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UNIVERSITY of CAMBRIDGE INTERNATIONAL EXAMINATIONS in Collaboration with ASSOCIATION of CAMBRIDGE SCHOOLS in NEW ZEALAND Advanced Subsidiary Level

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UNIVERSITY of CAMBRIDGE INTERNATIONAL EXAMINATIONS in Collaboration with ASSOCIATION of CAMBRIDGE SCHOOLS in NEW ZEALAND Advanced Subsidiary Level UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS in collaboration with ASSOCIATION OF CAMBRIDGE SCHOOLS IN NEW ZEALAND Advanced Subsidiary Level HISTORY OF ART (School-based Assessment) 8285/01 Paper 1 The Renaissance October/November 2011 1 hour 30 minutes Mark Total 50 marks Additional Materials: Answer Booklet/Paper Photographic Images READ THESE INSTRUCTIONS FIRST If you have been given an Answer Booklet, follow the instructions on the front cover of the Booklet. Write your Centre number, index number and name on all the work you hand in. Write in dark blue or black pen on both sides of the paper. You may use a soft pencil for any diagrams or rough working. Do not use staples, paper clips, highlighters, glue or correction fluid. At the end of the examination, fasten all your work securely together. Answer TWO questions. Answer ONE ESSAY question from Section A . Answer ONE PHOTOGRAPH question from Section B . All questions in this paper carry equal marks. You should not repeat material or make use of identical material in your answers to separate questions. You are reminded of the need for good English and clear presentation in your answers. Remember that all questions require you to focus on art works. Artists other than those listed may be discussed in the essay questions in Section A. Only listed artists are used for the comparative analysis in Section B. This paper consists of 4 printed pages and 8 photographic images. UCLES 2011 [Turn over SECTION A Answer only ONE question on ONE option from this Section. OPTION 1: Fourteenth Century Italian Art Q.1 With reference to ONE work by ONE artist, discuss the impact of patronage on fourteenth century Italian painting. Q.2 With reference to the Passion sequence in Giotto’s Arena Chapel and Duccio’s Maestà , compare the narrative techniques employed by each artist. Q.3 Compare and contrast Florentine and Sienese approaches to form, space and colour in fourteenth century painting. Refer to specific examples in your answer. OPTION 2: Naturalism and Science in Fifteenth Century Italian Painting Q.4 Discuss the importance of Alberti’s theories on perspective in the work of EITHER Uccello ORPierodella Francesca.Refer to specific examples in your answer. Q.5 With reference to TWO works by each artist, compare and contrast the landscape settings of Pierodella Francesca and Leonardo da Vinci. Q.6 Discuss the role of naturalism in the portrayal of narrative in TWO works by fifteenth century painters. OPTION 3: The High Renaissance Q.7 Assess the influence of antiquity on the work of both Michelangelo and Raphael in the High Renaissance.Refer to specific examples in your answer. Q.8 With reference to specific works, explain the techniques used by Raphael to create a portrait that went beyond a mere likeness. Q.9 Assess the impact of civic patronage on the work of ONE High Renaissance artist. Refer to specific works in your answer. OPTION 4: The Renaissance in Northern Europe Q.10 Discuss the use of perspective in TWO interior scenes by Northern artists. Q.11 Discuss the purpose and meaning of symbolism used by Bosch in the central panel of The Haywain, c.1490-1500. Q.12 Compare and contrast ONE portrait by Jan van Eyck and ONE portrait by D ϋrer. 2 SECTION B Answer only ONE question on ONE option from this Section. Make a careful and comparative analysis of the two plates provided and attempt to place them in their appropriate historical and cultural contexts. Refer to stylistic features and content in your discussion. Refer to the photograph images provided for these questions. Q.13 Option 1 Figure A Cimabue, Madonna in Majesty , tempera on panel, Uffizi Gallery, Florence, 385 x 223 cm, 1285-86. Figure B Giotto, Ognissanti Madonna (Madonna in Maestà), tempera on wood, Uffizi Gallery, Florence, 325 x 204 cm, c.1310. Q.14 Option 2 Figure C Pierodella Francesca, Portrait of Battista Sforza , tempera on panel, Uffizi Gallery, Florence, 47 x 33 cm, 1465-66. Figure D Leonardo da Vinci,La belle Ferronière , oil on panel, The Louvre, Paris, 63 x 45 cm, c. 1490. Q.15 Option 3 Figure E Leonardo da Vinci, The Battle of Anghiari , pen, ink, chalk, The Louvre, Paris, 42 x 62cm, 1503-6, copy by Rubens, c.1615. Figure F Michelangelo, The Battle of Cascina , oil on wood, Holkham Hall, Norfolk, UK, 77 x 130 cm, 1504-6, copy by Bastiano da Sangallo, c.1542. Q.16 Option 4 Figure G Dϋrer, Christ Among the Doctors , oil on panel, MuseoThyssen-Bornemisza, Madrid, 65 x 80 cm, 1506. Figure H Bosch, Christ Mocked (Crowning with Thorns) , oil on wood, National Gallery, London, 73 x 59 cm, c.1495 - 1500. End of Questions 3 Acknowledgements Q.13 Figure A Cimabue, Madonna in Majesty , tempera on panel, Uffizi Gallery, Florence, 385 x 223 cm, 1285-86. From www.wga.hu Figure B Giotto, Ognissanti Madonna (Madonna in Maestà), tempera on wood, Uffizi Gallery, Florence, 325 x 204 cm, c.1310. From www.wga.hu Q.14 Figure C Pierodella Francesca, Portrait of Battista Sforza , tempera on panel, Uffizi Gallery, Florence, 47 x 33 cm, 1465-66. From www.wga.hu Figure D Leonardo da Vinci, La belle Ferronière , oil on panel, The Louvre, Paris, 63 x 45 cm, c. 1490. Fromwww.wga.hu Q.15 Figure E Leonardo da Vinci, The Battle of Anghiari , pen, ink, chalk, The Louvre, Paris, 42 x 62cm, 1503-6 copy by Rubens, c.1615. From www.wga.hu Figure F Michelangelo, The Battle of Cascina , oil on wood, Holkham Hall, Norfolk, UK, 77 x 130 cm, 1504-6, copy by Bastiano da Sangallo, c.1542. From www.wga.hu Q.16 Figure G Dϋrer, Christ Among the Doctors , oil on panel, MuseoThyssen-Bornemisza, Madrid, 65 x 80 cm, 1506. From www.wga.hu Figure H Bosch, Christ Mocked (Crowning with Thorns) , oil on wood, National Gallery, London, 73 x 59 cm, c.1495 - 1500. From www.wga.hu Third party copyright material used in this examination has been reproduced in accordance with thexceptions allowed under Section 3 (49) of the New Zealand Copyright Act 1994. 4 .
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