HART4
Document title
Topic Coverage Guidance
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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 2Subjects and genres
Materials, techniques and processes
Form and style
Form and function
Historical and social contexts
Patronage
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.
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
Painting
Religious paintings
Narrative
Animal imagery
Sculpture
Religious
Decorative
Forms- influence of antiquity
Single and multi-figure
Animal imagery
Architecture
Religious
Civic
Status of the artist
Patronage
Influence of antiquity
Exemplar questions1. 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 (1145-55)
Ambrogio Lorenzetti, The Effects of Good Government in the City and Countryside, Siena (c.1337-40)
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.1260-70).
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 Sculptures on west façade (c.1310-30)
South Strasbourg Cathedral, Transept Double Portal, (c.1235)
TOPIC 2 ART AND ARCHITECTURE IN SIXTEENTH-CENTURY EUROPE
High renaissance in Italy and its definition and regional variations
Mannerism and its definition
Painting
Religious paintings
Mythology
Narrative
Portraiture
Sculpture
Religious
Portraiture
Forms- influence of antiquity
Single and multi-figure
Architecture
Religious
Palaces
Status of the artist
Patronage
Influence of antiquity
Northern High Renaissance- for comparison
Exemplar questions1. 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, (1501-04)
Tilman Riemenschneider, St Barbara, (c.1510-20)
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.1513-14)
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, (1511-14)
Titian, Bacchus and Ariadne, (1520-23)
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 (1506-1612)
Giacomo Vignola and Giacomo della Porta, Il Gesù, Rome (1568-84)
Andrea Palladio and Antonio da Ponte, II Redentore, Venice (1576-?)
TOPIC 3 ART AND ARCHITECTURE IN EIGHTEENTH-CENTURY EUROPE
Rococo and Neo-classicism and definitions of both
Painting
Religious paintings
Mythology/ Fêtes Galantes
History paintings/narrative
Contemporary History
Landscape
Portraiture
Sculpture
Religious
Commemorative
Portraiture
Forms- influence of antiquity
Single and multi-figure
Architecture
Religious- Protestant and Catholic
Palaces
Civic buildings
Status of the artist
Patronage
Influence of antiquity
Exemplar questions1. 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 (1714-21)
Balthasar Neumann, Pilgrimage Church of Vierzehnheiligen, (1743-1772)
TOPIC 4 ART AND ARCHITECTURE IN TWENTIETH-CENTURY EUROPE AND AMERICA 19001945
Understanding/definition of major styles 1900-1945
Fauvism
Cubism
Futurism
Expressionism
Dada
Surrealism
Painting
Abstract and non-figurative work
Portraiture
Sculpture
Abstraction
Commemorative
Portraiture
Single and multi-figure
Architecture
Domestic
Mass Housing
Civic
Influence of non-European art forms
Modernity
Exemplar questions1. 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, (1915-15)
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, (1940-42)
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 (1928-31)
Frank Lloyd Wright, Johnson Wax Administrative Building, Racine (1936-39)