pietro Lorenzetti, The Last Supper, c. 1320, fresco, 240 × 300 cm
The Last Supper shown
in situ on the ceiling of
the chapel decorated
by Pietro Lorenzetti, in
the south transept of
the Lower Church of
San Francesco at Assisi,
Italy.
5
Plate 3: Masaccio, The Distribution of Alms and Death of Ananias, 1426–1427, fresco, 230 × 162 cm
The Distribution of Alms
and Death of Ananias
shown in situ in the
Brancacci Chapel, Santa
Maria del Carmine,
Florence, Italy. The works
were commissioned by
Felice Brancacci.
Part of a series of frescoes which narrate The Legend of the True Cross, commissioned by the
Bicci family to decorate the Cappella Maggiore of the Church of San Francesco, Arezzo,
Italy.
Plate 4: Piero della Francesca, The Procession of the Queen of Sheba; Meeting between the Queen of Sheba and King Solomon, 1452–1466, fresco,
336 × 747 cm
6
The Cappella Maggiore of the Church of San
Francesco, Arezzo, Italy, in which The Procession of the
Queen of Sheba and the Meeting between the Queen of
Sheba and King Solomon are located.
7
8
Plate 5: Paolo Uccello, St George and the Dragon, c. 1470, oil on canvas, 56 × 74 cm
A private commission, now in the National Gallery, London, England.
9
This page has been deliberately left blank.
The plates continue on the following page.
10
LATE RENAISSANCE AND MANNERISM
Plate 6: Andrea Mantegna, The Court of Gonzaga, c. 1465–1474, walnut oil on plaster, width c. 800 cm
Part of a series of paintings commissioned by Ludovico Gonzaga, Duke of Mantua,
in the Camera degli Sposi of the Palazzo Ducale, Mantua, Italy.
View of the west and north walls and the ceiling oculus
of the Camera degli Sposi. The room dimensions are
8.1 × 8.1 × 8.1 m.
11
Plate 7: Leonardo da Vinci, Ginevra de’ Benci, 1474–1478, oil and tempera on panel, 38.1 × 37 cm
A private commission given to Leonardo by an unidentified Florentine
nobleman. For many years the patron was thought to be Ginevra’s father,
Amerigo de’ Benci; however, recent evidence suggests it may have been
commissioned by Bernardo Bembo, her admirer.
12
Plate 8: Donato Bramante, Tempietto, 1502, marble
A small chapel, commissioned by Ferdinand and Isabella of Spain to mark the site
of St Peter’s execution in the courtyard of San Pietro in Montorio, Rome, Italy.
13
Plate 9: Giovanni Bellini, San Zaccaria Altarpiece, 1505, oil on panel, 500 × 235 cm
Commissioned for the Church
of San Zaccaria, Venice, Italy,
to commemorate a politician,
Pietro Cappello.
The San Zaccaria altarpiece
shown in situ in the Church of
San Zaccaria.
14
Plate 10: Jacopo Pontormo, The Deposition from the Cross, 1525–1528, oil on wood, 313 × 192 cm
Commissioned by the Capponi family
for their chapel in the church of Santa
Felicita, Florence, Italy.
The Deposition from the Cross shown
in situ in the Capponi Chapel.
15
EARLY MODERNISM 1900–1940
Plate 11: Henri Matisse, Dance (I), 1909, oil on canvas, 259.7 × 390.1 cm
This is the first version of two similar paintings.
16
Plate 12: Ernst Ludwig Kirchner, Five Tarts, 1914, woodcut on blotting paper, 48.5 × 37 cm
17
Plate 13: Sonia Delaunay, The Flamenco Singer, 1916, oil on canvas, 71 × 65 cm
This painting shows a view of Miró’s family’s farm in Montroig, Catalonia, Spain.
Plate 14: Joan Miró, The Tilled Field, 1923–1924, oil on canvas, 66 × 92.7 cm
18
19
Plate 15.1: Constantin Brâncuși, Bird in Space,
1923, marble, 144.1 × 16.5 cm
Plate 15.2: Constantin Brâncuși, Bird in Space,
1932–1940, polished brass, 137.2 × 16.5 cm
Brâncuși produced Bird in Space, a series of sculptures, between 1920 and 1940.
Brâncuși in his Paris studio, 1925.
Photograph by Edward Steichen.
20
MODERNIST DESIGN AND ARCHITECTURE 1900–1960
Plate 16: Marianne Brandt, Self-portrait, 1929, black and white photograph
Brandt has photographed a reflection in a metal ball suspended from
the ceiling of her studio at the Bauhaus in Dessau, Germany.
The Studio Building of
the Bauhaus, designed by
Walter Gropius and built
during 1925 and 1926. This
building contained studio
flats for junior masters and
students.
21
Plate 17: László Moholy-Nagy, Balconies, 1926, black and white photograph, gelatin silver print,
49.5 × 39.3 cm
The photograph shows an unknown student on a balcony of the
Studio Building of the Bauhaus, Dessau, Germany.
The Bauhaus, designed by Walter Gropius
and built during 1925
and 1926.
22
Plate 18: René Lalique, Suzanne, 1925, moulded yellow glass on an illuminating base, height 22.2 cm
23
Plate 19: William Van Alen, The Chrysler Building, 1928–1930, New York City, height 319 m
Detail showing surface ornamentation.
Detail showing neon lighting on spire.
Commissioned and paid for by Walter P. Chrysler as the
head office of Chrysler Corporation.
Detail of interior entrance hall, looking
towards the street.
24
Plate 20: A. M. Cassandre, Cover of Harper’s Bazaar, October 1939, 24.7 × 33 cm
Harper’s Bazaar is an American fashion magazine,
aimed at upper-class and upper-middle-class women.
25
MODERNISM TO POSTMODERNISM
Plate 21: Jacqueline Fahey, The Birthday Party, 1974, oil on board, 95 × 121 cm
26
Plate 22: Jasper Johns, Flag, 1954, encaustic, oil and collage on fabric mounted on plywood,
107.3 × 153.8 cm
Originally in a private collection, the painting was gifted to the Museum of Modern Art,
New York, by Philip Johnson.
Flag supported by Leo Castelli,
in his gallery in 1960. Also visible
are works by Frank Stella, Lee
Bontecou, Edward Higgins, and
Robert Rauschenberg.
27
Plate 23: Roy Lichtenstein, Ohhh Alright, 1964, oil and magma on canvas, 91.4 × 96.5 cm
28
Plate 24: Dick Frizzell, Four Four Time, 2009, screen print, signed and numbered, 56 × 76 cm
This is one of several images Frizzell created for The Great New Zealand Songbook project in 2009.
Dick Frizzell, Contacts, 2003,
Screenprint, 72 × 52 cm.
29
Plate 25: Bill Culbert, Daylight Flotsam Venice, 2013, 150 fluorescent tubes and recycled plastic bottles
One of eight installations by Bill Culbert featured at the Venice Biennale in 2013.
The face in this work is based on Hongi Hika’s (Ngā Puhi) carved self-portrait bust.
Plate 26: Shane Cotton, The Hanging Sky, 2007, acrylic on linen, 265 × 265 cm
CONTEMPORARY DIVERSITY
30
Mai i te aroha, ko te aroha, meaning ‘From
love, comes love’, was commissioned
specifically for Te Ara a Hine. Te Ara
a Hine in literal translation means ‘the
pathway of women’ and is the internal
entrance to Te Hono ki Hawaiki,
Te Papa’s Marae.
Plate 27.1 and Plate 27.2: Lisa Reihana, Mai i te aroha, ko te aroha, Te Papa, Wellington, 2008, two parts of an installation made of seven components
using moving image, photography, textile design
31
32
Plate 28: Damien Hirst, For the Love of God, 2007, platinum, diamonds, and human teeth,
17.1 × 12.7 × 19.1 cm
33
Plate 29: Mariko Mori, Play with Me, 1994, photograph
34
Plate 30: Jeff Koons, Pink Panther, 1988, porcelain, height 104 cm
Two views showing one of three identical
sculptures made by Jeff Koons. One edition
sold for over US$1.8 million in 1999.
Another went to auction in 2011 and made
nearly US$17 million, although this was less
than the expected price of US$20–30 million.
35
Acknowledgements
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L3-ARTR
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