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Level 3 Art History 2019 L3–ARTR 993703 3 Level 3 Art History, 2019 91482, 91483, and 91484 9.30 a.m. Monday 2 December 2019 RESOURCE BOOKLET Refer to this booklet to answer the questions for Art History 91482, 91483, and 91484. Check that this booklet has pages 2–35 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, 2019. 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: Simone Martini, The Annunciation with St Margaret and St Ansanus, 1333, tempera and gold on panel, 305 × 265 cm, Uffizi Gallery, Florence The Annunciation was originally commissioned to sit in a side chapel within the Duomo di Siena (Siena Cathedral). Below: Exterior and interior views of the cathedral. 4 Plate 2: Masaccio, The Tribute Money, 1427, fresco, 247 × 597 cm, Brancacci Chapel, Santa Maria del Carmine, Florence Above left: View of the Brancacci Chapel from inside Santa Maria del Carmine. Above right: View of The Tribute Money from inside the Brancacci chapel. 5 Plate 3: Paolo Uccello, The Flood and Waters Subsiding, 1447–48, fresco, 215 × 510 cm, the Green Cloister, Santa Maria Novella, Florence Left and below left: Views of The Flood and Waters Subsiding in situ within the Green Cloister (Chiostro Verde), Santa Maria Novella, Florence. 6 Plate 4: Filippo Brunelleschi, the Old Sacristy (Sagrestia Vecchia), 1419–1428, stone, plaster, marble, Basilica of San Lorenzo, Florence Above left: Interior view of the Old Sacristy. Giovanni di Bicci de’ Medici commissioned Brunelleschi to design and supervise construction of the Old Sacristy starting in 1421. The building served as a chapel and mausoleum for the Medici dynasty. Above right: Section and plan view of the Old Sacristy. Above left: View of the Old Sacristy dome from the interior. Above right: View of the exterior of Basilica of San Lorenzo, Florence. The Basilica complex was fully completed by 1470. 7 Plate 5: Piero della Francesca, The Baptism of Christ, c.1450s, tempera on panel, 167 × 116 cm, National Gallery, London 8 LATE RENAISSANCE (c.1470 –1540s) Plate 6: Andrea Mantegna, The Agony in the Garden, c.1455–59, tempera on panel, 63 × 80 cm, National Gallery, London Left and above: Detail. 9 Plate 7: Sandro Botticelli, Primavera, c.1470s or early 1480s, tempera on panel, 202 × 314 cm, Uffizi Gallery, Florence Left: Detail, Primavera. Below: Botticelli’s 1479 Portrait of a Young Man, thought to be Lorenzo di Pierfrancesco de’ Medici. 10 Plate 8: Michelangelo Buonarroti, The Creation of Adam, detail from the Sistine Chapel ceiling, 1508–12, fresco, 2.8 × 5.7 m, Vatican City, Rome Left: Side wall of Sistine Chapel interior, 1475–83 and 1508–12. Below: Ceiling of Sistine Chapel, 1508–12, fresco, 40.23 × 13.40 m. 11 Plate 9: Raphael Santi, Pope Leo X with Two Cardinals, 1518–19, oil on wood, 154 × 119 cm, Uffizi Gallery, Florence Above and top: Detail. Above left: An antique print of Martin Luther in his study at Wartburg Castle in Eisenach, Germany (lithograph), 1882. Above right: St. Peter’s Basilica, Vatican City, Rome. 12 Plate 10: Jacopo Pontormo, Portrait of a Halberdier (attributed to be Francesco Guardi), 1529–30, oil (or oil and tempera) on panel transferred to canvas, 95.3 × 73 cm, J. Paul Getty Museum, Los Angeles Above and right: Detail. 13 EARLY MODERNISM (1900 –1940) Plate 11: Henri Matisse, Blue Nude, 1907, oil on canvas, 92.1 × 140.3 cm, Baltimore Museum of Art Above: Matisse in his studio c.1945. 14 Plate 12: Käthe Kollwitz, Run Over, 1910, soft ground etching, 37.3 × 42.8 cm, National Gallery of Victoria, Melbourne Above (left to right): Hans Kollwitz, Käthe Kollwitz and Peter Kollwitz, Germany, 1909. 15 Plate 13: Umberto Boccioni, Development of a Bottle in Space, 1913, bronze, 39.5 × 39.5 × 60.3 cm, Museum of Modern Art, New York Above: The Technical Manifesto of Futurist Sculpture, Umberto Boccioni, 11 April 1912. Right: Umberto Boccioni, Table + Bottle + House, 1912, pencil on paper, Civico Gabinetto dei Designi, Castello Sforzesco, Milan. 16 Plate 14: Piet Mondrian, Tableau No. II with Red, Blue, Black, Yellow and Grey, 1925, oil on canvas, 75 × 65 cm, private collection Left: Mondrian in his Paris studio in 1933, with Lozenge Composition with Four Yellow Lines, 1933, and Composition with Double Lines and Yellow, 1933. 17 Plate 15: Joan Miró, The Tilled Field, 1923–1924, oil on canvas, 66 × 92.7 cm, Solomon R. Guggenheim Museum, New York Left: A recreation of Miró’s Mallorcan studio in London, November 2015. 18 MODERNIST DESIGN AND ARCHITECTURE (1900 –1960) Plate 16: Peter Behrens, AEG Turbine Factory, with associated corporate image materials, industrial and advertising designs for Allgemeine Elektricitäts-Gesellschaft (General Electric Company), 1909–1925 Left: AEG Turbine Factory, constructed 1909–1910, steel components, glass, and stone, Berlin, Germany. Below left: AEG electric fan, 1910. Below centre: AEG pendant lamp, 1907–08. Below right: AEG logo designs, 1908 (top) and 1912 (bottom). Left: Poster design for AEG- Metallfadenlampe (AEG metal filament lamps), 1907, lithograph, 69.2 × 52.7 cm. Right: Poster for AEG Ventilatoren (AEG electric fan), 1912, lithograph. 19 Plate 17: Walter Gropius (assisted by Adolf Meyer), Fagus Shoe Factory, exterior constructed 1911–1913, interior completed 1925, glass, iron, brick, Alfeld an der Leine, Germany Above: View of the main building with entrance and offices. Above left: View of the main building. Above right: View of the production hall at the rear of the factory complex. 20 Plate 18: Corbett, Harrison & MacMurray; Hood, Godley & Fouilhoux; and Reinhard & Hofmeister, Rockefeller Centre, constructed 1930–1939, steel, limestone, aluminium, Manhattan, New York Far left: View of the Radio Corporation of America (RCA) building, Rockefeller Centre, from the old Union Club, September 1, 1933. The RCA building forms the central focus of the complex. It is 266 m high. Left: View of the Rockefeller Centre today. Left and right: Aerial view and plan view of the Rockefeller complex, mid-town Manhattan. Above left: Entrance to the 30 Rockefeller Plaza building showing Lee Lawrie’s, Wisdom (centre), with Sound (left) and Light (right), 1933, painted and gilded limestone, glass. Above right: View of Rockefeller Plaza with Paul Manship’s sculpture, Prometheus, 1934, gilded bronze. Plate 19: A. M. Cassandre, Dubo Dubon Dubonnet, advertisement poster for Dubonnet aperitif, 1932, lithograph, 44.5 × 115.6 cm, Museum of Modern Art, New York 21 22 Plate 20: Frank Lloyd Wright, Johnson Wax Administration Building, constructed 1936–1939, and the Johnson Wax Research Tower, constructed 1944–1950, brick, stone, pre-cast concrete, steel, pyrex tubing, glass, Racine, Wisconsin, USA Above left: Aerial view of the complex. Above right: Detail view of the main entrance. Above left: Pre-cut columns for the main buildings. Above right: The Great Workroom. 23 MODERNISM TO POSTMODERNISM (1940s – c.2000) Plate 21: Andy Warhol, Marilyn Diptych, 1962, acrylic paint on canvas, 205.44 × 289.56 cm, Tate Modern, London Above left: Publicity photograph of Marilyn Monroe used by Warhol in Marilyn Diptych. The photograph was taken by Gene Korman to promote the movie Niagara in 1953. Above right: The cover of Life magazine featuring Marilyn Monroe soon after her death on 5 August 1962. 24 Plate 22: Robert Rauschenberg, Retroactive I, 1963, oil and silkscreen ink on canvas, 213.4 × 152.4 cm, Wadsworth Atheneum Museum of Art, Hartford, Connecticut, USA Left: The source image of Kennedy in this silkscreen comes from a televised newscast of President Kennedy addressing the nation during the Cuban Missile Crisis, October 22, 1962. Centre: New York Times cover featuring a story on Kennedy’s address to the nation, October 23, 1962. Right: The source image for the astronauts in this silkscreen is from a NASA photograph reproduced in Life magazine, September 27, 1963. 25 Plate 23: Barbara Kruger, Untitled (We Don’t Need Another Hero), 1986, photographic silkscreen on vinyl, 277 × 533 cm, Whitney Museum of American Art, New York Left and far left: Untitled (We don’t need another hero), 1986, was installed as a billboard in public locations, including London and California. Plate 24: Jacqueline Fahey, Final Domestic Expose – I Paint Myself, 1981–1982, oil and collage on board, 97.5 × 188.2 × 6.6 cm, Auckland Art Gallery, Auckland 26 27 Plate 25: Ralph Hotere, This is a Black Union Jack, enamel on stainless steel with wooden frame, 1983, 80 × 81 cm, Ellerton Trust Collection, New Zealand Above left: ‘I’m All White, Jack’, a scene from a protest in 1960 against the All Blacks tour of South Africa in Myers Park, Auckland. Photography by Marti Friedlander. Above centre: Logo design for the 1974 British Commonwealth Games, Christchurch. Hotere references this logo in This is a Black Union Jack. Above right: Television New Zealand news footage from the Springbok tour protests in Christchurch, 1981. Left: A photo from a New Zealand Herald article featuring anti-Springbok tour protesters at Auckland Airport protesting the arrival of the South African rugby team in 1981.
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