NCEA Level 2 Art History (90228) 2011 Assessment Schedule
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NCEA Level 2 Art History (90228) 2011 — page 1 of 4 Assessment Schedule – 2011 Art History: Examine subjects and themes in art (90228) Evidence Statement Question One: Māori Art / Taonga Achievement Achievement with Merit Achievement with Excellence For EACH of the two works: As for Achievement, plus: As for Merit, plus: Describes ONE key aspect of the Explains how the subject matter is Evaluates the significance of the subject matter. used to convey these themes / themes / ideas in Māori art. AND ideas. Explains the themes or ideas presented in EACH painting. Responses could include: Responses could include: Responses could include: Arnold Manaaki Wilson, Ode to Arnold Wilson uses his sculpture to Care of the natural resources of Tane Mahuta refer to traditional Māori use of New Zealand has been a big Subject timber for carving the sculptures that concern for many people in this reflected the identity of each tribe. country, particularly for Māori. From The subject of Arnold Wilson’s Carved pou, panels on the wharenui the first arrival of Europeans the installation is clearly spelled out – and on waka were the primary face of the country has altered his concern is with the timber images of Māori sculptors, and his greatly and many Māori felt cut off industry. He writes, “Where have all pou updates this tradition. He from their traditional land and the trees gone, overseas every one” contrasts this with a pile of bark resources. As the country became on a box on top of a pile of bark chips, which is a reference to the industrialised this process has chips. He surrounds this with a timber industry in New Zealand accelerated. A concern for the number of contemporary carved where a large amount of timber is environment has been part of Treaty pou. exported in this form for the paper of Waitangi negotiations, which have Theme and process board industry here been important in New Zealand The theme of this work is the sale of and overseas. His words spell out development since the 1970s and timber from New Zealand to his message clearly – New Zealand Māori have been at the forefront of overseas companies for the paper timber can be used for a better many environmental protests and industry. His pou suggest the timber purpose than this. issues. Both Arnold Wilson and can be used for a nobler purpose. John Bevan Ford are using their art to add their voice to Māori concern John Bevan Ford has used a that the land of Aotearoa / New John Bevan Ford, Aotea 1 contemporary pattern making to Zealand is not being respected as it cover the land of New Zealand and Subject should be – Wilson by criticising the the protective cloak carried by the The subject of this painting is the timber industry, and Ford by bird, linking the two together. The arrival of the Māori in New Zealand, suggesting that nature is a gift Māori double-hulled canoe suggests that represented by the double-hulled were given and it should be this is about the arrival of the Māori canoe arriving on the coastline and respected. in this new land, while the southern the protective cloak of nature over cross in the sky, along with the the land, which is being carried by a jagged coastline and mountainous bird and laid over the land. land clearly identifies the country as Theme New Zealand. The cloak suggests The theme of his work is the need to shelter and protection, which the look after the land and natural land can give and the care that resources of New Zealand. Māori should give the resources such as the rivers, which are clearly visible in the drawing. NCEA Level 2 Art History (90228) 2011 — page 2 of 4 Question Two: Art in Aotearoa Achievement Achievement with Merit Achievement with Excellence For EACH of the two works: As for Achievement, plus: As for Merit, plus: Describes ONE key aspect of the Explains how the subject matter is Evaluates the significance of the subject matter. used to convey EACH artist’s themes / ideas in the representation AND themes / ideas. of the Māori in New Zealand art. Explains the themes or ideas presented in EACH painting. Gottfried Lindauer, Hori Kingi Te Lindauer’s portraits of Māori By the time Lindauer arrived in New Anaua provided an important means of Zealand in 1873, customs like Subject recording what was considered a tattooing were on the decline and noble race at a time when Māori European customs were Elderly Māori man of rank with full- were suffering a loss of population increasingly replacing the traditional face moko, dressed in traditional through diseases imported by culture of Māori. Photographs of the Māori kiwi-feather cloak with a Europeans and increasing conflict time, as well as other paintings by pounamu earring. He stares over land. Hori Kingi Te Anaua’s Lindauer, show Māori in European thoughtfully to the viewer’s right and expressionless gaze beyond the clothes. Lindauer expresses Hori has a determined mouth. painting, coupled with his obvious Kingi Te Anaua’s mana in the age, implies that the traditional photographic attention to detail. Theme heritage that he so proudly bears Many of his Māori works were He is represented as a noble Māori will be lost. While his moko shows commissioned by Māori themselves native of New Zealand, part of a that he is an important man, his grey and they became highly valued by race that was suffering under British mutton chops beard shows the descendents. Some show nostalgic colonial rule but was determinedly influence of European fashion. views of happy Māori women holding on to traditional culture. plaiting baskets. In these paintings he shows the influence of European Romantic ideas about the exotic. Goldie subsequently also painted Māori, but his paintings were more obviously of a dying race – Māori are shown in European clothes and blankets looking sad. Titles include ‘Last of the Cannibals’. Rita Angus: Head of a Māori Boy Throughout her career, Angus Rita Angus had exposure to Māori Subject demonstrated an interest in Māori culture when she lived in Waikanae, subjects. In Head of a Māori Boy, along the Kapiti Coast. This was The anonymous boy, identified only the solemnity of the expression and extended to Māori and Polynesian by the title as Māori, is dressed in the motionless pose is the result of culture and is reflected in her 1951 European clothing – a white shirt the contemplative way in which painting, Rutu. She was particularly and a green woollen jacket. His hair Angus worked. Her technique attracted to the powerful is short and he has no facial tattoos reflects her Pacifism and spiritual expressiveness and inventiveness or earrings. He stares to the left of approach to painting along with a of Māori art. the viewer. deep respect for the Māori race. The 1930s were a time of The fact that the boy is young and heightened awareness of New Theme fresh-faced shows hope for the Zealand’s place in the world. Artists The boy is a modern Māori who future of Māori as does Angus’ and writers were forging a New wears European clothing, showing choice of spring colours in his jacket Zealand identity. Angus realised that that Māori did not die out. and the background. The boy’s hair Māori were an essential part of that and skin colour suggest that he has as they were beginning to be active Māori heritage. The European in politics and society by then. clothes suggest that identity is more The way Angus has painted the than clothes. Māori boy links him very clearly with By this time, the Māori population her other early Regionalist works: in had increased markedly and there Self Portrait of 1936 and Cass of the was a Māori renaissance occurring same year. under the guidance of Sir Apirana Ngata. NCEA Level 2 Art History (90228) 2011 — page 3 of 4 Question Three: French Art Achievement Achievement with Merit Achievement with Excellence For EACH of the two works: As for Achievement, plus: As for Merit, plus: Describes ONE key aspect of the Explains how the subject matter is Evaluates the significance of the subject matter. used to convey EACH artist’s themes / ideas in the representation AND themes / ideas. of the middle class. Explains the themes or ideas presented in EACH painting. Edouard Manet, Boating The Impressionists painted scenes By the 1870s, Paris had been Subject that related to their own lives. They transformed into a modern city by enjoyed showing the types of Napoleon III and Baron Haussman. Boating shows a casually dressed occupations that made up the lives This was paralleled by the growth of couple out enjoying themselves in a of their families and friends. They the middle class. Rather than the small yacht on the water. The often did scenes that showed water history paintings popular in woman is relaxed and the man is as they enjoyed experimenting with academic art or the socialist- sailing the boat. the changing effects created by light influenced images of workers by the and shadow on water. Here, Manet Realists, the Impressionists painted Theme combines his interest in depicting the lives of this middle class, A middle-class couple enjoy leisure the middle classes at leisure with his paintings of people like themselves time outdoors, a theme increasingly growing interest in capturing fleeting and their friends. depicted by Impressionist artists. light. Works like Boating and La Loge depicted qualities of good living, gaiety, charm and a way of life that Renoir, La Loge Scenes from evening entertainment and the entertainment industry were was no longer the prerogative of the Subject also common in the depiction of the aristocracy.