90491Q 904912 3

Level 3 Art History, 2012 90491 Describe the meaning of iconographic motifs

2.00 pm Wednesday 21 November 2012 Credits: Four

QUESTION BOOKLET

There are twenty-four questions in this booklet, two for each area of study. You should answer ONE question.

Write your answer in Answer Booklet 90491A.

Check that this booklet has pages 2 –16 in the correct order and that none of these pages is blank.

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

Achievement Criteria

Achievement Achievement with Merit Achievement with Excellence Describe the meanings conveyed Explain how iconographic motifs are Evaluate the importance of iconography through a range of iconographic motifs used to convey meaning in art works. in conveying meaning in art. in art works.

© New Zealand Qualifications Authority, 2012. All rights reserved. No part of this publication may be reproduced by any means without the prior permission of the New Zealand QualificationsAuthority. 2

You are advised to spend 40 minutes answering the question you choose from this booklet.

INSTRUCTIONS

There are twenty-four questions in this booklet, two for each of the following areas of study: • Fourteenth-century Italian Painting • Fifteenth-century Italian Painting • Italian Renaissance Sculpture • High Renaissance and the Development of Mannerism • Venetian Painting • Northern Renaissance Art • Cubism and Abstraction 1900 –1930 • Fauvism and Expressionism • Dada and Surrealism • Architecture: Modernism to Postmodernism • Modern American Art • Modern New Zealand Art.

Select ONE area of study and answer ONE of the two questions.

The definition below may assist you in your answers.

Write your answer in Answer Booklet 90491A.

DEFINITION

Iconography: The study of iconographic motifs (eg images, symbols, signs, icons, emblems) to convey meaning in art. 3

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FOURTEENTH-CENTURY ITALIAN PAINTING

EITHER: QUESTION ONE

Plate 1 Simone Martini, Altarpiece of St. Louis of Toulouse, c. 1319

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(a) Identify at least TWO iconographic motifs in this altar panel. Select and name ONE other fourteenth-century altar panel that depicts a saint, and identify at least TWO iconographic motifs in the selected altar panel. (b) Describe the meanings conveyed by the iconographic motifs you identified, and explain how these motifs have been used to convey meaning about the saint depicted in each altar panel. (c) Evaluate the role of iconography in encouraging the veneration of saints in fourteenth-century Italy.

OR: QUESTION TWO

(a) Select and name TWO fourteenth-century landscape paintings, and identify at least TWO iconographic motifs in EACH painting. (b) Describe the meanings conveyed by the iconographic motifs you identified, and explain how these motifs have been used to convey meaning in each painting. (c) Evaluate the effectiveness of landscape-related iconography in conveying ideas about human behaviour in fourteenth-century Italy. 5

FIFTEENTH-CENTURY ITALIAN PAINTING

OR: QUESTION THREE

Plate 2 Piero della Francesca, The Resurrection, 1460 –1463

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(a) Identify at least TWO iconographic motifs in this painting. Select and name ONE other painting by Piero della Francesca that uses setting to convey meaning, and identify at least TWO iconographic motifs in the selected painting. (b) Describe the meanings conveyed by the iconographic motifs you identified, and explain how these motifs have been used to convey meaning in each painting. (c) Evaluate the effectiveness of Piero della Francesca’s use of setting in conveying spiritual meanings in his paintings.

OR: QUESTION FOUR

(a) Select and name TWO paintings by Masaccio that portray dramatic and / or miraculous events, and identify at least TWO iconographic motifs in EACH painting. (b) Describe the meanings conveyed by the iconographic motifs you identified, and explain how these motifs have been used to convey dramatic and / or miraculous meanings in each painting. (c) Evaluate the effectiveness of Masaccio’s use of iconography in portraying dramatic and / or miraculous events in his paintings. 6

ITALIAN RENAISSANCE SCULPTURE

OR: QUESTION FIVE

Plate 3 Michelangelo, Madonna of the Stairs, c. 1490

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(a) Identify at least TWO iconographic motifs in this sculpture. Select and name ONE other sculpture by Michelangelo that depicts the Virgin Mary, and identify at least TWO iconographic motifs in the selected sculpture. (b) Describe the meanings conveyed by the iconographic motifs you identified, and explain how these motifs have been used to convey meaning in each sculpture. (c) Evaluate the effectiveness of Michelangelo’s use of iconography in exploring ideas about the Virgin Mary.

OR: QUESTION SIX

(a) Select and name TWO Italian Renaissance sculptures of heroic figures, and identify at least TWO iconographic motifs in EACH sculpture. (b) Describe the meanings conveyed by the iconographic motifs you identified, and explain how these motifs are used to portray the strength of the character in each sculpture. (c) Evaluate the effectiveness of iconography in conveying meaning about strong heroic characters. 7

HIGH RENAISSANCE AND THE DEVELOPMENT OF MANNERISM

OR: QUESTION SEVEN

Plate 4 Leonardo da Vinci, Madonna and Child with St. Anne and John the Baptist, c. 1499

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(a) Identify at least TWO iconographic motifs and / or devices used to convey spiritual meanings in this cartoon. Select and name ONE other art work by Leonardo da Vinci, and identify at least TWO iconographic motifs used to convey spiritual meanings in the selected art work. (b) Describe the meanings conveyed by the iconographic motifs and / or devices you identified, and explain how these motifs have been used to convey spiritual meanings in each art work. (c) Evaluate the effectiveness of the iconography used by Leonardo da Vinci to convey spiritual meanings in his art.

OR: QUESTION EIGHT

(a) Select and name TWO High Renaissance portraits of a pope, and identify at least TWO iconographic motifs in EACH portrait. (b) Describe the meanings conveyed by the iconographic motifs you identified, and explain how these motifs have been used to convey meanings about personality and power in each portrait. (c) Evaluate the extent to which the iconography used in the portraits of popes was effective in conveying the importance of the pope in the Roman Catholic Church. 8

VENETIAN PAINTING

OR: QUESTION NINE

Plate 5 Giorgione, The Three Philosophers, c. 1503 / 1504

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(a) Identify at least TWO iconographic motifs in this painting. Select and name ONE other Venetian allegory, and identify at least TWO iconographic motifs in the selected work. (b) Describe the meanings conveyed by the iconographic motifs you identified, and explain how iconographic motifs have been used to convey meaning about everyday life in each painting. (c) Evaluate the importance of this iconography in conveying meaning about everyday life in Venice in this period.

OR: QUESTION TEN

(a) Select and name TWO Venetian sacra conversazione, and identify at least TWO iconographic motifs used to convey meaning in EACH painting. (b) Describe the meanings conveyed by the iconographic motifs you identified, and explain how these motifs have been used to convey meaning in each painting. (c) Evaluate the significance of this iconography in conveying important religious ideas in Venice in this period. 9

NORTHERN RENAISSANCE ART

OR: QUESTION ELEVEN

Plate 6 Hieronymous Bosch, Last Judgement (central panel of the triptych, Vienna), c. 1482

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(a) Identify at least TWO iconographic motifs in this painting. Select and name ONE other Northern Renaissance painting that depicts Judgement Day or Hell, and identify at least TWO iconographic motifs in the selected painting. (b) Describe the meanings conveyed by the iconographic motifs you identified, and explain how these motifs have been used to convey meaning in each painting. (c) Evaluate the extent to which this iconography conveyed a convincing sense of life after death in this period.

OR: QUESTION TWELVE

(a) Select and name TWO Northern Renaissance art works that use animals iconographically, and identify at least TWO animal-related iconographic motifs in EACH art work. (b) Describe the meanings conveyed by the iconographic motifs you identified, and explain how these motifs have been used to convey meaning in each art work. (c) Evaluate the effectiveness of this iconography in conveying allegorical meaning in Northern Renaissance art. 10

CUBISM AND ABSTRACTION 1900 –1930

OR: QUESTION THIRTEEN

Plate 7 Georges Braque, Fruit Dish, Ace of Clubs, 1913

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(a) Identify at least TWO iconographic motifs in this art work. Select and name ONE other Cubist art work that features a still life, and identify at least TWO iconographic motifs in the selected art work. (b) Describe the meanings conveyed by the iconographic motifs you identified, and explain how these motifs have been used to convey meaning in each art work. (c) Evaluate the importance of iconography in conveying meaning about objects and surfaces in this period.

OR: QUESTION FOURTEEN

(a) Select and name TWO art works by Fernand Léger that demonstrate his enthusiasm for ‘the machine’, and identify at least TWO iconographic motifs in EACH art work. (b) Describe the meanings conveyed by the iconographic motifs you identified, and explain how these motifs have been used to convey meaning in each art work. (c) Evaluate the effectiveness of iconography in conveying Fernand Léger’s enthusiasm for ‘the machine’. 11

FAUVISM AND EXPRESSIONISM

OR: QUESTION FIFTEEN

Plate 8 Ernst Ludwig Kirchner, The Chronicle of the Brücke Group (title page), 1913

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(a) Identify at least TWO iconographic motifs used in this woodcut. Select and name ONE other art work by the Brücke group, and identify at least TWO iconographic motifs in the selected art work. (b) Describe the meanings conveyed by the iconographic motifs you identified, and explain how these motifs have been used to convey meaning in each art work. (c) Evaluate the effectiveness of this iconography in conveying the ideas and aims of the Brücke group.

OR: QUESTION SIXTEEN

(a) Select and name TWO Fauvist or Expressionist art works with Christian subjects, and identify at least TWO iconographic motifs in EACH art work. (b) Describe the meanings conveyed by the iconographic motifs you identified, and explain how these motifs have been used to convey meaning in each art work. (c) Evaluate the extent to which Christian iconography was successful in expressing ideas about contemporary society in this period. 12

DADA AND SURREALISM

OR: QUESTION SEVENTEEN

Plate 9 Salvador Dali, Christ of Saint John of the Cross, 1951

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(a) Identify at least TWO iconographic motifs in this art work. Select and name ONE other Surrealist art work that explores religious and / or spiritual ideas, and identify at least TWO iconographic motifs in the selected art work. (b) Describe the meanings conveyed by the iconographic motifs you identified, and explain how these motifs have been used to convey meaning in each art work. (c) Evaluate the extent to which Surrealist iconography was effective in exploring religious and / or spiritual ideas in this period.

OR: QUESTION EIGHTEEN

(a) Select and name TWO Dada art works, and identify at least TWO iconographic motifs in EACH art work. (b) Describe the meanings conveyed by the iconographic motifs you identified, and explain how these motifs have been used to convey meaning in each art work. (c) Evaluate the extent to which the use of iconography was important in conveying meaning in Dada art. 13

ARCHITECTURE: MODERNISM TO POSTMODERNISM

OR: QUESTION NINETEEN

Plate 10 Walter Gropius et al., Fagus Shoe-last Factory in Alfeld / Leine, Germany, 1910 –14

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(a) Identify at least TWO features of this building that convey meaning about modern working practices. Select and name ONE other building, and identify at least TWO iconographic features that convey meaning about modern working practices in the selected building. (b) Describe the meanings conveyed by the iconographic features you identified, and explain how these features have been used to convey meaning about modern working practices. (c) Evaluate the effectiveness of architectural iconography in expressing ideas about modern working practices.

OR: QUESTION TWENTY

(a) Select and name TWO Art Deco buildings that you have studied, and identify TWO iconographic features of EACH building. (b) Describe the meanings conveyed by the iconographic features you identified, and explain how these features have been used to convey meaning in each building. (c) Evaluate the extent to which the use of iconography to convey meaning was an important aspect of Art Deco buildings. 14

MODERN AMERICAN ART

OR: QUESTION TWENTY-ONE

Plate 11 Barbara Kruger, Untitled (I shop therefore I am), 1987

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(a) Identify at least TWO iconographic motifs and / or devices used in this art work. Select and name ONE other art work that refers to American consumerism, and identify at least TWO iconographic motifs in the selected art work (b) Describe the meanings conveyed by the iconographic motifs and / or devices you identified, and explain how these motifs have been used to convey meaning about American consumerism in each art work. (c) Evaluate the extent to which this iconography was effective in drawing attention to the impact of consumerism in American society.

OR: QUESTION TWENTY-TWO

(a) Select and name TWO modern American portraits, and identify at least TWO different iconographic motifs in EACH portrait. (b) Describe the meaning conveyed by the iconographic motifs you identified, and explain how these motifs have been used to convey meaning about the subjects of each portrait. (c) Evaluate the extent to which the use of iconography to convey meaning was a significant aspect of portraiture in modern American art. 15

MODERN NEW ZEALAND ART

OR: QUESTION TWENTY-THREE

Plate 12 Michael Parekowhai, Beggarman (detail from Richman, Poorman, Beggarman), 1996

Note: The name tag on the art work reads “Hello, my name is Hori”.

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(a) Identify at least TWO iconographic motifs in this sculpture. Select and name ONE other art work by Michael Parekowhai, and identify at least TWO iconographic motifs in the selected sculpture. (b) Describe the meanings conveyed by the iconographic motifs you identified, and explain how these motifs have been used to convey meaning in each sculpture. (c) Evaluate the effectiveness of Michael Parekowhai’s use of humorous iconography to entertain and / or challenge social issues.

OR: QUESTION TWENTY-FOUR

(a) Select and name TWO modern New Zealand art works that explore personal identity, and identify at least TWO iconographic motifs in EACH art work. (b) Describe the meanings conveyed by the iconographic motifs you identified, and explain how these motifs have been used to explore personal identity in each art work. (c) Evaluate the effectiveness of iconography in exploring personal identity. 90491Q Plate 12 Plate 11 Plate 10 Plate 9 Plate 8 Plate 7 Plate 6 Plate 5 Plate 4 Plate 3 Plate 2 Plate 1 p 106. Taschen, 1990),p100. .jpg Taschen, 1987),p39. Könemann, 1995),p218. The Art oftheItalianRenaissance: Architecture, Sculpture,Painting,Drawing 2005), p131. Priscilla Pitts, http://www.spruethmagers.com/bilder/works/kruger_00049.jpg Peter GösselandGabrieleLeuthäuser, http://www.revilo-oliver.com/Kevin-Strom-personal/Art/Dali_ChristofStJohnoftheCross1951 Dietmar Elgar, http://onework.ru/category/braque-georges-1882-1963/page/9/ Walter Bosing, http://upload.wikimedia.org/wikipedia/commons/b/bf/Giorgione,_Three_Philosophers.jpg James Beck, http://ruach.files.wordpress.com/2011/03/resurrection-by-piero-della-francesca.jpg John T. PaolettiandGarryM.Radke,

Italian RenaissancePainting Contemporary New Zealand Sculpture Contemporary NewZealand Expressionism Hieronymus Bosch, c. 1450 –1516: Between Heaven and Hell BetweenHeaven Hieronymus Bosch,c.1450 –1516: (Cologne: Taschen, 1991),p21. Acknowledgements Art inRenaissanceItaly 16 Architecture intheTwentieth Century (Cologne:Könemann,1999),p330. (Auckland:DavidBateman,1998), (London:LaurenceKing, (Cologne: (Cologne: (Cologne: