NCEA Level 3 Art History (90490) 2009 — page 1 of 31
Assessment Schedule – 2009
Art History: Analyse style in art (90490)
Evidence Statement
Fourteenth – century
Italian Painting
Question One (a)
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1.1: Giotto, The Annunciation to St Anne 1303 - 1305
1.2: Giotto, The Apparition at Arles, 1320 - 30
The candidate identifies at least three stylistic characteristics in the two plates, including references to the composition and setting in each
work.
Correct Responses may include, e.g:
The Annunciation to St Anne
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Clearly defined domestic setting
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Giotto uses furniture like the bed to establish a recognisable setting – bedroom
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Giotto uses architecture to show two rooms or scenes
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Architecture used to compose two spaces
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Angles of architecture used in composition to create convincing three-dimensional space
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Kneeling figure of St Anne is central to composition
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Space and setting are clearly defined
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There is a balance in the composition between the small room, with the small figure, and the larger room with the larger figure
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The composition is asymmetrical
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A diagonal is established from the eyes of St Anne towards the angel at top right (can be continued to the outstretched hand of the
small female figure.
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What appears to be a simple house stands out against the large areas of dark blue which surrounds the composition (doll’s house
effect).
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Color is an important element of the composition, with the orange of St Anne’s robe making her standout from the surrounding objects.
The Apparition at St Arles
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One interior space is clearly defined
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Architecture is used to establish the setting of a single, large room
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A centralised composition, centered on the figure of St Francis
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Architecture is used to frame the composition
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Details used to establish the domestic setting
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The figures in this painting, particularly the back views, are used to establish the setting.
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The figures are completely enclosed within the architecture of this room.
NCEA Level 3 Art History (90490) 2009 — page 2 of 31
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Several layers of space are present within this composition
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The figure of St Francis is isolated from the other figures and objects in the composition.
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Architectural space extends to edges of pictorial space
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A symmetrical composition
The candidate distinguishes between the styles of the two works.
eg:
Correct responses may include, eg
Fourteenth – century
Italian Painting
Question One (b)
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In the earlier plate, the composition is centralised on the figure of St Anne however the architecture divides the painted space into two
separate rooms. In the later plate there is only one room which is fitted into the architecture which defines the space in the composition.
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The obliquely foreshortened composition in the earlier plate contrasts with the frontally foreshortened composition of the later plate.
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In the first plate St Anne is so big that she would hit the roof if she stood up but in the second the panels the figures fit into the
architecture better.
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In both plates the figures are composed within the architectural setting. This works better in the second panel because the figures are
enclosed by the small walls and columns along the front.
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As For Achievement plus:
The candidate provides a plausible explanation of the reasons for the stylistic differences between the two art works.
Plausible explanations of the reasons for the differences may include,eg:
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As for Achievement with Merit plus
The candidate comprehensively relates the stylistic characteristics to naturalism in fourteenth century Italian narrative painting.
Discussion points may include, eg
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In the fifteen to twenty years which separate the two plates, many Italian artists had improved their use of architecture and shading to
create more convincing interior spaces. The composition of the figures in the later plate reflects this because they are smaller and fit
into the painted space more naturalistically than the monumental figure of St Anne in the first plate.
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Naturalism was a major concern of fourteenth century painters.
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Inspired by the teaching of St Francis and other saints, fourteenth century artists were interested in depicting religious stories
naturalistically. This led them to develop improved techniques to create compositions and settings which people could relate to.
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In both panels Giotto has paid close attention to domestic details such as the distaff and striped bedcover in the first panel and the
wooden benches in the second panel. This shows the importance that he placed on using familiar objects to create naturalistic settings
like a bedroom or a dining room.
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An interest in naturalism is apparent in all fourteenth century art such as the sculpture of the Pisano family and the works of Sienese
artists like Duccio and Martini.
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The improvement in the architectural composition which is apparent in the later plate shows that Giotto was interested in developing
convincing three-dimensional space.
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The centralised composition in the later panel creates a unity of setting, composition and space. This looks ahead to the ideas of Alberti
NCEA Level 3 Art History (90490) 2009 — page 3 of 31
which were so important in the fifteenth century.
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Giotto has modified the proportions of both figures and architecture in the later panel. There is a better proportional relationship
between the figures and their surroundings in the later panel which creates greater naturalism in its setting.
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Some texts place the Bardi Chapel in the late 1320s and suggest that the centralised composition in this work has been derived from a
depiction of the Christ Among the Doctors in the lower Church in Assisi
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The importance placed on the naturalistic setting which is apparent in both works reflects the importance of naturalism in fourteenth
century Italian painting.
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The two works provide interesting examples of the development of naturalism in this period. The Annunciation to St Anne is part of the
narrative cycles of the Arena Chapel which depict distant history. In these works naturalistic composition and settings were used to
enhance the credibility of the religious narratives depicted. Architectural details, the blue background and simple settings were also
important in creating a naturalistic sense of unity in these works. In The Apparition Giotto was depicting recent details and the
naturalism of both his setting and depiction of St Francis was based on well-known records.
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Although the dates in which Giotto worked in the Bardi chapel are unknown, it is accepted that this commission was later than the
Arena Chapel. This accounts for the differences between the two, including the unity provided by the unified and symmetrical
architectural framework and the more proportionate relationship between figures and architecture. These compositional developments
were an important part of the development of naturalism in narrative painting in fourteenth century Italy.
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Naturalism, including improved spatial definition, was increasingly used to strengthen the narrative
NCEA Level 3 Art History (90490) 2009 — page 4 of 31
Fifteenth - Century
Italian Painting
Question Two (a)
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2.1: Masaccio, Adoration of the Magi, 1426
2.2: Piero della Francesca, Adoration of the Wood by the Queen of Sheba, mid 1450s.
The candidate identifies at least three stylistic characteristics in the two plates, including references to the treatment of the
figures in each narrative painting.
Correct responses may include, eg:
Masaccio’s Adoration of the Magi:
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Figures are seen from a low viewpoint
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Consistent light source on left models forms, contributes to chiaroscuro and casts shadows
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Figures are given monumentality by light and low viewpoint
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Figures of Magi wear contemporary dress while the Virgin and Joseph wear classical drapery
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Figures of Magi have some Gothic aspects eg gold trim on garments
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Figures stand in semi-circular composition which invites viewer to feel part of circle
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Naturalistically depicted animals frame the composition and add naturalism
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The two merchants at right centre are depicted with northern realism
 The figure of the Virgin Mary is out of proportion – if she stood up she would be taller than the other figures
Piero’s Adoration of the Wood by the Queen of Sheba,
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Strong, sculptural figures modeled in clear light
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Contrived composition of frontal and rear views of figures and horses on the left.
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Simplified geometry of female forms – cylindrical necks, ovoid heads – is characteristic of Piero
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A group of female figures leads the viewer’s attention to the strongly foreshortened piece of wood in the left foreground of the
composition.
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All figures wear contemporary clothes with the female figures wearing the garments worn by wealthy women.
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Figures seen from a low viewpoint but perspective creates a sense of the spectator being level with the figures.
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Figures are set against landscape in lower half of compositon
 Poses and grouping of female figures on right relate to Albertian istoria
The candidate distinguishes between the stylistic characteristics of the two plates.
Correct responses may include, eg:
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The figures in both compositions stand in the immediate foreground, however Masaccio’s figures are much larger in scale, almost filling
the pictorial space. Piero’s figures are half as tall as the painting and this seems to reduce their monumentality and increase the sense
of pictorial space.
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Masaccio’s figures are closely linked by gaze and action while Piero’s figures fall into two static groups and thereby separate the
composition into two distinct parts.
NCEA Level 3 Art History (90490) 2009 — page 5 of 31
Fifteenth - Century
Italian Painting
Question Two (b)
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As for Achievement plus:
The candidate provides a plausible explanation for the reasons for the differences in the stylistic characteristics of the two works.
Plausible explanations for the reasons for the differences may include, eg:
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As for Achievement with Merit plus:
The candidate comprehensively relates the stylistic characteristics of the two works to influences on fifteenth-century Italian
painting.
Discussion Points may include, eg:
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The two works were commissioned for very different reasons. Masaccio’s work is a narrative predella designed to tell a well-known
story whereas Piero’s work is part of an extensive narrative cycle about the less well-known Legend of the True Cross. Restricted by
the narrow format of the predella, Masaccio has made his figures fill the picture space so that they can be easily recognised. The larger
format of Piero’s painting has enabled him to devote more space to the depiction of landscape and sky.
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Both paintings reveal the artists’ interest in the depiction of convincing space using mathematical perspective and modeling with light.
An interest in the depiction of naturalistic space is a key characteristic of fifteenth century Italian painting, particularly as Alberti’s ideas
about mathematical formulae and narrative unity were adopted.
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Humanism and classicism were also important influences which may be related to the dignified pose and columnar form of Piero’s
figures in particular
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The International gothic style was popular with many patrons in fifteenth century Florence and the influence of this style is apparent in
the elegance of Masaccio’s figures whose dress and poses are reminiscent of some of the figures in Masolino’s work in the Brancacci
Chapel or Uccello’s Battle of San Romano.
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The figurative groupings, poses and gestures of Piero’s works reflect the influence of Alberti’s theories of istoria which had been
published in Della Pittura in 1435.
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The cylindrical necks and ovoid heads of Piero’s female figures reflect his matjhematical interests and the theories of proportion which
he wrote about.
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Both artists show evidence of the fifteenth century interests in landscape and naturalism. Both artists have spent time depicting
naturalistic landforms and recognisable vegetation. Masaccio’s softly curving hills have been linked to the valleys surrounding Florence
while Piero’s expansive landscape reflects the views out over the surrounding plains from the hilltop town of Arrezzo. Ever since the
fourteenth century, Italian painters had used contemporary landforms when depicting Christian stories as a means of establishing a
sense of familiarity.
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The recognisable landforms and plants in the two works are examples of the interest in science and naturalism which characterised
painting in Florence and surrounding cities in this period. Eventually this interest reached its climax with Leonardo da Vinci’s botanical
drawings and the detailed realism of plants in his work such as Virgin of the Rocks.
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The detailed realism used in Northern art to depict animals and plants is also apparent in both works; particularly Masaccio’s and
reflects the presence of Northern works such as the Portinari Altarpiece in the collections of Florentine bankers and merchants. The
two merchants in Masaccio’s paintings are also strongly northern in their convincing realism.
NCEA Level 3 Art History (90490) 2009 — page 6 of 31
Italian Renaissance
Sculpture
Question Three (a)
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3.1 Donatello, St Mark, c1414
3.2 Lorenzo Ghiberti, St John the Baptist, 1415 -17
The candidate identifies at least three stylistic features in the two plates, including at least one characteristic in each plate.
Correct responses may include, eg:
Donatello’s St Mark:
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Classical contrapposto
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Pose suggests movement – weight on one, foot, figure curves up central axis
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Drapery follows form, revealing contours of the body
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Some decorative details in drapery – columnar folds down one side and heavy folds curving beneath raised arm on other side
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Intense expression on face, eyes staring outwards,
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Veins bulge on hands, accentuate their realistic modeling and overall naturalism of figure
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The head, hands and torso have been elongated to accommodate the optical distortion which would occur when the viewer looked up
at the statue from street level.
Ghiberti’s St John the Baptist
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Fluid, elegant treatment of drapery which falls in rhythmic semi-circular folds which are not all closely related to the body forms
beneath.
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Many Gothic influences, including the decorative treatment of the curls in beard and hair
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Gothic elegance in stylised drapery folds and exaggerated curve of pose
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Contrapposto is extended into an elegant Gothic s-curve
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Intense gaze, beneath heavy brows
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Extended right knee suggests movement but figure is set back in niche
 Gothic decorative qualities in hair and dbeard
The candidate distinguishes between the styles of the two sculptures.
Correct responses may include, eg:
Italian Renaissance
Sculpture
Question Three (b)
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St John the Baptist is a cast bronze statue whereas St Mark is a carved marble sculpture
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St John the Baptist is more frontal and stands in a static pose within its niche while St Mark has more movement and one arm extends
into the space beyond the niche
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St Mark stands on a cushion, which is softened by the figure’s weight while St Mark stands on the flat floor of the niche
As for Achievement plus:
The candidate provides a plausible explanation for the reasons for the differences in the stylistic characteristics of the two
sculptures.
A plausible explanation may include, eg:
NCEA Level 3 Art History (90490) 2009 — page 7 of 31
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As for Achievement with Merit plus:
The candidate comprehensively relates the stylistic characteristics of the two sculptures to the styles of the two sculptors.
Discussion points may include, eg:
The stylistic differences between the two sculptures may be partly accounted for the difference in medium. The sharp, decorative
drapery folds and pattern-making detail in St john’s hair shirt reflect Gilberti’s precision with metal casting whereas the strong, solid
almost columnar nature of Donatello’s statue embody the properties of his medium, marble.
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Donatello’s statue reveals more classical influences, such as the drapery of this contrapostal figure, and relates well to other works by
Donatello which have features derived from classical examples, such as near-contemporary examples on the Duomo. In this sculpture
the columnar drapery folds, which emphasise the weigh-bearing leg, have associations with the drapery covered columns used as
supporting elements in many classical sculptures. Some authorities, such as Olsen’s Italian Renaissance Sculpture have suggested
that this particular sculpture marks the beginning of Renaissance classicism in Italian sculpture.
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St Mark is more linear than Donatello’s work, reflecting decorative conventions associated with International Gothic which was
fashionable at this time. The gothic aspects of Ghiberti’s sculpture reflect his career as a goldsmith because International Gothic was
still the style favoured for many of the domestic items such as gold and silver plate produced by Florentine goldsmiths for their wealthy
patrons.
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Both works were commissioned by guilds for the niches on the Church of Or San Michele as part of a sculptural programme on the
outside of the church. The various sculptures which were made for this church in the first quarter of the fifteenth century provided a
competitive atmosphere for Italian sculptors. These two sculptures are seen as good examples of the two styles which were popular in
Florence at this time – the Gothic style exemplified by Ghiberti’s work had long been popular with rich patrons however the classical
trend demonstrated by Donatello was growing in popularity as can be seen by the classicising features in the sculptures produced by
Nanni de Banco and Niccolo Lamberti for the same project. Ghiberti also demonstrate a more classical treatment of drapery of his later
St Matthew, who wears a more convincing toga than St John and shows more movement in his pose than does St John the Baptist.
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The expression on the face of St Mark demonstrates Donatello’s interest in human feelings and expression. These interests become
more apparent in his St George, carved for the Guild of Armourers in 1415
NCEA Level 3 Art History (90490) 2009 — page 8 of 31
High Renaissance
and the Development
of Mannerism
Question Four (a)
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4.1 Leonardo da Vinci, Anatomical Studies of the Shoulder, 1510-11
4.2 Michelangelo, The Fall of Phaeton, c1553
The candidate identifies at least three stylistic characteristics in the two plates, including references to the treatment of form in
each drawing.
Correct responses may include,eg:
Leonardo’s work:
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This page of drawings focuses on the musculature of the arm.
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The flesh and bones are drawn with scientific accuracy, based on empirical observation.
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The drawings are precise and anatomical
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The flesh has been pared back to reveal the muscles and sinews beneath the skin
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Words surround the images in what appears to be a page of working drawings about movement
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Leonardo’s focus is upon exact reproduction of every detail in nature.
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Work is ordered and forms are in correct proportion.
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There is little attempt at pictorial composition.
 Shading is produced by striations and cross-hatching which moulds form but does not have any tactile qualities
Michelangelo’s work:
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The drawings are arranged in symmetrical, pleasing groupings.
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Figures are entwined in curved, harmonious groups.
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The movement of the horses and figures is depicted with lyrical grace
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Shading is used to mould and round form.
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Te drawings are isolated and centralised on the page.
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Idealised proportions and musculature structure.
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Forms show the influence of classical antiquity.
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Forms twist in space in the form of ‘figura serpentina’ inspired by Neo-Platonism
 Michelangelo’s use of controposto gives his figures a pictorial quality
The candidate distinguishes between the styles of the two art works.
Correct responses may include, eg:
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Leonardo’s form is accurate according to nature; where as Michelangelo’s forms are idealised and exaggerated.
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Leonardo’s forms are static and scientific; Michelangelo’s forms are twisting with passion and energy.
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Leonardo’s forms are in realistically observed; Michelangelo’s are and exaggerated.
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Leonardo’s drawings have no aesthetic qualities however Michelangelo’s drawings are intended to please the eye.
NCEA Level 3 Art History (90490) 2009 — page 9 of 31
High Renaissance
and the Development
of Mannerism
Question Four (b)
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As for Achievement plus:
The candidate provides a plausible explanation for the reasons for the differences in the stylistic characteristics of the two art
works.
Plausible explanations for the reasons for the differences may include, eg:
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Neo-Platonism influences Michelangelo, his forms are idealised due to the Neoplatonic belief that artists can and should create better
then nature. His interest in classical antiquity is demonstrated through the subject matter and the massive muscular bulk of the forms.
Leonardo is influenced by nature and naturalism. His drawings demonstrate his repeated attempts to understand the inner workings of
the body.
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Leonardo was interested in scientific accuracy and wrote treatises on painting and scientific documents These ‘anatomical studies of
the shoulder reflect these interest. Although Michelangelo also investigated the workings of the human body he chose to emphasise
the ideal human beauty of human movement rather than the mechanical processes of the limbs.
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Michelangelo’s private drawings were often gifts for friends whereas Leonardo’s drawings were exercises in improving his
understanding of the physical world.
As for Achievement with Merit plus:
The candidate comprehensively relates the stylistic characteristics of the two works to the interests and passions of each artist.
Discussion points may include, e.g:
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The bodies by Michelangelo show reference to the classical figures of the Laocoon, and The Belvedere torso, this is a clear indication
of his interest in Classical antiquity and his Neoplatonic influences
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Michelangelo’s interest in Neoplatonism is most evident in his drawings because the figures are idealised and twisting in contraposto or
figura serpentina, motifs used by Neoplatonist artists to indicate the soul's journey from the body and to enlightenment. Similarly, the
use of the ideal male nude was yet another Neoplatonic way of referring to the divine..
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Michelangelo’s intimate drawing was designed to be held in the hand and was a gift for a close male friend. Michelangelo regarded
male friendship and love as superior to that of female love, which was marred by lusts and baser passions. Many of his writings speak
about the love between two men as being similar to that of love for the divine.
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The twisting, entwined forms of Michelangelo’s drawings were common motifs in Michelangelo’s painting and sculpture, appearing in
The Battle of Cascina and in his Vatican frescoes. These motifs allowed Michelangelo to indulge his love of the human form and
demonstrate his ability to create lyrical movement and harmonious compositions, most famously in his fresco of the Creation of Adam
which is echoed in the downcast, mannered figure of the old man in the bottom left.
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One of the most famous descriptions of Leonardo is that of an eccentric man who carried a folio of paper and pens where ever he went
so that he could sketch and make notes of the things he came across. Over 1000 pages of these drawings and notes still exist and
provide vivid evidence of Leonardo’s skills in observation, drawing and intellectual speculation. This is a good example of the pages
and pages devoted to the understanding of the human body. The grim realism of the face on this page reflects Leonardo’s studies in
physiognomy which have survived in the collections at Windsor Castle.
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Leonardo’s private sketches demonstrate his methodology as a scientist with interests in the study of nature and naturalism.
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Leonardo believed that painting was a science based on perspective and the knowledge of accurate proportions and made thousands
of studies to improve his understanding of physical phenomena and too improve his ability to paint scientifically.
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Many of Leonardo’s drawings were studies in the development of a final figure ina a painting and it is possible that this old man was a
NCEA Level 3 Art History (90490) 2009 — page 10 of 31
prototype for a painting of St Jerome for which some studies exist.
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Leonardo was one of the first to describe painting as a “scientific art” requiring observation, measurement and studies before beginning
on the work itself. Painting relies on the skill of the artist to truthfully depict the forms of nature. Drawings like these are evidence of that
belief.
NCEA Level 3 Art History (90490) 2009 — page 11 of 31
Venetian Painting.
Question Five (a)
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5.1 Titian, Ariosto, c1512
5.2 Titian, Laura de Dianti, c1523
The candidate identifies at least three stylistic characteristics in the two plates, including at references to the treatment of the
subjects of the two portraits.
Correct responses may include, eg:
Ariosto:
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A half-length portrait,with the torso in profile with head three-quarters turned to look at viewer.
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Figure is positioned behind a parapet
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Ariosto’s right arm rests on the parapet, extending towards the viewer in a foreshortened curve.
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The figure is set against a dark background
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A dark cloak draped over Ariosto’s shoulder defines his form and separates it from the surrounding dark space.
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The face is modeled by chiaroscuro, the right side closest to the viewer bathed in a warm golden light while the left arm melts into the
shadows in the background.
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Ariosto looks out at the viewer with an oblique but strong gaze and firmly held head
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The painting has two strong areas of colour – the side of the face bathed in a golden light and the blue sleeve.
 There is a limited colour range in this work, with the only contrasting element being the white curve of chemise.
Laura de Dianti:
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A three-quarter length portrait, the woman stands in a slightly oblique but more or less frontal pose
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Two figures stand together against a dark background. Their bodies form a pyramid in the centre of the painting.
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A well-dressed woman stands with her hand on the shoulder of a second figure, a small dark child who is dressed in bright stripes.
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Neither figure looks at the audience, the woman, the subject of the painting looks to one side while the child looks up at her
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Laura’s face is modeled with chiaroscuro and a soft, clear light.
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Laura’s face is fully portrayed although her left side is less brightly lit and less exposed to the viewer’s gaze.
 The depiction of Laura’s hair piece is detailed as is the gold work on her fine scarf
The candidate distinguishes between the styles of the two works.
Correct Responses may include, eg:
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These are two very different portraits. Ariosto stares out at the viewer with a strong , piercing look while Laura de Dianti does not meet
the viewer’s eyes, she looks towards the side and her expression is less sharply defined than Ariosto’s.
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The portrait of Ariosto has limited colour which focuses the viewer’s attention on the rich texture of the subject’s blue sleeve. There is a
greater colour range in the portrait of Laura de Dianti who wears a delicate gold scarf over her blue dress with its white chemise
supplying a highlighting contrast.
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There is much more detail in Laura – her beaded headdress, slightly mannered hands, jewellery and the striped fabric of the child’s
NCEA Level 3 Art History (90490) 2009 — page 12 of 31
costume. This contrasts with the simplicity of the portrait of Aristo.
Venetian Painting.
Question Five (b)
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As for Achievement plus:
A plausible explanation for the reasons for the differences in stylistic characteristics of the two paintings is given.
A plausible explanation may include:
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Titian used colour and texture to characterise his subjects. This is apparent in the differences in colour and texture in these two
portraits. The smooth texture of Ariosto’s sleeve reinforces the sharpness of his bearded profile while the soft texture and fabrics in the
portrait of Laura de Dianti are used to emphasise her softness and femininity.
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The difference in stylistic characteristics may be connected to the personalities of the portraits. Titian is famous for using colour, texture
and light to bring out the personalities in his portraits.
As for Achievement for Merit plus:
The stylistic characteristics of the two works are comprehensively related to the different approaches to male and female
subjects in Venetian painting.
eg:
A correct response may include:
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The dark background and detailed realism of the face in the portrait of Ariosto are good examples of a Northern tradition in male
portraits which is apparent in Venetian art. Although Laura also has a dark background, there is a softer approach to her face which is
less psychologically convincing than the expression on Ariosto’s face.
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The use of the parapet was also a Northern device used to define space which became a popular pose for male portraits in Venetian
art, appearing in works by Giorgione and Bordone as well as Titian. It does not appear to have been used in portraits of women.
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Laura’s oblique look appears to reinforce her feminity while Ariosto’s direct gaze appears to emphasise his masculinity. Titian uses the
direct gaze in many of his male portraits, such as his portrait of a Young Englishman, c 1545 however it also appears in female
portraits such as La Bella and La Schiavona. Laura’s oblique gaze can also be found in many male subjects such as Youth with a
Glove and Pietro Aretino, therefore this does not appear to be a compositional device reserved for female subjects.
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This painting also has the simplification which Titian applied to male portraits as all background details are reduced to the dark
background which surrounds the figure.
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Titian did not reserve his three quarter pose for women alone, it can also be found in his portrait of Jacapo de Strada. Jacapo is shown
in a turning three-quarter pose, looking to the right and avoiding the viewer’s eyes. His left arm reaches across his body, blocks the
viewer’s gaze and reduces the connection between viewer and subject. Laura’s arms hang loosely at her sides and give her
appearance an open vulnerability.
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The looser brushwork apparent in the portrait of Laura became more common in Titian’s later paintings. In this work it contributes to the
soft, feminine character of the portrait and can be linked to the sensuosity of Titian’s poesie and mythological paintings of women, such
as his Venus of Urbino.
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The inclusion of the well-dressed black child who is probably a slave is evidence of the wealth of this woman which is also signified by
her jewellery and the gold detail in her clothing. The woman herself appears passive in her pose, soft expression and faraway stare.
These qualities combine to convey a sense of her dependence rather than the independence conveyed by Ariosto’s firm gaze and
strong profile. These aspects of the portrait are in keeping with the probable identity of Laura as a mistress of Alfonso d’Este. Feminity
NCEA Level 3 Art History (90490) 2009 — page 13 of 31
is also conveyed by the colourism and soft brushwork, techniques which Titian used to emphasise the maternal nature of the Virgin
Mary in images like his Gypsy Madonna.

Titan was a prolific portraitist and is respected for his ability to empathise with his subjects to produce an image which contemporary
viewers regarded as good likenesses. According to Pope-Henessey, he allowed his sitter’s personality to determine the structure of the
painting and, although similar poses may be found, no two portraits display identical poses. It seems likely, therefore, that the different
poses in these two paintings reflect the different personalities of the subjects, rather than their different sex.

Pope-Hennessey also claims that Titian applied the same level of fidelity to his female portraits although he was susceptible to their
charms. This he sees as evident in the soft expressions, tactile flesh and curving forms in his female portraits.
NCEA Level 3 Art History (90490) 2009 — page 14 of 31
Northern
Renaissance Art
Question Six (a)
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6.1 Rogier Van der Weyden, Deposition, c1435-40
6.2 Matthias Grunewald, Christ on the Cross, 1501-2
The candidate identifies at least three stylistic characteristics in the two paintings with reference to the treatment of the figure of
Christ in each work.
Correct responses may include:
eg
The Deposition:

Figure of Christ is in the centre of a large figurative composition

The white, sinuous figure of Jesus is stretched across the centre right of the painting horizontally.

The pale colour of the body of Jesus stands out and is highlighted by the white loin cloth and wrapping cloth..

The pose of Jesus is echoed by the swooning figure of the Virgin mary at the lower left.

Christ’s body is modelled naturalistically, with subtle use of light and dark tones.

The face of Jesus resembles the legendary appearance of Jesus, his expression is one of sweet acceptance.

The hands, ankles and chest are exposed to give a clear view of the blood which has been shed.
 The figure of Jesus has been elongated and he is depicted with a fluency of line, rhythmic pose and expressive intensity.
Christ on the Cross:

The figure of Jesus hangs from the cross in a vertical pose.

The head droops slightly and the open mouth is set in a painful expression.

The arms are twisted and the angles cross in a tight, uncomfortable pose.

The torso has a twist which gives a sense of pain and torture.

The stocky proportions of the figure give a convincing bulk to the figure.

The body is marked by pustules or warts.

The loin cloth is old and tattered.

The figure looks gnarled and broken.
The candidate distinguishes between the styles of the two art works.
Correct responses may include, eg:

Grunewald’s figure is twisted and broken while Van der Weyden’s figure is smooth, elongated and graceful as it sinks to the ground.

Van der Weyden’s work is rhythmic and gentle where as Grunewald’s is harsh and angular.

Grunewald emphasises the tortured suffering of the Christ through the swollen veins, grimacing face and twisted body whilst Van der
Weyden emphasises the divinity of Christ through the divine acceptance of his expression and uses the curving shape of his form to
remind the viewer of the human aspect to the tragedy.
NCEA Level 3 Art History (90490) 2009 — page 15 of 31
Northern
Renaissance Art
Question Six (b)
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As for Achievement plus:
The candidate provides a plausible explanation for the differences in stylistic characteristics in the two works.
A plausible explanation may include, eg:

Van der Weyden is concerned with the overall drama with the interlocking of figures around the Christ supporting one another and
framing the pathetic figure of Christ. His figures are treated as sympathetic shapes that convey meaning through the entire form rather
than in small details.

Grunewald has a specific message to convey to his audience through this depiction of Christ. This figure was to become a painting for
a hospital. The physical suffering of Christ is emphasised in order that those who physically suffered in the hospital could relate to the
anguish of physical torment.
As for Achievement with Merit plus:
The stylistic characteristics of the two works are comprehensively related to the beliefs and aims of each artist.
Discussion points may include, e.g:

Van der Weyden’s foremost ability was to extricate the essential message of a complex narrative and to present it to his audience in a
single, powerful, emotional statement. He used the realistic depiction of emotion to evoke a deep emotion expressed through the use of
rhythmic line and rich colour. These techniques reflected his aim of providing the viewer with an intense experience which reflected the
suffering of Jesus.

Van der Weyden frequently used a pale, elongated image of Jesus to evoke anguish and sympathy from the viewer. In The Crucifixion
Triptych, the figure of Jesus is isolated against the sky in a more iconic depiction than the tightly interlocked figures in this work which
seem to seethe in a single convulsion of pain, which brutally drives home the anguish of the Passion

As an aid to mystical contemplation and prayer, Van der Weyden painted for the new audience provided for by the spreading popularity
of devotio moderna in the fifteenth century. His expressive treatment of religious subjects was designed to make the viewer empathise
with the experiences of Jesus and meditate on human sin.

Van der Weyden allows Christ’s feet and even a fold of drapery to extend out of the figurative group and into the spectator’s space.
This was a way of making the holy events depicted in the panels more accessible to the mind and heart of the believer, and to invite
the faithful to partake more closely in the emotional experiences of the event which stood before them..

The image of Christ by Grunewald is a result of his own beliefs in modern devotion and, the desire to make devotion personal through
reflection upon the passion of Christ relative to one’s own life and actions. This image of Christ encourages an emotional involvement
with his suffering and allows for a deep understanding of the physical nature of the passion.

The aims of the artist in this drawing are linked to the specific nature of the commissioning of the Eisenheim Altarpanel. This drawing is
prefigures that altar piece which was painted for a hospital to care for the terminally ill. The tortured reatment of Jesus in the Eisenheim
altarpanel was designed to remind those who were dying of the constant presence of sin and the need for redemption. To see an
image of Christ suffering so physically was a reminder that human illness and suffering was an extension of Christ’s.
NCEA Level 3 Art History (90490) 2009 — page 16 of 31
Cubism and
Abstraction
1900 -1930
Question Seven (a)
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7.1 Brancusi, Mademoiselle Pogany I, 1913
7.2 Boccioni, Unique Forms of Continuity in Space, 1913
The candidate identifies at least three stylistic characteristics in the two sculptures, including references to the treatment of the
figure in each sculpture.
Correct Responses may include, eg:
Brancusi’s Mademoiselle Pogany:

Brancusi’s sculpture depicts the head and hands of a female.

The work is tightly compacted, with the elongated hands supporting the oval head in a single, smooth shape.

Streamlined forms, dominated by the shape of an egg and the elongated cylinder which supports the head.

Simplified and stylised facial features define the face.

Primitive simplification and stylisation which may be linked to Buddhist or Cycladean art. (Iberian?)

The figure has been stylised and abstracted in a fluid, streamlined manner which emphasises the gleming properties of the bronze.

Texture (black patina) as been used to indicate hair.

The small size of the sculpture invites an intimate gaze

The head is down-turned and the stylised brow emphasises the figure’s lowered gaze.

The bulk of the statue hangs in the air, suspended only by the small wrist.

Highly polished bronze
 The form has been reduced to its essence.
Boccioni’s Unique Forms of Continuity in Space:

Boccioni’s sculpture is an expression of movement and fluidity, portraying speed and forceful dynamism.

It appears to be a full-length figure with the legs spread between two bases.

The contours of the sculpture have been broken up by angular planes or facets which extend beyond the main body of the sculpture

A human-like figure seemingly flying or gliding through air.

Clinging drapery whips back around his legs, giving the sculpture an aerodynamic and fluid form.

The figure is armless and without a discernible face

Elements are exaggerated as if they have been manipulated by the dynamic force of movement

Instead of a traditional pedestal, the figure is only bound to the ground by two blocks at his feet.
The candidate distinguishes between the styles of the two works.
Correct responses may include, e.g::

Brancusi conveys a sense of serene gravity by reducing his work to a few basic elements whereas Boccioni uses angles to create the
NCEA Level 3 Art History (90490) 2009 — page 17 of 31
impression of a moving form which is aerodynamically distorted.
Cubism and
Abstraction
1900 -1930
Question Seven (b)

The contours of Boccioni’s marching figure appear to be carved by the forces of wind and speed as it forges ahead while Brancusi’s
sculpture is self-contained; it reflects in upon itself and is reduced to a single essence.

Brancusi uses polished metal to allude to sleek modern machinery whilst Brancusi uses the metal’s polished surface to eliminate detail
and smoothly unify the form.
M
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As for Achievement plus:
The candidate provides a plausible explanation for the reasons for the differences in the stylistic characteristics of the two
sculptures.
A plausible explanation may include, eg:
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As For Achievement with Merit plus:
The candidate comprehensively relates the stylistic characteristics of the two paintings to the visionary intentions of each artist.
Discussion points may include, e.g:

Brancusi was searching for a pure form which embodied the abstract meditative qualities of eastern art whereas Boccioni’s goal was to
depict a "synthetic continuity" of motion which embodied the dynamic forces of the modern western world.

Brancusi believed that the purpose of sculpture is not merely the representation of the surface of forms but the evocation of the inner
force that produces the surface. Although his work is greatly simplified, it is still recognisable as a human figure. The smooth and highly
polished surface is fundamental to Brancusi's goal of unifying the body's component parts into a continuous single surface.

Brancusi was a theopsophist and, like Mondrian and Kandinsky, he was interested in developing abstract visual expression which
could be timeless and universal. This desire led him to develop a sculptural style which reduced natural forms to their essence to
produce fluid, simplified forms based on elemental shapes such as The Egg to which this work can be linked.

The streamlined, ovoid form of Mlle Pogany can be linked to Brancusi’s series of Sleeping Muses. These sculptures were influence by
Buddhist iconography and reflect Brancusi’s desire to evoke the meditative, contemplative properties of Eastern religions such as
Buddhism.

Boccioni was a passionate Futurist with a positive vision for a new world in which machines and technology would take humans to a
new level. This vision had inspired the Italian Futurist artists to develop a new style of art which conveyed the new modern sensations
of mechanical speed. Images like Balla’s Speeding Locomotive and Boccioni’s Forces of the City emphasise the energy and potential
of the new mechanical world.

The Futurists admired speed, technology, youth and violence, the car, the airplane and the industrial city - all that represented the
technological triumph of humanity over nature. Their Manifesto repudiated the cult of the past, praised originality, "however daring,
however violent", dismissed art critics as useless, rebelled against harmony and good taste, swept away all the themes and subjects of
all previous art, and gloried in science. The unusual form of this work is a good example of the Futurist attempt to develop new art
forms.

In Unique Forms of Continuity in Space Boccioni attempted to realise the relationship between a moving object and its environment, a
relationship which was central to his theory of "dynamism".

Boccioni’s exploration of what he saw as a new world of energy and dynamism was the opposite of the world of eastern meditation
which Brancusi was interested in.

Brancusi once said, "One arrives at simplicity ... as one approaches the real meaning of things." Boccioni however sought to infuse art
NCEA Level 3 Art History (90490) 2009 — page 18 of 31
with dynamism and energy, and exclaimed, "Let us fling open the figure and let it incorporate within itself whatever may surround it."
NCEA Level 3 Art History (90490) 2009 — page 19 of 31
Fauvism and
Expressionism
Question Eight (a)
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8.1 Beckmann, Self-Portrait in Florence, 1907
8.2 Beckmann, Self-Portrait in Tuxedo, 1927
The candidate identifies at least three stylistic characteristics in the two works, including at least one characteristic in each work.
Correct responses may include, eg:
1907:

A centralised half-length portrait

Beckmann is depicted frontally, looking at the viewer with a serious expression on his face

The face is evenly lit with a soft light.

The face is modeled with light tones and soft shading around the chin

Only the right hand is visible, palm extended towards the viewer, holding a cigarette

An impressionist-style landscape, flooded with sunlight, can be seen through the window behind the figure

The background landscape is in bright sunny colours and creates a light which radiates around the figure.
 The white colour enlivens the dark suit and adds to the colourist impression in the work.
1927:

An asymmetrical three-quarter length portrait

The pose is not straight, the right arm on the hip extends beyond the frame of the painting

A cigarette is held in the left hand, with the back of this hand starkly lit against the dark black jacket

The figure is set against an undefined white rectangle framed on one side by a dull brown curtain

There is a limited palette in this work

The lighting is harsh so that the painting is dominated by the contrasts between white and black

The face has a grim expression which is emphasised by the harsh light used to model the form.
 Modernist painting – lack of depth, flat colour, simplified composition,
The candidate distinguishes between the styles of the two works
Correct responses may include, e.g:
Fauvism and
Expressionism
Question Eight (b)
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Beckmann has depicted himself quite differently in these two self-portraits. In the earlier work he has created a balanced composition
and used pleasant summery colours in the background to create a calm atmosphere. The later work has a great deal of pictorial
tension which has been created by the reduced colour and harsh lighting.

The earlier painting follows the western traditions of three dimensional space, tonal modeling and landscape backgrounds however the
later painting reflects modernist influences of flattened planes, harsh light and simplified form.
As for Achievement plus:
The candidate provides a plausible explanation for the reasons for the stylistic differences in the two works.
A plausible explanation may include, eg:
NCEA Level 3 Art History (90490) 2009 — page 20 of 31
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As for Achievement with Merit plus:
The candidate comprehensively relates the stylistic characteristics of the two works to Beckmann’s personal experiences and
changing ideas.
Discussion points may include, e g.
Beckmann had undergone many difficult experiences in the twenty years which separate these self-portraits. The early painting
commemorates his visit to Florence as a youthful scholarship winner. In the later painting Beckmann shows the effects of the many
difficult experiences he has had since his early adulthood. The dark shadows and grim expression reflect his experiences in the
battlefields of World War I, as well as his divorce.

The huge numbers of self-portraits produced by Beckmann throughout his life provide a fascinating study of his life and experiences.
The 1907 portrait was completed shortly after his marriage to a successful opera singer and his own prize-winning success at the end
of art school. By 1927, the date of the second portrait, Beckmann’s experiences had destroyed his early youthful confidence and his
style had changed from the sweet, impressionistic style of his youth to the harsh, expressionist style which would dominate his later
works such as The Departure Triptych.

Early works such as this one of 1907 depict a young man with the determination to become a professional painter who believed in his
own ability. The strong gaze and professional suit of the early work indicate that Beckmann believes he has the potential to be very
successful and there are links between this work and self portraits produced by Albrecht Durer, another German artist who was also
inspired by Italian painting. In 1927 he was still recognised as a successful artist however the imagery in his art now reflected his
pessimistic ideas about human progress and the relevance of Christianity in the modern world.

There is a youthful self-confidence in the earlier portrait and he uses the Florentine background to present himself as the heir to a great
art tradition. His frontal pose, firm gaze and suit are used to present an image of an artist who is a citizen of the modern world and not a
struggling bohemian. This relaxed sense of self is not apparent in the later painting. Although he still wears a suit which defines him as
a successful member of German cultural society, the harsh use of black highlighted by stark white indicate that this is a stronger man
who does not need the props of other artistic culture to support him.

In the later painting we can see that Beckmann has moved away from his earlier impressionist style and that he has begun to work with
modernist influences derived from early twentieth century artists like Matisse whose works he had seen in visits to Paris. The stark
contrast between these works is explained by the changes in style which are apparent in the drawings and prints he made in response
to the horrors of World War I, such as the Hell Series in which he uses self portraits to present himself as a social commentator.

There is a greater emphasis on personal suffering in the later painting, with the dark shadows and heavy brow indicating a greater
interest in personal experiences and psychology.

The suit in the second portrait demonstrates Beckmann’s return to society and popularity – he is becoming prosperous again and, with
his new wife, he is again mixing with society.

Beckmann’s interest in his own image may be related to the influence of German thinkers such as Schopenhauer, Nietzsche and Freud
who speculated on the role of Self in personal and social actions.
NCEA Level 3 Art History (90490) 2009 — page 21 of 31
Dada and Surrealism
Question Nine (a)
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9.1 Max Ernst, Two Children are Threatened by a Nightingale, 1924
9.2 Rene Magritte, The Signs of Evening, 1926
The candidate identifies at least three stylistic characteristics in the two plates, including references to the composition and use
of framing in each painting.
The candidate distinguishes between the styles of the two art works.
Correct responses may include, eg:
Two Children Are Threatened by a Nightingale

A large wooden frame surrounds a thin, inner frame which is painted in the same colours and tones of the painting.

The title of the painting is written along the painted inner frame of this work

A traditional painted landscape sets the scene.

Aerial and atmospheric perspectives, which surround a domed building in the background, suggest deep space.

In the foreground wooden forms have been used to create a building which projects out of the painted scene and casts a shadow on
the right hand frame.

A wooden fence, which is attached to the left of the art work, extends beyond both the inner and outer frames into the viewer’s space

Small figures seem to float on the painted ground, their lack of consistent shading makes them look lightweight and ethereal

The composition within the frame is unbalanced, with the empty space on the left contrasting with the strong solid form on the right.
 The figures move in opposite directions which draws the viewer’s attention away from the empty centre of the painting.
The Signs of Evening:

Finely painted with attention to realistic detail

An asymmetrical composition with the framed painting positioned to the left of centre

Layered space is created with aerial perspective suggestion recession beyond the flat dark forms of hills

Framed painting is placed in mid-ground of the composition

A modelled and foreshortened sphere lies in the foreground

Shadowing from the painting and foreground ball suggest a consistent light source which is consistent with the light source suggested
by the tree and other objects in the painting within the composition

Both the compositions of the inner and principal scenes are divided into thirds, as in the golden section.

A wooden rectangle frames an inner scene within the composition

A secondary framing device is created around the inner picture by the scroll-like grey forms surrounding the inner picture

Ernst’s painting incorporates both traditional elements of European painting, like aerial perspective, with applied elements such as the
doorbell which reflect contemporary Dada incoherence.
The candidate distinguishes between the styles of the two works
Correct responses may include, e.g:
NCEA Level 3 Art History (90490) 2009 — page 22 of 31
Dada and Surrealism
Question Nine (b)
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Frames are important parts of both of these art works. Magritte has used a painted frame to define a painting within his composition
while Ernst uses a painted, wooden inner frame to create the feeling that the painting extends beyond his painted world into the world
of the viewer.

In Ernst’s work, a painted wooden frame surrounds the whole painting, apart from the wooden fence which extends out of the painting
on the left. In Magritte’s painting, a painted frame is used to create a painting within a painting.
As for Achievement plus:
The candidate provides a plausible explanation for the reasons for the differences in the stylistic characteristics of the two art
works.
A plausible explanation may include, eg:

The stylistic differences apparent in the two art works reflect different styles and techniques used by the two artists. Ernst was a mixedmedia artist and this composition uses collaged elements to create ambiguities between the real and unreal. Magritte was a painter and
all the elements of this painting, including the frame and inner picture, have been treated in the same way, with smoothly applied oil
paint.
As for Achievement with Merit plus
The candidate comprehensively relates the stylistic characteristics of the influence of psychoanalytical theory on art in this
period.
Discussion points may include, eg:

Psychoanalytical theory was an important influence on artists in this period, especially the Surrealists. Although none of them had read
Freud thoroughly, his ideas about neurosis, dreams, inner-consciousness were widespread among intellectuals, including artists in
Europe.

In 1900 Freud’s The Interpretation of Dreams was published. It introduced the notion that dreams were evidence of subconscious ideas
or desires. Later psychologists, like Jung, developed psychoanalytical therapies which sought to cure mental instability by analyzing
dreams. Both of these art works present the viewer with compositions which are ambiguous and question reality in dream-like scenes.

Breton, one of the founders of the Surrealist movement had helped treat shell shock victims after World War I by using dream analysis,
a Freudian means of treating emotional disorders.

Both Magritte and Ernst were interested in Freudian thought and related ideas about parallel realities and the dark world of the
subconscious. These influences can be seen in the unrealities and ambiguities of these art works.

Ernst’s work seems to be about childhood fears, nightmares and the irrational fear of small creatures. The painted unrealities are
contrasted with the solidity of the collaged wooden elements. The crude simplicity of these wooden elements emphasise the children
who appear to be the subject of the work. This links to the exploration of childhood innocence which is part of other works by Ernst
such as The Elephant Celebes. The wooden fence which extends over the frame and into the viewer’s space carries this nightmare out
of Ernst’s painted world and into the real world inhabited by the viewer.

Magritte frequently used a framed inner picture to create ambiguities about reality in his work, eg The Human Condition I. The viewer is
forced to contemplate the reality of what is before him, ideas which were being explore by Freudian influenced writers in the early
twentieth century. These Freudian ideas would lead to ideas about personally constructed realities which are also explored by
Magritte’s framing devices.
NCEA Level 3 Art History (90490) 2009 — page 23 of 31
Architecture –
Modernism – PostModernism
Question Ten (a)
10.1 Le Corbusier, Notre-Dame-du-Haut, 1950-55
10.2 Le Corbusier, Unite d’Habitation, 1952
The candidate identifies at least three stylistic characteristics in the use of concrete in the two buildings, including at least one
characteristic in each building.
Correct Responses may include,
eg:
Notre-Dame du Haut:

Sculptural, organic shape produced by sprayed on concrete surfaces

Curved surfaces accentuate monumentality

Simple forms have been massed together in monolithic concrete.

Simple shapes which echo domestic architecture

Restrained colour range of white and grey

Small, rectangular openings pierce the surface in random order

Solidity of walls is enhanced by deepset windows

Concrete surface has a coarse, textured finish, like that which would be found in traditional whitewashed cottages

The undulating surfaces of the walls are held in check by the heavy roof

Roughcast concrete encloses an inwards looking building
 The thick concrete walls are pierced by narrow glass inserts
Unite d’Habitation:

The building has the effect of a solid rectangular slab which stands above the surrounding landscape.

Huge concrete slabs frame a building composed of pre-cast concrete panels

The windows are recessed behind balconies to create a pattern of dark shdows in the overall grey concrete structure.

The facades of Unite are based on a gridded composition with variation in glazing and balconies

The surface articulation is enlivened by a complex arrangement of the pre - cast sections used in the construction

The concrete is raw or unfinished however the grey of this raw concrete is enlivened by the bright primary colours used to define the
balcony areas of each apartment

Huge concrete pilotis support the building so that it seems to hover above the ground.

The uniformity of the surface has been broken by the different articulation of the shop floor and service areas.

The entire surface is unpainted concrete, only the balcony surfaces are painted in red, blue, yellow and green

Flat concrete slabs form the roof which has been broken by sculptural concrete forms housing ventilation shafts, swimming pool and
roof terrace

The grey concrete surfaces bare the imprint of the formwork used in their construction
NCEA Level 3 Art History (90490) 2009 — page 24 of 31
The candidate distinguishes between the styles of the two buildings.
Correct Responses may include eg:
Architecture –
Modernism – PostModernism
Question Ten (b)

While the appearance of Unite d’Habitation reflects the precast uniformity of concrete construction, Notre Dame du Haut provides an
example of the plastic possibilities of this new medium.

Le Corbusier has used the plastic properties of concrete in Notre Dame to create a dynamic, sculptural form however the precast
techniques used in Unite d’Habitation have enabled him to create a static, columnar appearance on the exterior of the building.
M
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As for Achievement plus:
The candidate provides a plausible explanation for the reasons for the stylistic differences in the two buildings.
A plausible explanation may include, eg:
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As for Achievement with Merit plus:
The candidate comprehensively relates the stylistic characteristics of each building to Le Corbusier’s ideas about modern
architecture.
Discussion points may include, eg:

Although these buildings were designed by the same architect using the same materials they have very different purposes. Notre
Dame is a church and Le Corbusier has used the plastic possibilities of concrete to create a modernist interpretation of the traditional
elements of church architecture – gabled roof, bell tower. Unite d’habitation is a high density apartment building and its simple
rectangular form is in keeping with the forms being developed for corporate architecture by other modernist architects.

Both buildings are examples of some of Le Corbusier’s strongest ideas about architecture, particularly the importance of the integration
of building and surroundings. Notre Dame was designed to relate to a historic religious site while Unite d’Habitation was designed as
an apartment building in a modern urban city. The use of concrete in the two buildings reflects Le Corbusier’s belief in the possibilities
of concrete as a modern building material which provided the solution to the structural, constructional and economic requirements of
the twentieth century, especially mass housing.

The plastic properties of concrete also led to the development of spectacular sculptural buildings such as Saarinen’s TWA terminal and
Utzon’s Sydney Opera House to which Notre Dame may be linked.

Concrete was the favourite modern material of Le Corbusier and the source of the nickname by which he was known. For le Corbusier,
concrete was the modern material which could be used to provide the economic high-density housing to meet the needs of growing
population pressure. At the opening of Unite d’Habitation he referred to concrete as a natural material, a form of stone and he
described the beton brut (bare concrete) of the building as an appropriate finish for the machine age.

The forms of Ronchamps reveal Le Corbusier’s interest in strong classical forms, their classicism expressed in simple forms which are
unified by their suitability for their purpose. It also reflects his interest in integrating building and landscape with the rounded forms of
the chapel reflecting the surrounding rolling hillside. In this sense this building exemplifies what he described as the “visual acoustics”
of sites like the acropolis in which the buildings were integrated with the environment to form a unity “when nothing more might be
taken away, when nothing would be left but these tightly knit elements.”

Notre-Dame reflects Le Corbusier’s ideas about the architecture to enable spirituality and his interest in “the effect of architectural
forms and the spirit of architecture in the construction of a vessel of intense concentration and meditation”. The forms of this building
were enhanced by his designs for the approach – the large concrete outdoor altar, the incorporation of old stones into the approach up
the hillside to the church. His building at La Tourette is another example of his creation of a spiritual space although in this case he
NCEA Level 3 Art History (90490) 2009 — page 25 of 31
used his concrete to create an enclosed convent that resembled a medieval fortress.

Unite d’habitation has 370 apartments which are placed in relationship to one another through a complex grid which is apparent in the
surface articulation. This arrangement was an important aspect of Le Corbusier’s desire to use modern materials and methods to
provide workers with a good standard of housing and life. Room sizes, fenestration and public facilities were all designed to reconcile
high-density housing with the essential joys of light, space and greenery.

Unite d’Habitation conforms to some of the features of Le Corbusier’s five points of architecture are visible in – the flat roof was treated
as an outdoor living space; the pilotis lifted the building off the ground to allow people to move and use the ground under the building,
however the requirements of the structure has meant that other aspects such as the free faced and horizontal strip windows are less
apparent. Notre Dame fulfills even fewer of these features, with its plastic form which seems to reflect the expressionism of Gaudi’s
earlier apartment buildings.
NCEA Level 3 Art History (90490) 2009 — page 26 of 31
Modern American Art
Question Eleven (a)
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V
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11.1 Jackson Pollock, Full Fathom Five, 1947
11.2 Roy Lichtenstein, Yellow and White Brushstrokes, 1965
The candidate identifies at least three stylistic characteristics in the art works, including references to each art work.
Correct Responses may include, eg:
Pollock,

Rhythmic, accidental, gestural, free flowing brush strokes are apparent in the lines and skeins of paint on the surface.

The space appears flat however the density of the textured layers provides some sense of depth, ambiguous.

Web of inter-woven and over-layed drips, bruch strokes and objects such as cigarettes

A variety of colours used but these fuse into an overall grey-green which is hightlighted by some blobs of high-key accents – yellow and
red, especially

An all-over painting, with no visible surrounding space which can be defined as background or framing

The all-over treatment prevents the description of the work in terms of foreground or background

No compositional divisions or zones of space

The hand of the artist are clearly visible in the paintmarks, incorporated pocket paraphernalia etc

Although no compositional framework is apparent, the rhythm of the painted swirls gives the work a certain coherence.

Tactile
 Unstructured
Lichtenstein, Yellow and White Brushstrokes

A carefully constructed composition which separates form from space.

Large simplified recognisable form is centralised against surrounding space.

Flat, high-key colours of yellow and white standout against the benday dot background

The image of the large brushstrokes has been defined by strong black edges which separate the motif from the background.

Smooth surface, unmarked by brushstrokes etc gives a mechanical and detached impression

Controlled line and use of benday dot process eliminate the trace of the artist’s hand

Hard edge comic book style.

Commercial techniques and colours give a hard-edge non-tactile finish.
 The painted image creates illusions of space and gravity through the painted black shadows and painted white drips.
The candidate distinguishes between the styles of the works.
Correct Responses may include, eg:

Lichtenstein work is smooth and cleanly defined. It is painted with a mechanical simplicity and detachment whereas Pollock has a
densely worked surface churning with multiple crisscrossing and planar forms.
NCEA Level 3 Art History (90490) 2009 — page 27 of 31
Modern American Art
Question Eleven (b)
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T
As for Achievement plus:
The candidate provides a plausible explanation for the reasons for the differences in the stylistic characteristics in each work.
A plausible explanation may include, eg:
E
X
C
E
L
L
E
N
C
E
As for Achievement with Merit plus:
The candidate comprehensively relates the stylistic characteristics of the works to the intentions of each artist.
Discussion points may include, eg:

The different appearances of the two works reflect the contrasting painting techniques of the two artists, ie Lichtenstein’s carefully
planned and executed technique using mechanical processes compared with Pollock’s unplanned stream of consciousness approach
involving a personal hands-on approach which involved the whole body. Lichtenstein’s painting makes deliberate reference to gestural
painting, mocking the Abstract Expressionist emphasis on the process of painting.

Pollock was an abstract expressionist and Lichtenstein was a Pop artist. Both movements had very different goals. Abstract
expressionism was personal and intuitive, concerned with the introspective nature of the artist and their emotions. Pop art took
inspiration from mass media and its techniques. It was detached in its execution reflecting popular culture rather than an artist’s
personality and emotions.

Pop art was a reaction against the deep introspection and intellectual elitism of abstract expressionism. Lichtenstein’s painting refers to
the importance of the gestural brushstroke in Pollock’s work by reducing the action of gesture to one giant painted form which has been
mechanically produced. This parody ridicules the Abstract Expressionist emphasis on the passion of the act of painting while
emphasising Pop s accessibility and detachment.

Pollock believed in a multiplicity of meaning and in the importance of individual expression. He believed that the gestural nature of his
style could communicate the emotions of his mind at the time of the creation of the painting. He believed that his inner consciousness
was a driving creative force in its own right. Other abstract expressionists like Rothko shared this sense of personal spirituality which
could be expressed in large abstract works like Rothko’s Orange and yellow.

The emergence of gestural and colour-field abstract expressionism conincided with the popularity of existentialist philosophies and
Jungian psychoanalysis in USA. Pollock had Jungian analysis and his abstract paintings were an attempt to visualise the abstract
existentialist concepts which interested him.

The later painter Lichtenstein came to maturity in the materialist world of USA in the 1960s and this is reflected in his paintings of
everyday subjects like Wham. By the 1960s many American intellectuals had become cynical about the significance and value of
abstract expressionist painting and this led Lichtenstein to produce a number of works which depicted paint strokes, comic imagery and
dollar signs.

Lichtenstein, like Andy Warhol, understood that the culture of mass media had developed a new landscape of signs that acted with the
same authority as nature. This landscape of signs was singular in meaning and reduced complexities to a single identity.

He was the master of the stereotype, and the most sophisticated of the major Pop artists in terms of his analysis of visual convention
and his ironic exploitation of past styles which can be seen in his works based on earlier well-known artists such as Picasso and, even,
Leonardo’s Mona Lisa.

Pollock was an abstract expressionist whose painting technique was integral to the meaning of his work. His technique combined the
movement of his body, over which he had control, the viscous flow of paint, the force of gravity, and the absorption of paint into the
canvas. It was a mixture of controllable and uncontrollable factors. Flinging, dripping, pouring, and spattering, he would move
NCEA Level 3 Art History (90490) 2009 — page 28 of 31
energetically around the canvas, almost as if in a dance, and would not stop until he saw what he wanted to see.

Lichtenstein was a Pop artist whose technique was also integral to the meaning of his work. Mechanical reproduction was imitated so
that no trace of the artist’s hand was visible. He paints a clinical non-gestural, unemotional, unintuitive stereotypical image of a
brushstroke a symbol of the passion and spiritual intellectualism of the abstract expressionists.
NCEA Level 3 Art History (90490) 2009 — page 29 of 31
Modern New Zealand
Art
Question Twelve (a)
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12.1 Tony Fomison, That little man he’s not his biggest yet. That little man he is to bigger get. (#138), 1977
12.2 Robyn Kahukiwa, And Still Are Warriors, 1994
The candidate identifies at least three stylistic characteristics in the two plates with reference to the treatment of the faces and
composition in each work.
Correct responses may include, e.g
Fomison, That Little Man etc,

a small painting dominated by flat black paint which has a bleak austere effect

two figures, one in sharp profile, the other in a three-quarter view, are hard up against the picture plane

the two large figures frame a small male figure who has his back facing the viewer and face turned to the left

the composition is not centralised – the leaning figure on the left pushes the action to the right

A contrast has been set up between the two profile figures – the large one dominates with his pointed nose and chin

The curved upper border of the composition is edged by what appears to be a dull red curtain. This helps establish the setting as a
stage

A limited palette has been used – flat black is dominant, the figures are depicted in a murky skin tone with some white highlighting. Red
is used as an accent.

The brushwork is thinly applied so that the rough surface of the canvas is visible

Figures have been sketchily painted with strong black shadows used to mould the forms

The figures merge with the dark surroundings, their features made visible by the harsh light which falls on them from the front left.

The composition has been carefully planned – the white stick on the diagonal in the foreground parallels the diagonal lines of the
largest figure

The figures have been simplified and stylized however certain features have been individualised – the profile of the small figure may be
identified.
Kahukiwa, And Still Are Warriors:

This is a very large painting.

There are aspects of a grid in this composition, apparent in the lines of numbers and the rows figures.

Rows of white painted numbers form a frame which pushes the square group of figures into the bottom right of the painting

The composition is not symmetrical however the geometric arrangement of a square within the larger rectangle creates balance.

Colour is also used to separate the zones within the painting – the white numbers are mainly set against patterns of blue and green,
while the dark brown figures are set against a red ground. Red has also been used to highlight and emphasise some of the figures.

There are six rows of figures in the square on the right. The top and bottom rows are more stylized than the simplified and strongly lit
female figures in the middle row.

There is no real recession in the painting, the white numbers emphasise the flat surface of the painting .

The figures are set close to the surface plane of the painting. There is some dark shading on the figures however their overall
NCEA Level 3 Art History (90490) 2009 — page 30 of 31
appearance is flat

The use of red on the two female faces draws attention to them and brings them out of the surface of the painting
 The whites of the eyes which stare out of the painting is confrontational.
The candidate distinguishes between the styles of the two works.
Correct responses may include, eg

Modern New Zealand
Art
Question Twelve (b)
The styles of these two paintings are quite different. The figures in Fomison’s small painting make no contact with the viewer while
Kahukiwa’s larger figures which stare out of the painting draw the viewer into a confrontational relationship with her painting.
M
E
R
I
T
As for Achievement plus:
The candidate provides a plausible explanation for the differences in the styles of the two plates.
A plausible explanation may include, eg:
E
X
C
E
L
L
E
N
C
E
As for Achievement with merit plus:
The candidate comprehensively relates the stylistic characteristics to the expression of personal feelings in New Zealand art.
Discussion points may include, eg:

Kahukiwa is a Maori artist who uses Maori imagery in her compositions to express meaning about Maori or female issues. The
treatment of the figures in this work has been derived from the stylized images found in whakairo such as poupou. Fomison has drawn
on European traditions when establishing his setting and composition, using the shape of his painting and the painted curtain to
establish a theatre in which to depict his puppet characters.

Although these paintings are very different, both works have been painted to convey the personal feelings of the artist about aspects of
contemporary life.

The expression of personal feelings has always been a major aspect of New Zealand art. Sometimes personal feelings are expressed
stylistically in what is described as an expressionist style; best exemplified by the gestural brushstrokes, exaggerated colour and
distorted forms of Philip Clairmont. Tony Fomison is often grouped with Clairmont as one of New Zealand’s expressionist painters
however his methods are different.

That Little Man etc conforms to the expressionist techniques used by Fomison to express his concerns about human existence, fate
etc. This work belongs to a series of paintings which used jesters and other motifs to explore the theatre of life, eg Every Man as As
Medusa, 1973.

Fomison described his paintings as haunting and lonely and used flat blackness to create a sense of foreboding as an expression of
despair at human malice and the sense of doom which shadows human existence. The use of black and dark shadows to express
personal ideas about human existence is a common device in New Zealand painting and is associated with other well known artists
such as Colin McCahon (Takaka Night and Day) or Ralph Hotere (the so-called black paintings.)

Kahukiwa is an example of artists who use imagery and confrontational compositions to draw attention to their feelings. This is also
part of the tradition of painting in New Zealand and can be observed in some of Mccahon’s early paintings using Christian imagery or in
some of Rita Angus’s self portraits.

The size, technique and imagery of And Still Are Warriors are typical of Kahukiwa’s paintings in this period, leading up to her Wahine
Toa series in which she expresses her feelings about the strength of Maori women and their role in creating and maintaining whanau
and the traditions of Maori culture.
NCEA Level 3 Art History (90490) 2009 — page 31 of 31

The confrontational, direct depiction of the figures in Kahukiwa’s painting has an obvious source in Maori representational traditions.
Kahukiwa uses these references to express her sense of Maori identity and symbolise the challenges she sees facing Maori,
particularly women, and her sense of the strength of response.
Judgement Statement
Note: The candidate selects TWO different area of study, and for each answers both parts (a) and (b) of the question.
Achievement
Achievement with Merit
Achievement with Excellence
2A
OR
1 E (if only one answer is given)
2M
OR
1E+1A
1E+1M