L3–ARTR 993703 3

Level 3 Art History, 2018 91482, 91483, and 91484

9.30 a.m. Wednesday 7 November 2018

RESOURCE BOOKLET

Refer to this booklet to answer the questions for Art History 91482, 91483, and 91484.

Check that this booklet has pages 2 – 34 in the correct order and that none of these pages is blank.

YOU MAY KEEP THIS BOOKLET AT THE END OF THE EXAMINATION.

© New Zealand Qualifications Authority, 2018. All rights reserved. No part of this publication may be reproduced by any means without the prior permission of the New Zealand QualificationsAuthority. 2

INSTRUCTIONS

This booklet contains the plates for Art History 91482, 91483, and 91484.

There are five plates for each of the Level 3 areas of study: • Early Renaissance (c.1300–1470s): Plates 1–5 (pages 3–7) • Late Renaissance (c.1470 –1540s): Plates 6–10 (pages 8–12) • Early Modernism (1900 –1940): Plates 11–15 (pages 13–17) • Modernist Design and Architecture (1900 –1960): Plates 16–20 (pages 18–22) • Modernism to Postmodernism (1940s –c.2000): Plates 21–25 (pages 23–27) • Contemporary Diversity (after 2000): Plates 26–30 (pages 28–32).

Make sure you read your chosen questions carefully before making your plate selection. 3

EARLY RENAISSANCE (c.1300 –1470s)

Plate 1: Giotto di Bondone, St Francis Receiving the Stigmata, c.1300, tempera on wood panel, 313 × 163 cm, Musée du Louvre, Paris (originally commissioned for the Church of San Francesco, Pisa, Italy)

Above: Interior of the Church of San Francesco, Pisa, Italy, where the artwork originally sat near the main altarpiece. The wooden ceiling is typical of Franciscan churches built in the 13th Century. Below: Details of the predella panels, depicting scenes from the life of St Francis: (left) The Dream of Pope Innocent III; (centre) The Approval of the Franciscan Rule; (right) The Sermon to the Birds. Plate 2: Traditionally attributed to Giotto di Bondone, but now frequently attributed to the Master of the St Francis Cycle, Scenes 4–6 from The Life of St Francis, 1297–1299, fresco, each scene 270 × 230 cm, upper church of the Basilica of San Francesco d’Assisi, Italy 4

Above: Scenes from The Life of St Francis, upper church, Basilica of San Francesco d’Assisi. From left to right: Scene 4, The Miracle of the Crucifix; Scene 5, The Renunciation of Worldly Goods; Scene 6, The Dream of Innocent III. Far Left: A view of The Life of St Francis fresco cycle, upper church of the Basilica of San Francesco d’Assisi. Looking towards the main altarpiece. Left: Scenes 4–6 from The Life of St Francis in situ. 5

Plate 3: Ambrogio Lorenzetti, The Effects of Good Government in the City and the Countryside (details from The Allegory of Good and Bad Government), c.1338–1339, fresco, 1400 × 200 cm, Palazzo Pubblico, Siena, Italy

Above: The Effects of Good Government in the City, c.1338–1339, fresco, 700 cm × 200 cm. Below: The Effects of Good Government in the Countryside, c.1338–1339, fresco, 700 × 200 cm.

The Allegory of Good and Bad Government with The Effects of Good Government in the City and in the Countryside shown in situ in the Sala dei Nove. The room measures 2.96 × 7.7 × 14.4 m. 6

Plate 4: Piero della Francesca, Portraits of Federico da Montefeltro and His Wife Battista Sforza, 1465–1466, tempera on wood panel, 47 × 33 cm (each), Uffizi Gallery, Florence, Italy

The reverse side of the portrait featuring The Triumph of Federico da Montefeltro (left) and The Triumph of Battista Sforza (right), 1465–1466, tempera on wood panel, each panel, 47 × 33 cm, Uffizi Gallery, Florence, Italy. 7

Plate 5: Donatello, Gattamelata, 1444–1453, bronze sculpture on marble plinth, statue 340 × 390 cm, base 780 × 410 cm, Piazza del Santo, Padua, Italy

Commissioned by the Republic of Padua to commemorate Erasmo of Narni, a condottiere who became dictator of Padua in 1437. Far left: A profile view of the statue and plinth in situ in the Piazza del Santo, Padua, Italy. Left: Gattamelata (detail). 8

LATE RENAISSANCE (c.1470 –1540s)

Plate 6: Giovanni Bellini St Francis in Ecstasy, c.1480, oil and tempera on wood panel, 124.6 × 142 cm, Frick Collection, New York

Above and right: Detail. 9

Plate 7: Andrea del Verrocchio, Statue of Bartolomeo Colleoni, 1480–1488, bronze, height 395 cm, Campo Santi Giovanni e Paolo, Venice, Italy

Left: Detail. Above: A view of the statue in situ in the Campo Santi Giovanni e Paolo. 10

Plate 8: Leonardo da Vinci, Mona Lisa, c.1503, oil on poplar, 77 × 53 cm, Musée du Louvre, Paris 11

Plate 9: Michelangelo Buonarroti, Moses, 1513–1515, marble, height 254 cm, San Pietro in Vincoli, Rome, Italy

Left: The Tomb of Julius II, of which Moses is the central sculpture, 1505–c.1545, marble, San Pietro in Vincoli, Rome, Italy. 12

Plate 10: Agnolo Bronzino, An Allegory with Venus and Cupid, c.1545, oil on wood, 146 × 116 cm National Gallery, London

Above: Detail of Cupid and Venus. Right: Detail of Folly and Time. 13

EARLY MODERNISM (1900 –1940)

Plate 11: Wassily Kandinsky, Improvisation 27 (Garden of Love II), 1912, oil on canvas, 120.3 × 140.3 cm, Metropolitan Museum of Art, New York, exhibited at the 1913 Armory Show

Left: Wassily Kandinsky drawing, 1926. Above: A view of one of the rooms in the Armory Show, New York, 1913. 14

Plate 12: Marcel Duchamp, Fountain, 1917, photographed by Alfred Stieglitz, 61 × 36 × 48 cm, ceramic, glazed ceramic

Above left: A replica of Duchamp’s Fountain, 1917. Above right: The Blind Man 2, edited by Marcel Duchamp, Beatrice Wood and Henri- Pierre Roche (New York, May 1917), pp 2–3. Right: Marcel Duchamp with Readymades on display at Pasadena Art Museum Retrospective, 1963. 15

Plate 13: Sonia Delaunay, Electric Prisms, 1914, oil on canvas, 250 × 250 cm, Musée National d’Art Moderne, Paris 16

Plate 14: Pablo Picasso, Still Life with Chair Caning, 1912, oil on oil-cloth over canvas, edged with rope 29 × 37 cm, Musée National Picasso, Paris

In Room 7 and 8 of the 1911 Salon d’Automne, held 1 October through to November 8, at the Grand Palais in Paris, hung works by Metzinger (Le Goûter), Henri Le Fauconnier, Fernand Léger, Albert Gleizes, Roger de La Fresnaye, André Lhote, Jacques Villon, Marcel Duchamp, František Kupka, Alexander Archipenko, Joseph Csaky and Francis Picabia. Art critic Guillaume Apollinaire took Picasso to the opening of the exhibition in 1911 to see the Cubist works in Room 7 and 8. (Left) Jean Metzinger’s Le Goûter (Tea Time), shown here as part of a review of the exhibition published in Le Journal, 30 September 1911. 17

Plate 15: René Magritte The Human Condition, 1933, oil on canvas, 100 × 81 cm, National Gallery of Art, Washington, D.C.

Magritte onThe Human Condition: “In front of a window seen from inside a room, I placed a painting representing exactly that portion of the landscape covered by the painting. Thus, the tree in the picture hid the tree behind it, outside the room. For the spectator, it was both inside the room within the painting and outside in the real landscape…” Quoted in Harry Torczyner, Magritte: Ideas and Images, New York, 1977. 18

MODERNIST DESIGN AND ARCHITECTURE (1900 –1960)

Plate 16: René-Jules Lalique, Peacock Pendant, c.1901, gold, enamel, opal, pearl, diamonds, 7.6 × 6.0 cm 19

Plate 17: Gerrit Rietveld, Red and Blue Chair, 1918–1923, painted wood, 86.7 × 66 × 83.8 cm 20

Plate 18: Le Corbusier, L’Esprit Nouveau pavilion,1925, concrete, steel, glass

Top: The exterior of the original pavilion as exhibited at the International Exposition of Modern Decorative and Industrial Arts, held in Paris, 1925. Above left: Interior view of the pavilion, featuring paintings by Fernand Léger, Juan Gris, and Amédée Ozenfant. Above right: View of the enclosed outdoor area at the front of the pavilion. 21

Plate 19: Aleksandr Rodchenko, “Lengiz. Books on all the branches of knowledge” advertising poster for the Leningrad Department of Gosizdat (State Publishing House), 1924, gouache and cut paper on photographic paper, mounted on cardboard, 63 × 88 cm 22

Plate 20: A.M. Cassandre, Normandie, poster, lithograph, 99.7 × 61.9 cm

The S.S. Normandie was an ocean liner built in 1935 in France. It was considered the world’s finest and fastest steam turbo-electric-propelled liner at the time. Between 1935 and 1939, the Normandie made nearly 140 transatlantic round-trip voyages between Le Havre and New York City. 23

MODERNISM TO POSTMODERNISM (1940s – c.2000)

Plate 21: Claes Oldenburg, Pepsi Cola Sign, 1961, muslin soaked in plaster over wire frame, painted with enamel, 152.4 × 121.9 × 19 cm

Above left: Claes Oldenburg sitting in The Store, 1961. Pepsi-Cola Sign was one of many art objects made by Oldenburg for The Store, a multimedia installation held in a storefront in the Lower East Side, Manhattan. Above right: A poster designed by Claes Oldenburg to promote The Store, 1961, letterpress print, 71.8 x 56 cm. Plate 22: Roy Lichtenstein, Whaam!, 1963, acrylic paint and oil paint on canvas, 172.7 × 406.4 cm 24 25

Plate 23: Barbara Kruger, Untitled (I Shop Therefore I Am), 1987, silkscreen on vinyl, 305 × 305 cm

26

Plate 24: Gordon Walters, Painting No. 1, 1965, P.V.A. on hardboard, 93 × 123.3 cm 27

Plate 25: Ralph Hotere and Bill Culbert, Aramoana – Pathway to the Sea, 1991, fluorescent lights, paua shells, rocks, 1.3 × 29.5 m 28

CONTEMPORARY DIVERSITY (AFTER 2000)

Plate 26: Andreas Gursky, Chicago Mercantile Exchange, 1997, chromogenic print face-mounted to acrylic, 185.4 × 248.2 cm, The Doris and Donald Fisher Collection, San Francisco Museum of Modern Art, San Francisco

“Maybe to try to understand not just that we are living in a certain building or in a certain location, but to become aware that we are living on a planet that is going at enormous speed through the universe. For me it’s more a synonym. I read a picture not for what’s really going on there, I read it more for what is going on in our world generally.” Andreas Gursky 29

Plate 27: Francis Upritchard, Save Yourself, 2009, installation, Te Papa National Museum collection, Wellington

Above left: Long, detail from Save Yourself. Above right: Lonely, detail from Save Yourself. 30

Plate 28: John Pule, Malu, 2014, ink, oil, varnish, enamel, resin on canvas, 101.5 × 152 cm private collection, Gow Langsford Gallery, Auckland 31

Plate 29: Shigeyuki Kihara, Tonumaipe’a from Vavau; Tales of Ancient Samoa, 2004, cibachrome print, 75 × 56 cm

“Where the velvet painters are notorious for portraying Pacific people from the colonial gaze, what I do is reoccupy that gaze. I come from a point of view from the insider.” Shigeyuki Kihara, 2004 32

Plate 30: Zaha Hadid Architects, MAXXI National Museum of the 21st Century, Rome, Italy, 2009

Above left and right: Interior views. 33

Acknowledgements

Page 3 https://commons.wikimedia.org/wiki/File:Giotto_di_Bondone_-_Stigmatization_of_St_ Francis_-_WGA09329.jpg https://en.wikipedia.org/wiki/Saint_Francis_Receiving_the_Stigmata_(Giotto)

Page 4 https://commons.wikimedia.org/wiki/Saint_Francis_cycle_in_the_Upper_Church_of_San_ Francesco_at_Assisi https://www.wga.hu/frames-e.html?/html/g/giotto/assisi/index.html

Page 5 https://upload.wikimedia.org/wikipedia/commons/1/11/Ambrogio_Lorenzetti_-_Effects_of_ Good_Government_in_the_city_-_Google_Art_Project.jpg https://upload.wikimedia.org/wikipedia/commons/5/5b/Ambrogio_Lorenzetti_-_Effects_of_ Good_Government_in_the_countryside_-_Google_Art_Project.jpg http://4.bp.blogspot.com/-pcY4O2_vlqU/Tk6FtZVC-4I/AAAAAAAAQEw/aK8bcU7GTwk/ w1200-h630-p-k-no-nu/good6.jpg

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Page 8 https://commons.wikimedia.org/wiki/File:Giovanni_Bellini_St_Francis_in_Ecstasy.jpg

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Page 10 https://commons.wikimedia.org/wiki/Category:Mona_Lisa#/media/File:Mona_Lisa,_by_ Leonardo_da_Vinci,_from_C2RMF_retouched.jpg

Page 11 https://en.wikipedia.org/wiki/Moses_(Michelangelo)#/media/File:%27Moses%27_by_ Michelangelo_JBU160.jpg https://commons.wikimedia.org/wiki/Category:Michelangelo%27s_grave_for_Julius_II#/ media/File:%27Moses%27_by_Michelangelo_JBU010.jpg

Page 12 https://commons.wikimedia.org/wiki/Agnolo_Bronzino#/media/File:Angelo_Bronzino_-_ Venus,_Cupid,_Folly_and_Time_-_National_Gallery,_London.jpg https://upload.wikimedia.org/wikipedia/commons/d/d1/Angelo_Bronzino_Det_004.jpg https://i.pinimg.com/originals/5b/cb/93/5bcb9352563709e0b8805a0e5198c0d1.jpg

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Page 14 https://en.wikipedia.org/wiki/Fountain_(Duchamp)#/media/File:Duchamp_Fountaine.jpg https://www.baus.org.uk/museum/165/a_brief_history_of_the_male_urinal http://alienexplorations.blogspot.com/1977/01/hr-gigers-witches-dance-1977-inspired.html https://wermuttdotcom.files.wordpress.com/2014/06/r-mutt-full-partial-crop.jpg 34

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L3-ARTR