Specimen Papers and Mark Schemes for History of Art

For fi rst AS Examination in 2009 For fi rst A2 Examination in 2010 Subject Code: 3830 Contents

Specimen Papers 1 Assessment Unit AS 1 3 Assessment Unit AS 2 7 Assessment Unit A2 1 11 Assessment Unit A2 2 15

Mark Schemes 19 Assessment Unit AS 1 21 Assessment Unit AS 2 39 Assessment Unit A2 1 57 Assessment Unit A2 2 75

Further copies of this publication may be downloaded from www.ccea.org.uk Specimen Papers

1 2

ADVANCED SUBSIDIARY (AS) General Certificate of Education 2009 ______

History of Art

Assessment Unit AS 1

assessing

Module 1: Art

SPECIMEN PAPER

______

TIME

1 hour 30 minutes.

INSTRUCTIONS TO CANDIDATES

Write your Centre Number and Candidate Number on the Answer Booklet provided. Answer two questions. Answer one question from Part A and one question from Part B. Drawings and diagrams may be used where you think they could clarify your answer.

INFORMATION FOR CANDIDATES

The total mark for this unit is 120. All questions carry equal marks, i.e. 60 marks for each question. Quality of written communication will be assessed in all questions and you are required to: • answer all questions in continuous prose • ensure that text is legible and that spelling, punctuation and grammar are accurate so that meaning is clear • select and use a form and style of writing appropriate to purpose and to complex subject matter • organise information clearly and coherently, using specialist vocabulary when appropriate.

Part A

Selected art to 1870

Answer one question from your chosen section in this part.

Section 1 – Greek sculpture

1 Compare and contrast two treatments of either drapery or animals by Greek sculptors, establishing their artistic contexts. [60]

Section 2 – Early Renaissance Italian art

2 Critically appraise three works by one major Early Renaissance Italian artist, establishing the artistic context. [60]

Section 3 – European art Renaissance to Rococo

3 Critically appraise two examples of Rococo painting from France and/or Britain, establishing the artistic context(s). [60]

Section 4 – French Painting 1780-1870

4 Give a broad critical appraisal of painting in France 1780-1870, referring to relevant movements, artists and works. [60]

Section 5 – British Painting 1780-1850

5 Give a broad critical appraisal of the treatment of landscape, as background and as a theme in itself, in British painting 1780-1850, establishing artistic contexts and referring to three or more painters and works. [60]

Part B

Selected art to 1945

Answer one question from your chosen section in this part.

Section 6 – Lens-based art 1850-1945

6 Compare and contrast what you see to be two very different treatments of movement in 1850-1945 lens-based art, establishing the artistic contexts. [60]

Section 7 – Painting 1880-1945

7 Art historians differ on whether Expressionists’ technical primitivism, in the years 1880-1945, is a strength or a weakness. Discuss, establishing the artistic context(s) and referring to three or more painters and works. [60]

Section 8 – Painting 1910-1945

8 Compare and contrast two examples of figurative (or “representational”) painting from the years 1910-1945, establishing the artistic contexts. [60]

Section 9 – Sculpture 1870-1945

9 Critically appraise Dada sculpture, establishing the artistic context and referring to appropriate sculptors and three or more works. [60]

Section 10 – Irish art 1900-1945

10 Give a broad critical appraisal of Academic and Modernist art in Ireland 1900-1945, establishing artistic contexts and referring to three or more appropriate artists and [60] works.

ADVANCED SUBSIDIARY (AS) General Certificate of Education 2009 ______

History of Art

Assessment Unit AS 2

Assessing

Module 2: Architecture, Craft and Design

SPECIMEN PAPER

______

TIME

1 hour 30 minutes

INSTRUCTIONS TO CANDIDATES

INFORMATION FOR CANDIDATES

Part A

Selected architecture Greek-1870

Answer one question from your chosen section in this part.

Section 1 – Greek architecture

1 Give a broad account of the three Classical architectural orders, identifying one building as an example of each order’s use. Establish the artistic context and briefly discuss what you think the orders tell us about the Greeks. [60]

Section 2 – Early Renaissance Italian architecture

2 Give a broad critical appraisal of early Renaissance Italian architecture, establishing the artistic context and referring to three or more appropriate architects and works. [60]

Section 3 – European architecture Renaissance to Rococo

3 French and British architecture within the Renaissance to Baroque periods exhibits very different characteristics. Discuss, establishing the artistic contexts and referring to two appropriate architects and works. [60]

Section 4 – Architecture 1835-1918

4 Critically analyse one major example of institutional, commercial or industrial architecture produced between 1835 and 1918, establishing its artistic context. [60]

Section 5 – Architecture 1900-1945

5 Give a broad critical appraisal of architecture within the years 1900-1945, establishing artistic contexts and referring to three or more architects and works. [60]

Part B

Selected craft and design 1850-1945

Answer one question from your chosen section in this part.

Section 6 – Three-dimensional craft and design 1850-1918

6 Explain your understanding of the relationship between craft and design, with reference to three or more appropriate practitioners and three-dimensional works from the years 1850-1918. Establish the artistic context(s). [60]

Section 7 – Three-dimensional craft and design 1918-1945

7 Discuss the influence of other cultures on European 1918-1945 three-dimensional craft and design, establishing artistic contexts and referring to three or more appropriate practitioners and works. [60]

Section 8 – Textiles and fashion design 1850-1945

8 In relation to either textiles or fashion design in the years 1850-1945, compare and contrast the works of two designers which, taken together, illustrate the breadth of design approaches within that period. Establish the artistic context(s). [60]

Section 9 – Graphic design 1850-1945

9 Give a broad critical appraisal of Post-Impressionist and Art Nouveau graphic design, establishing artistic contexts and referring to three or more appropriate designers and works. [60]

Section 10 – Automotive design to 1945

10 Who do you consider made the single greatest contribution to pre-1945 automotive design? Briefly establish artistic contexts and critically appraise two or more examples in support of your choice. [60]

ADVANCED General Certificate of Education 2010

History of Art

Assessment Unit A2 1

Assessing

Module 3: Art

SPECIMEN PAPER

TIME

2 hours

INSTRUCTIONS TO CANDIDATES

INFORMATION FOR CANDIDATES

The total mark for this unit is 120. All questions carry equal marks, i.e. 60 marks for each question. Quality of written communication will be assessed in all questions and you are required to: • answer all questions in continuous prose; • ensure that text is legible and that spelling, punctuation and grammar are accurate so that meaning is clear; • select and use a form and style of writing appropriate to purpose and to complex subject matter; • organise information clearly and coherently, using specialist vocabulary when appropriate. All questions require synoptic knowledge and understanding.

Part A

Selected art Roman-1900

Answer one question from your chosen section in this part.

Section 1 – Roman sculpture

1 Identify and discuss the peculiar difficulties in characterizing Roman sculpture, establishing the artistic context and illustrating your points by reference to three or more appropriate works. [60]

Section 2 – High Renaissance and Mannerist Italian art

2 High Renaissance Italian art testifies to the growing influence, within that society, of scientific thinking. Discuss, establishing artistic contexts and referring to three or more appropriate artists and works. [60]

Section 3 – European art Renaissance to Romanticism

3 Give a detailed critical appraisal of one major example of Spanish painting from the Renaissance to Romanticism period, establishing its artistic context. [60]

Section 4 – French painting 1860-1900

4 Technological advances of various kinds impacted on French painting 1860-1900. Identify what you see as the most significant such innovations and relate them to three or more appropriate painters and works, establishing artistic contexts. [60]

Section 5 – British painting 1850-1900

5 Give a broad critical appraisal of Pre-Raphaelite painting, establishing the artistic [60] context and referring to three or more painters and works.

Part B

Selected art 1945-present

Answer one question from your chosen section in this part.

Section 6 – Lens-based art 1945-present

6 Compare and contrast the work of two film directors, active after 1945, whose work you think reveals very different attitudes to the Classical Hollywood style. Establish artistic contexts. [60]

Section 7 – Painting 1945-1970

7 Critically appraise two 1945-1970 paintings by one major Pop artist, establishing the artistic context. [60]

Section 8 – Painting 1970-present

8 Give a broad critical appraisal of post-1970 European and North American painting, establishing artistic contexts and referring to three or more painters and works. [60]

Section 9 – Sculpture 1945-present

9 Which movement in your view has contributed most to post-1945 European and North American sculpture? Establish artistic contexts and critically appraise works by three or more sculptors in support of your choice. [60]

Section 10 – Irish art 1945-present

10 Who in your view has contributed most to post-1945 Irish art? Establish artistic contexts and critically appraise works by three or more artists in support of your choice. [60]

ADVANCED General Certificate of Education 2010 ______

History of Art

Assessment Unit A2 2

assessing

Module 4: Architecture, Craft and Design

SPECIMEN PAPER

______

TIME

2 hours

INSTRUCTIONS TO CANDIDATES

INFORMATION FOR CANDIDATES

The total mark for this unit is 120. All questions carry equal marks, i.e. 60 marks for each question. Quality of written communication will be assessed in all questions and you are required to: • answer all questions in continuous prose; • ensure that text is legible and that spelling, punctuation and grammar are accurate so that meaning is clear; • select and use a form and style of writing appropriate to purpose and to complex subject matter; • organise information clearly and coherently, using specialist vocabulary when appropriate. All questions require synoptic knowledge and understanding.

Part A

Selected architecture Roman-present

Answer one question from your chosen section in this part.

Section 1 – Roman architecture

1 Give a detailed critical appraisal of the Pantheon in Rome, establishing its artistic context. [60]

Section 2 – High Renaissance and Mannerist Italian architecture

2 Give a broad critical appraisal of Mannerist Italian architecture, establishing the artistic context and referring to three or more appropriate works, by different architects. [60]

Section 3 – European architecture Baroque to Romanticism

3 Give a broad critical appraisal of Baroque to Romantic European architecture, establishing artistic contexts and referring to three or more appropriate architects and works. [60]

Section 4 – Architecture 1945-1970

4 Compare and contrast two major examples of 1945-1970 domestic architecture (“domestic” can include mass housing). Establish the artistic context(s). [60]

Section 5 – Architecture 1970-present

5 Compare and contrast two major examples of post-1970 non-domestic architecture (religious, institutional, municipal, commercial or industrial). Establish the artistic context(s). [60]

Part B

Selected craft and design 1945-present

Answer one question from your chosen section in this part

Section 6 –Three-dimensional craft and design 1945-1970

6 Explain your understanding of the dictum ‘truth to materials’, supporting your explanation by reference to three or more appropriate works of 1945-1970 three- dimensional craft and/or design. Establish the artistic context(s). [60]

Section 7 – Three-dimensional design 1970-present

7 Critically appraise two examples of post-1970 craft works, establishing the artistic context(s), and discuss the role of post-1970 fine craft production. [60]

Section 8 – Textiles and fashion design 1945-present

8 Explain your understanding of the term ‘fashion’, and give a broad critical appraisal of Haute Couture design from 1945 to the present, establishing artistic contexts and referring to three or more designers and works. [60]

Section 9 – Graphic design 1945 – present

9 With respect to one major graphic designer active since 1945, discuss the relationship between art and graphic design, referring to two or more examples of works. Establish the artistic context. [60]

Section 10 – Automotive design 1945-present

10 Some car manufacturers have built their success on styling: others, on sustained engineering development. Discuss the merits and demerits of these broad approaches, referring to appropriate post-1945 examples and establishing artistic contexts. [60]

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AS 1 Mark Scheme

Candidates’ demonstrated knowledge and understanding of the indicative content will be assessed against the assessment criteria and performance descriptors within the AS 1 Generic Mark Scheme above.

For each question, candidates must demonstrate some knowledge and understanding of the relevant ‘immediate context’ - within their historical contexts, closely associated artistic styles, themes, centres, movements and/or practitioners, as identified within the particular subject content section. ‘Immediate contexts’ shown below reproduce in full content descriptions directly relating to the questions, with the less relevant contextual content shown in summary form. The major part of each answer should not be contextual but, rather, draw from the subject content to directly address the question.

Principal practitioners and works relevant to the examination question should be dated on first mention. Basic biographies should be provided for these principal practitioners.

AS 1 Section 1 – Greek sculpture

Question 1: Compare and contrast two treatments of either drapery or animals by Greek sculptors, establishing their artistic contexts.

INDICATIVE CONTENT Answers should include the following: Knowledge • Immediate context o Archaic Late 8thC-c. 480 BC; Egyptian, Mycenaean and Minoan influences; technical and aesthetic developments; limestone, marble, early use of bronze; emergence of Kouros, Kore and other free-standing figures; gradually freer treatment of drapery. and/or o Classical C. 480-323 BC; aggressive colonization under Alexander the Great; technical and artistic mastery; treatment clear, harmonious, restrained, generalised, idealised; narrative; refined drapery treatment; free-standing and pedimental figures, metope and frieze reliefs. Myron, Phidias, Polykleitos, and early work by Praxiteles and Lysippus. and/or o Hellenistic C. 323-27 BC; fall of Greece to Rome 146 BC; technical and artistic elaboration; shift from idealism to realism; movement, emotion, drama, group compositions; most practitioners unknown; late work of Praxiteles and Lysippus. and in summary o Archaic, Classical and/or Hellenistic, as not already covered. • Identification of required practitioners and works, and descriptions of works, eg: Either, eg: o Kore in Dorian Peplos, C.530 BC (Acropolis Museum, Athens); Archaic polychromatic free-standing marble female (kore) figure; rigid vertical pose; limited sense of female form beneath fairly rigid peplos garment; ‘Archaic smile’. o Ludovisi Throne, c. 460 BC; early Classical low relief marble fragment showing four female figures, two of whom, in semi-transparent gowns, appear to be helping another, nude but with drapery held across her lower half, emerge from water.

Or, eg: o Calf-bearer/Moschophoros, c. 570 BC; late Archaic free-standing marble, stylised but quite naturalistic portrayal of a man carrying a calf across his shoulders. and/or o Phidias’s marble sculptural treatments of horses on Parthenon pediments (high relief and/or free-standing) and/or frieze (low relief narrative), c. 438-32 BC. and/or o Horses from the Alexander Sarcophagus, after 333 BC; set of high relief polychromatic narrative sculptures, including scene of Alexander in battle with the Persians at Issus.

Understanding • Comparison and contrast, eg: Either, eg: o Kore in Dorian Peplos: adheres to Archaic convention of showing female (kore) figure clothed only; Egyptian influence and ‘blockishness’ of the stone still evident, relating to architectural form of the column; use of colour and separation of arms from torso among indications of growing realist interest.

o Ludovisi Throne: perhaps priestess/goddess (Aphrodite?) rising from ritual bath/well or sea; clinging ‘wet drapery’ look, drapery no longer concealing but revealing and accentuating body form, signifying change of social attitudes in portrayal of female; perhaps evidence of pictorial influence on sculpture.

Or, eg: o Calf-bearer/Moschophoros: innovative subject, departing from standard Archaic Kouros (male free-standing, usually nude); significant advance towards realism o Phidias’s treatments of horses on Parthenon: acutely observed and technically, aesthetically, dramatically accomplished; Classicism epitomised. and/or o identification of similarities and differences of context (within the particular period/style and across periods/styles, influences), techniques (eg, limestone, marble, bronze, low-relief, free-standing), audience/intention (eg, religious, public, commemorative), as far as known or can be discerned; meaning and/or significance taken (eg, human-animal/nature relationships, relative artistic freedom allowed to treatment of animal subjects, progression towards realism). • Any other valid content to be identified at the standardising meeting and credited.

AS 1 Section 2 – Early Renaissance Italian art

Question 2: Critically appraise three works by one major Early Renaissance Italian artist, establishing the artistic context.

INDICATIVE CONTENT Answers should include the following: Knowledge • Immediate context: o Florence as centre Also Padua and Siena; Duccio, Giotto, Lorenzo Ghiberti, Donatello, Fra Angelico, Paolo Uccello, Masaccio, Piero della Francesca, Andrea Mantegna, Sandro Botticelli. And in summary o Classical influence and rise of Humanism, Technical and aesthetic developments. • Identification of required practitioners and works, and descriptions of works, eg: o Masaccio (b. 1401 near Florence, d. 1428 Rome), based in Florence, closely associated with Brunelleschi and Masolino. o Crucifixion, c1426; Byzantine/Gothic gold background but early efforts to use scientific perspective and facial/body expression; awkward portrayal of head of Christ, evidently struggling with perspective. o Tribute Money, fresco, Brancacci Chapel, Santa Maria del Carmine, Florence, c1426-27; early use of landscape background; growing technical accomplishment; example of continuous narrative, with three episodes portrayed simultaneously. o Trinity, fresco, Santa Maria Novella, Florence, c1427-28; tall narrow format extending from ground level and containing life-size figures of: God the Father, God the Son (Christ, on the cross), God the Holy Ghost/Spirit (in form of white dove/collar), Virgin Mary, St John the Evangelist, a male and a female donor, and a human skeleton.

Understanding • Analysis/interpretation/appraisal o Major figure in progression from Byzantine/Gothic traditions; Classical influences/references in the work; earliest Renaissance painter to use Brunelleschi’s (re)discovery of scientific (vanishing point) perspective, as best seen in Trinity, c1427-28; leading painter in use also of shading, realism, gesture, continuous narrative; Christian symbolism with Humanist influence. • Any other valid content to be identified at the standardising meeting and credited.

AS 1 Section 3 – European art Renaissance to Rococo

Question 3: Critically appraise two examples of Rococo painting from France and/or Britain, establishing the artistic context(s).

INDICATIVE CONTENT Answers should include the following: Knowledge • Immediate context o Rococo France Fête galantes and other aristocratic dalliances; Jean-Antoine Watteau, François Boucher, Jean Honoré Fragonard; intimate and tranquil domesticity, Jean-Baptiste Chardin. And/or o Rococo Britain Satirical social commentary, William Hogarth; animal anatomy and ‘portraiture’, George Stubbs; portraits and landscapes of the gentry, Thomas Gainsborough. And in summary o Netherlands, Baroque Flanders and France, Rococo France and/or Rococo Britain, as not already covered. • Identification of required practitioners and works, and descriptions of works, eg: o Jean-Antoine Watteau (1684-1721), Embarkation for [the Island of] Cythera, 1717-18; floating cherubs and softly focused parkland provide background to expensively attired aristocrats about to board a small sailing ship. And o George Stubbs (1724-1806), Hambletonian, Rubbing Down, c. 1800; a famous bay racehorse shown in right profile; active pose; accompanied by groom and stable boy and shown against expanses of grass and sky; two small nondescript buildings in background.

Understanding • Analysis/interpretation/appraisal, eg: o Watteau, Embarkation for Cythera: influence of Rubens; soft, indistinct painterly forms; dreamy, unworldly, escapist, sensuous, delicately erotic; reflecting privileged existence of French aristocrats prior to 1789 Revolution o Stubbs, Hambletonian: acutely observed ‘animal portrait’ reflecting the artist’s prolonged study of horse anatomy; lively, energetic pose although also an unrealistic one in that both fore- and rear-right legs are off the ground simultaneously; an example of Stubbs’ compromising realism for sake of artistic composition. • Any other valid content to be identified at the standardising meeting and credited.

AS 1 Section 4 – French painting 1780-1870

Question 4: Give a broad critical appraisal of painting in France 1780-1870, referring to relevant movements, artists and works.

INDICATIVE CONTENT Answers should include the following: Knowledge • Immediate context: o Neoclassicism The Enlightenment; time of revolutions against religious and state establishments; Ancient Egyptian, Greek and Roman artefacts stimulate scholarly and popular interest; Academy and the Prix de Rome; reaction to Rococo; Jacques- Louis David, political as well as artistic involvement; Jean Auguste-Dominique Ingres, Neoclassical champion with Romantic tendencies. o Romanticism Church and state give ground to private patronage; literary and exotic themes favoured; ‘cult of the individual’ given expression in rise and fall of hero- leader Napoleon; challenge to Academic artistic methods and values; sketchiness, drawing with brush, strong colour; Théodore Géricault, Eugène Delacroix. o Realism Conflict with political and artistic establishments; egalitarian values; struggle to establish landscape genre; Barbizon School, Camille Corot, Gustave Courbet, Jean-François Millet, Honoré Daumier. • Identification of required practitioners and works, and descriptions of works, eg: o Neoclassical - Jacque-Louis David (1748-1825), Oath of the Horatii, 1784-85; Ancient Roman theme of personal sacrifice for the greater (social) good as dramatised in Corneille’s play Horace, 1640; David invents shallow stage-like setting with three figure-groups framed by three Roman Doric/Tuscan arches; from left to right, three Horatii brothers, each with right hand raised; father holding up three swords; three seated women and two small children; forms clearly delineated. o Romantic - Théodore Géricault (1791-1824), Raft of the ‘Medusa’, 1818-19; large make-shift raft with 20 or so figures, alive and dead, shown on dark heaving sea against yellowish, stormy sky; illustrating aftermath of the French frigate Medusa’s foundering off Senegal, on west coast of Africa, 1816; allegations of incompetence and cowardice against politically appointed captain who abandoned 150 to the raft, only 15 or so surviving when rescued. o Realist - Gustave Courbet (1819-77), A Burial at Ornans, 1849; long horizontal format, large, life-size, scale; open grave centre foreground; church and civic dignitaries on left; deceased unnamed/anonymous in title; larger group of ordinary mourners, mostly in black, in centre- and right-background; human skull and white dog prominent to right of grave.

Understanding • Analyses/significance/appraisal, eg: o David, Oath of the Horatii: Neoclassical severity of form and message - sacrifice for the greater good - contrast strongly with dreamy indolence of immediately preceding Rococo work; Classical influence apparent in form and theme; the work was commissioned on behalf of Louis XVI but, in the view of many commentators, it played a significant part in stirring revolutionary feelings that climaxed 4-5 years later, eventually leading to the execution of Louis; stressed social, rather than individual, dimension/issues.

And o Géricault, Raft of the ‘Medusa’: Romantic focus shifts towards the individual and the darker side of nature, including human nature; contemporary, politically confrontational theme; meticulously researched and observed forms passionately rendered; criss-crossing diagonals and fractured pyramidal structure in the composition express survivors’ alternating hope and despair; no reassuring verticals or horizontals; colour composition of ‘bruised human flesh’. And o Courbet, A Burial at Ornans: notably large scale of work given over to an ordinary, unnamed person’s funeral was widely interpreted at the time as tantamount to political incitement, challenging the established orders of church and state; Courbet’s ‘down-to-earth’ socialism and realism emphasized by the horizontal format and, centre foreground, the open grave, a human skull and a dog; his painting technique very direct, fresh, intuitive, and at odds with the prescribed academic method. • Broad critical appraisal, eg: o Increasing individuality of artistic approach; shifts of patronage from church and state to prosperous individuals, with consequent thematic changes; from c. 1840, some painting informed by and informing the new art of photography. • Any other valid content to be identified at the standardising meeting and credited.

AS 1 Section 5 – British painting 1780-1850

Question 5: Give a broad critical appraisal of the treatment of landscape, as background and as a theme in itself, in British painting 1780-1850, establishing artistic contexts and referring to three or more painters and works.

INDICATIVE CONTENT Answers should include the following: Knowledge • Immediate context: o Watercolour landscape painting Dutch influence; working outdoors directly from nature; exploiting spontaneity, fluidity and aesthetic economy of watercolour medium; John Crome, Thomas Girtin, John Sell Cotman. o Romantic landscape Influenced by Claude Lorrain and Dutch landscapists; working outdoors directly from nature; challenge to Academic artistic methods and values with increasing importance given to the sketch and other aesthetic innovations; various reflections on landscape in an increasingly industrial and urban age; John Constable, J. M. W. Turner, Samuel Palmer. o Academicism Artists content for most part to work within the broad artistic and philosophical traditions associated with the High Renaissance; Henry Raeburn, William Etty, Edwin Landseer. o Independents Attention turned on inner worlds of fantasy, belief, obsession, dread; Henry Fuseli, William Blake, Richard Dadd. • Identification of required practitioners and works, and descriptions of works, eg: o John Sell Cotman’s (1782-1842) Aqueduct of Chirk, c. 1804; watercolour composed of large flat panes of colour; clear, clean structures; direct observation of the landscape motif. o J. M. W. Turner’s (1775-1851) Rain, Steam and Speed, the Great Western Railway, 1844: oil on canvas; train approaching in sharp perspective over a bridge/ viaduct; another arched bridge/viaduct visible on the left; train, sky, clouds, rain and steam very loosely rendered with little concern for fine detail. o Richard Dadd’s (1817-86) The Fairy Feller’s Masterstroke, 1855-64; a small oil on canvas ‘fantasy’ work by the probably schizophrenic artist, showing a close-up of daisies and other small plants among which are some thirty ‘fairies’, one of whom wields an axe, about to split what looks like an acorn. Dadd had become mentally unhinged during an arduous journey through the Middle East, following which, in 1843, he murdered his father and spent the rest of his life in mental institutions. He continued to paint to the end of his life.

Understanding • Analysis/interpretation/appraisal, eg: o Cotman’s Aqueduct of Chirk: sense of place married to Classical sense of pictorial structure and design; austerely decorative, exploiting economy and vivacity of the watercolour medium; ‘truth to materials’ attitude can be related to use of the medium by later painters, such as Cézanne, John Marin or Georgia O’Keeffe. o Turner’s Rain, Steam and Speed, the Great Western Railway: notably unacademic in painting method and disdain for detailed visual recording; expressive brushwork, vibrant colour composition and dramatic diagonals affirm the artist’s Romanticism; anticipating abstraction; nature, the British landscape and weather, used as pretext for near-abstract approach; man-made ‘cloud’ (of steam) produced by train also symbolic of driving force behind the Industrial Revolution.

o Dadd’s The Fairy Feller’s Masterstroke: a miniaturist’s accomplishment of technique and sense of realistic detail put to service of a vivid/unhinged imagination; various kinds of speculation possible on relationship between rationality and creativity; Dadd could be seen as anticipating Surrealism. • Broad critical appraisal of treatment of landscape, eg: o Direct observation of nature encouraging individuality of creative approach; challenge to capture fleeting British weather effects encourages some to free and loose brushwork, more Romantic than Classical/Academic; sketchiness gradually becomes increasingly accepted. • Any other valid content to be identified at the standardising meeting and credited.

AS 1 Section 6 – Lens-based art 1850-1945

Question 6: Compare and contrast what you see to be two very different treatments of movement in 1850-1945 lens-based art, establishing the artistic contexts.

INDICATIVE CONTENT Answers should include the following: Knowledge • Immediate context: o Pictorial photography Technical limitations - gradually reduced - restrict early use mostly to landscape and portrait/figure studies; two dominant views, truthful visual record or means for artistic statement; informing and informed by painting; various exploratory, documentary and expressive agenda; William Henry Fox Talbot, Julia Margaret Cameron, Ansel Adams, Jacques-Henri Lartique, Edward Steichen, Alfred Eisenstaedt, Robert Capa, Weegee (Arthur Fellig), Bill Brandt, Henri Cartier- Bresson. And/or o Anti-pictorial photography Informing and informed by abstract or semi-abstract painting; various exploratory and expressive agenda; El Lissitzky, Man Ray, Paul Strand, Alexander Rodchenko, Laszlo Moholy-Nagy. And/or o Selected film directors Dominance late 1920s to early 1950s of Classical Hollywood (or ‘continuity style’) cinema, and studio and star systems; fictive narratives working from enigma to resolution through chronological cause-and- effect conventions; variously defined genres (such as: action, western, comedy, horror, thriller, science fiction, musical, social concern); Cecil B. DeMille, Charlie Chaplin, Fritz Lang, Buster Keaton, John Ford, Sergei Eisenstein, Alfred Hitchcock, Walt Disney. And, in summary o Pictorial photography, anti-pictorial photography and/or selected film directors, as not already covered. • Identification of required practitioners and works, and descriptions of works, eg: o Robert Capa (war photojournalist, b. Endre Friedmann, Budapest, Hungary, 1913; d. Vietnam, 1954), D-Day, Normandy, June 6, 1944, 1944; landscape format black and white photograph with close-up but hazy image of American soldier half swimming, half wading, to shore during the D-Day landing (as memorably portrayed also by Steven Spielberg in the opening sequence of Saving Private Ryan, 1998); various indistinct images of angular military hardware in background. o Alfred Hitchcock (1899-1980), Psycho, 1960 horror film; stabbing-in-shower sequence; co-directed with Saul Bass; black and white motion picture sequence, rapid edits in extreme close-up and accompanied by Marion’s (Janet Leigh’s) screams and Bernard Herrmann’s frighteningly staccato strings-only score.

Understanding • Comparison and contrast, eg: o Capa, D-Day, Normandy, June 6, 1944: sense of frenzied, violent movement; poor technical standard of image corresponds with, and effectively communicates, the wholly abnormal physical circumstances under which the photograph was taken – wading ashore from landing craft whilst under heavy enemy fire; illustrating Capa’s famous dictum “If your pictures aren’t good enough, you aren’t close enough”. Capa one of the earliest to exploit new small cameras and fast film which meant

photojournalism no longer had to make do with studied poses of the great and the good but, rather, could capture action shots under poor lighting conditions. o Hitchcock’s Psycho, shower scene: close-up extreme violent movement again; black and white lens-based imagery, but ‘domestic’ rather than military situation, fictional rather than real, and conveyed through moving rather than still lens-based imagery. A defining moment in a complex narrative supporting a wide range of associations and interpretations, eg: varied pacing of scenes, eye-vortex-camera, white bathroom- water-possibility of redemption-denial, shower curtain-cinema screen-(blonde) beauty violated, etc.. • Any other valid content to be identified at the standardising meeting and credited.

AS 1 Section 7 – Painting, 1910-1945

Question 7: Art historians differ on whether Expressionists’ technical primitivism, in the years 1880-1945, is a strength or a weakness. Discuss, establishing the artistic context(s) and referring to three or more appropriate painters and works.

INDICATIVE CONTENT Answers should include the following: Knowledge • Immediate context: o Die Brücke (The Bridge), active Dresden c. 1905-13; Expressionists celebrating various kinds of ‘primitivism’; Ernst Ludwig Kirchner, Emil Nolde, Karl Schmidt- Rottluff o Der Blaue Reiter (The Blue Rider), active Munich c. 1911-14; Expressionists; various approaches, including abstraction; Wassily Kandinsky, Franz Marc, Paul Klee. o Independent Expressionists Unique experiences uniquely envisioned; James Ensor, Edvard Munch, Paula Modersohn-Becker, Max Beckmann, Oskar Kokoschka And in summary o Fauvism, Cubism in France, Futurism. • Identification of required practitioners and works, and descriptions of works, eg: o Edvard Munch (1863-1944), The Scream, 1893; nausea-inducing curves and perspective; strident colour composition; semi-abstract. o Ernst Ludwig Kirchner (1880-1938), Five Women in the Street, 1913; five prostitutes(?) given aggressively angular forms, black/dark blue against acidic yellow ground; semi-abstract. o Paul Klee (1879-1940), They’re Biting, watercolour, 1920; whimsical stick-drawing portrayal of angler, boat, sun and fish; child-like; conceptual rather than perceptual treatment (no use of perspective); soft yellow-green background.

Understanding • ‘Primitivism’ in western art historical discourse o Referring to non-European/western, pre-Renaissance and/or artists who rejected, did not receive or did not absorb academic training (see From Realism to Abstraction study note). • Analysis/interpretation/significance/appraisal, eg: o Use of ‘primitive’/naïve techniques, semi-abstraction, expressive brushwork, strident colour compositions and/or fantasy. o Part of progression to abstraction. o Part of widespread modernist emulation of child-like/uncivilised o Relating to challenges to religious, philosophical, artistic, social and/or political orders, such as Nietzschean challenge to Platonic philosophical framework; psychoanalysis of Freud and Jung; World Wars. • Any other valid content to be identified at the standardising meeting and credited.

AS 1 Section 8 – Painting 1910-1945

Question 8: Compare and contrast two examples of figurative (or “representational”) painting from the years 1910-1945, establishing the artistic contexts.

INDICATIVE CONTENT Answers should include the following: Knowledge • Immediate context: o Surrealism Active across Europe c. 1920-39; publicly launched Paris 1924; development from Dada; artistic exploration of irrational and subconscious; influenced by psychoanalysis of Freud and Jung; use of accident, chance, automatic- ism; ‘Automatic’ Surrealism, Max Ernst, Joan Miró, André Masson; ‘Dream’ Surrealism, Salvador Dali, René Magritte, Paul Delvaux. And/or o School of Paris Paris, progressive art centre; various figurative approaches; Amedeo Modigliani, Chaïm Soutine, Marc Chagall, Henri Matisse, Pablo Picasso. And/or o North American Armory Show, 1913; influence of immigrant European avant garde; search for an artistic American identity corresponding with USA’s rise to super-power status. REGIONALISM: aesthetically and politically conservative; Grant Wood, Thomas Hart Benton. INDEPENDENTS: Georgia O’Keeffe, Edward Hopper. And in summary o Abstraction, Surrealism, School of Paris and/or North American, as not already covered. • Identification of required practitioners and works, and descriptions of works, eg: o Salvador Dali (1904-89), Christ of St John of the Cross, 1951; upper two thirds of the vertical canvas contains a top-down view of figure of Christ and the Cross, strongly lit from right hand side, both seemingly floating within a black spatial void. The foot of the Cross merges with golden clouds over a blue sky and, below it, a ground-level view of a lake or bay with two small boats and three men in the foreground and a range of barren brownish hills in the background. The individual elements of the painting naturalistically rendered; the combined effect, though, supernatural. o Marc Chagall (1887-1985), School of Paris painter born into poor Jewish family in rural Russia/Belarus; escaped both Soviet and Nazi persecution. References to Jewish and Russian folklore, and Biblical themes, recur throughout his work. White Crucifixion, 1938, is typical of his seemingly naïve folk-art painting style, with simplified forms, anatomical distortions and rejection of scientific perspective. Christ on the Cross is surrounded by scenes of violence (some of the aggressors on the left wave red flags), burning houses and fleeing and weeping people. Christ’s loin cloth, with its two horizontal black bands, the lit menorah (seven-branched candelabrum) centre foreground, and various other references emphasise that the victims here, including Christ, are Jewish.

Understanding • Comparison and contrast, eg: o Chagall’s use of ‘distorted’ anatomies and perspectives, with figures often shown floating, dreamlike, caused many observers to associate him with Surrealism. It was an association he himself declined but comparison can nevertheless be made with the work of Dali and other ‘Dream’ Surrealists. Well before the 20thC, many examples 34

of ‘surreal’ art can be found. Chagall’s art raises questions as to the nature of Surrealism itself. His treatment of the Crucifixion theme is also unusual in being from a Jewish, rather than Christian, perspective, and one with direct experience of Soviet and Nazi persecution. Dali’s, in both religious and artistic respects, is arguably the more conventional treatment of the theme, albeit with Surrealist twists. • Any other valid content to be identified at the standardising meeting and credited.

AS 1 Section 9 – Sculpture 1870-1945

Question 9: Critically appraise Dada sculpture, establishing the artistic context and referring to appropriate sculptors and three or more works.

INDICATIVE CONTENT Answers should include the following: Knowledge • Immediate context: o Dada Active Zürich, Berlin, Cologne, New York, c. 1915-22; break with all traditions of artistic creation, including manual craftsmanship; use of accident, chance, readymade, performance; Jean (Hans) Arp, Marcel Duchamp And in summary o Cubism and Futurism, Constructivism, Surrealism, Independents. • Identification of required practitioners and works, and descriptions of works, eg: o Jean (Hans) Arp (1887-1966), Collage Made According to the Laws of Chance, 1916, or Upside-down Blue Shoe with Two Heels, 1925; examples of automatic or chance-based techniques; abstract forms o Marcel Duchamp (1887-1968), Bicycle Wheel, 1913 (‘readymade’ bicycle wheel mounted on a stool), or Bride Stripped Bare by Her Bachelors, Even (also known as Large Glass), 1915-23; abstract, machine-like and biomorphic forms arranged on a large pane of glass.

Understanding • Analysis/interpretation/significance/appraisal, eg: o Rejection of artistic traditions/craftsmanship/representation/established artforms; use of accident/chance/stream-of-consciousness/abstraction/readymade/performance; artistically influential. o Impact of WWI; Nietzschean challenge to Platonic philosophical framework; questioning of established social/political orders; rise of Freudian and Jungian psychoanalysis; questioning of scientific certainties with Einstein/Relativism and Bohr/Quantum Theory challenges to Newtonian physics. • Any other valid content to be identified at the standardising meeting and credited.

AS 1 Section 10 – Irish art 1900-1945

Question 10: Give a broad critical appraisal of Academic and Modernist art in Ireland 1900-1945, establishing artistic contexts and referring to three or more appropriate artists and works.

INDICATIVE CONTENT Answers should include the following: Knowledge • Immediate context: o Academic painting and sculpture Artists content for most part to work within the broad artistic and philosophical traditions associated with the High Renaissance; John Lavery, Rosamund Praeger, James Humbert Craig, William Orpen, John (Seán) Keating, Frank McKelvey, John Luke, Tom Carr. o Modernist painting and sculpture Artists questioning Eurocentric and Renaiss- ance artistic values, conventions; ‘technically introverted’, emphasising aesthetic and formal elements; various avant garde influences; POST-IMPRESSIONISM, William Conor, Roderic O’Conor, Grace Henry, Jack Butler Yeats, Paul Henry; CUBISM, Evie Hone, Mainie Jellett, Norah McGuinness, Nano Reid; SURREALISM, Newton Penprase. • Identification of required practitioners and works, and descriptions of works, eg: o John Lavery (1856-1941), The Bridge at Grez [or Grès], 1901; sometimes known as A Passing Salute; Academic/Impressionistic treatment of river and bridge at village of Grez-sur-Loing, just south of Fontainebleau, France. An oarsman, left foreground, attracts the attention of two women in a punt, right middle distance. On the bridge, far right, two figures look down on the scene. o Jack Butler Yeats (1871-1957), The Liffey Swim, 1923; river, swimmers and bridge on right; crowded onlookers, seen from behind, centre and left. Top left, onlookers in an open-top double-decker bus. Scene in quite sharp perspective. Very loosely and broadly painted. o Mainie Jellett (1897-1944); pupil of French Cubists André Lhote and Albert Gleizes. The Nativity, 1940; heavily abstracted figures of Holy Family; soft rounded geometrical forms for most part; flatly applied oil on canvas with little or no realistic detail; generally muted palette, based on secondary rather than primary colours, but with Virgin Mary in traditional strong blue.

Understanding • Analysis/interpretation/significance/appraisal, eg: o Lavery, The Bridge at Grez: in theme and, to certain extent, technique testimony to impact of French Impressionism on Academic painting. o Yeats, having begun as an illustrator, progressed through Post-Impressionism into a personal form of Expressionism (similar to that of his friend, the Austrian Expressionist painter, Oskar Kokoschka). The Liffey Swim, a mid-career example of his work, could be classed as late Post-Impressionist-early Expressionist. o Jellett, The Nativity: exemplifies influences of Lhote and Gleizes in treating traditional - religious, mythical and historical - themes using Cubist formal means. Jellett herself, in her work, alludes to Celtic and other pre-Renaissance and non- European cultural forms. • Any other valid content to be identified at the standardising meeting and credited.

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AS 2 Mark Scheme

Candidates’ demonstrated knowledge and understanding of the indicative content will be assessed against the assessment criteria and performance descriptors within the AS 2 Generic Mark Scheme above.

Principal practitioners and works relevant to the examination question should be dated on first mention. Basic biographies should be provided for these principal practitioners.

AS 2 Section 1 – Greek architecture

Question: 1: Give a broad account of the three Classical architectural orders, identifying one building as an example of each order’s use. Establish the artistic context and briefly discuss what you think the orders tell us about the Greeks.

INDICATIVE CONTENT Answers should include the following: Knowledge • Immediate context: o Classical orders Three major Greek building styles governing detail of column, capital, entablature and their constituent parts; terms, descriptions (including visual where appropriate), development, significance. DORIC; imposing ‘masculine’ strength, characteristic sculpted frieze of triglyphs and metopes. IONIC; ‘feminine’ delicacy, continuous sculpted frieze. CORINTHIAN; possibly designed by Callimachus; decorative emphasis, limited use by Greeks; interiors, exteriors. And in summary o Materials and methods, Religious, Civic. • Identification and broad account of orders, per above, plus, eg: o Doric: plainest and visually heaviest of the three orders; no base; column resting directly on stylobate, which in turn rests on stereobate; generally 20 column flutes, the shallow vertical channels meeting in sharp edges (arrises); column supports a capital comprising a cushion-like echinus and a square abacus. o Ionic: relatively slender column, provided with a base; usually 24 column flutes, separated by flat fillets; capital comprises double scroll or volute between the echinus and abacus. o Corinthian: similar to Ionic but with capital in form of acanthus leaves, and sometimes also scrolls/volutes. • Identification of examples, eg: o Doric: Ictinus (Iktinus) and Callicrates (Kallikrates); Parthenon, Acropolis, Athens, 448-432 BC o Ionic: Mnesicles(?); Erechtheum, Acropolis, Athens, 421-405 BC o Corinthian: architect(s) unknown; Monument of Lysicrates, Athens, 335-334 BC.

Understanding • Significance: o Orders (and temple design) reveal sustained aesthetic development over many generations, the Greeks seemingly uninterested in developing more spatially/ structurally efficient building systems (religious worship patterns, and the climate, exerted little pressure to accommodate large numbers of worshippers within temples). o Doric and Ionic orders seen as visual expressions of distinctive components of the Greeks themselves (the Dorian and Ionian peoples) whilst also allowing expressions of national/civic harmony/unity. o Aesthetic development of architectural orders hand-in-hand with aesthetic developments in sculpture - closely integrated. • Any other valid content to be identified at the standardising meeting and credited.

AS 2 Section 2 – Early Renaissance Italian architecture

Question 2: Give a broad critical appraisal of early Renaissance Italian architecture, establishing the artistic context and referring to three or more appropriate architects and works.

INDICATIVE CONTENT Answers should include the following: Knowledge • Immediate context: o Classical influence and rise of Humanism Emergence from Gothic and Byzantine traditions; studying, questioning, challenging; individualism; architect’s status rises; enlightened patronage o Technical and aesthetic developments Structural engineering innovations; interest in mathematics, geometry, proportion; discovery (or rediscovery?) of perspective and its impact o Florence as centre Isolated examples elsewhere; Filippo Brunelleschi, Leon Baptista (Battista) Alberti, Michelozzi Michelozzo (Michelozzo di Bartolommeo), Giovanni Pisano, Bernardo Rossellino. • Identification of required practitioners and works, and descriptions of works, eg: o Filippo Brunelleschi (1377-1446), Pazzi Chapel, Santa Croce, Florence, c1433-70; arched portico with six Corinthian columns fronting domed chapel. o Leon Baptista (Battista) Alberti (1404-72), Santa Maria Novella, Florence, c1456- 70; volute screens uniting narrow upper storey with wide ground storey. o Michelozzi Michelozzo/Michelozzo di Bartolommeo (1396-1472), Palazzo Medici- Riccardi, Florence, begun 1444; three-storey urban palace, for the Medici, with string-courses and rustication graded from heavy to light, bottom to top.

Understanding • Analyses/interpretation/significance/appraisal, eg: o Brunelleschi, Pazzi Chapel: exemplary Renaissance development of Classical forms and use of mathematical proportioning. o Alberti, Santa Maria Novella: innovative architectural solution of volute screens uniting narrow upper storey with wide ground storey. o Michelozzo, Palazzo Medici-Riccardi: influential three-storey urban palace, for the Medici, with Classical string-courses and rustication graded from heavy to light, bottom to top. • Broad critical appraisal, eg: o Rise of Humanism. o Study of Classical, Gothic and Byzantine legacies and intelligent informed development of aesthetic and structural principles. o Competitiveness, between individual architects and patrons and between city states. o Enlightened and wealthy patronage. o Extensive cross-fertilisation within the visual arts, encouraging experimentation and creativity. • Any other valid content to be identified at the standardising meeting and credited.

AS 2 Section 3 – European architecture Renaissance to Rococo

Question 3: French and British architecture within the Renaissance to Baroque periods exhibits very different characteristics. Discuss, establishing the artistic contexts and referring to two appropriate architects and works.

INDICATIVE CONTENT Answers should include the following: Knowledge • Immediate context: o Baroque France Armies of Charles VIII of France invade Italy 1494; Italian Renaissance gradually influences French Gothic; rich mix of classical and romantic tendencies; François Mansart (Mansard), Louis Le Vau, Jules Hardouin Mansart (Mansard). o Elizabethan-to-Baroque Britain Reformation; Henry VIII breaks with Rome and establishes Church of England, 1529; period of iconoclasm; resistance to and isolation from Renaissance artistic influences; first colony established in Virginia, N. America, 1607, marking beginning of 300 years of overseas expansion; architectural expression mainly through great country houses; Robert Smythson, Inigo Jones, Christopher Wren, Nicholas Hawksmoor (Hawksmore), John Vanbrugh. • Identification of required practitioners and works, and descriptions of works, eg: o François Mansart (1598-1666), Château of Maisons (today Maisons-Lafitte), near Paris, 1642-50; free-standing château on moated stone terrace, commissioned by wealthy financier René de Longeuil. o John Vanbrugh (1664-1726), soldier turned playwright turned architect; influenced and aided by Nicholas Hawksmoor (c. 1661-1736); Blenheim Palace, Woodstock, Oxfordshire, 1705-25; national tribute to, and country residence of, Duke of Marlborough; monumental stately home; symmetrical arrangement of colonnades and porticoed and other buildings around gradually narrowing central forecourt.

Understanding • Analysis/interpretation/significance/appraisal, eg: o Mansart, Château of Maisons: generally seen as his masterpiece; essentially French classical but with constrained Baroque expression, as perhaps best seen in treatment of the vestibule leading to the grand staircase - classical pilasters surmounted by curvilinear ceiling. o Vanbrugh, Blenheim Palace: dramatic scale, theatricality of effect (approach through narrowing forecourt creates impression of greater distance and scale); towers at four corners of forecourt surmounted by highly sculptural lanterns testify to Italian Baroque influence. • Any other valid content to be identified at the standardising meeting and credited.

AS 2 Section 4 – Architecture 1835-1918

Question 4: Critically analyse one example of institutional, commercial or industrial architecture produced between 1835 and 1918, establishing its artistic context.

INDICATIVE CONTENT Answers should include the following: Knowledge • Immediate context: o Arts and Crafts Movement Structural and decorative integration; contribution to ideas of suburb and Garden City; Philip Webb, Charles F. Voysey, Edwin Lutyens. Or o Art Nouveau Painting and plant form influences; influence of Viollet-le-Duc’s ‘structural rationalism’; Antonio (Antoni) Gaudí, Victor Horta, Charles Rennie Mackintosh. Or o Wiener Werkstätte and Deutscher Werkbund Innovative practice in Austria and Germany; tension between ‘arts and crafts’ and industrial approaches; Adolf Loos, Josef Hoffmann, Peter Behrens. Or o Independents Joseph Paxton, Gustave Eiffel, Dankmar Adler and Louis Sullivan, Frank Lloyd Wright. And in summary o Arts and Crafts Movement, Art Nouveau, Wiener Werkstätte and Deutscher Werkbund, and/or Independents, as not already covered. • Identification of required practitioners and works, and description of works, eg: o Edwin Lutyens (1869-1944), Viceroy’s House, New Delhi, 1912-31; vast official residence Or o Charles Rennie Mackintosh (1868-1928), Glasgow School of Art, c1897-1910; steep inner-city site; local granite and brick, with ironwork; dark wood interiors Or o Peter Behrens (1868-1940), AEG Turbine Factory, Berlin, 1908-10; massive masonry corners with use elsewhere of iron/steel and glass Or o Joseph Paxton (1803-65), Crystal Palace, Hyde Park, London, 1850-51; massive temporary exhibition venue of wrought iron, cast iron, glass, and timber flooring.

Understanding • Analysis/interpretation/significance/appraisal, eg: o Lutyens, Viceroy’s House: innovative amalgam of Classical and Indian architectural forms Or o Mackintosh, Glasgow School of Art: rectilinear/severe example of Art Nouveau architecture; Scottish baronial, Japanese and Arts and Crafts influences; Glasgow industrial influence in ironwork Or o Behrens, AEG Turbine Factory: massive masonry corners point to past, with innovative use elsewhere of iron/steel and glass pointing to new materials and methods Or

o Paxton, Crystal Palace: rapidly constructed and dismantled; unprecedented scale; innovative use of mass-produced wrought iron, cast iron, and glass components and civil engineering methods. • Any other valid content identified at the standardising meeting to be credited.

AS 2 Section 5 – Architecture 1900-1945

Question 5: Give a broad critical appraisal of architecture within the years 1900-1945, establishing artistic contexts and referring to three or more architects and works.

INDICATIVE CONTENT Answers should include the following: Knowledge • Immediate context o French Avant Garde Development of reinforced concrete; classical rationalism; the Industrial City; Tony Garnier, Auguste Perret, Le Corbusier. o De Stijl and Bauhaus DE STIJL: Neo-Plasticism; influences of Cubism and the machine-made; Gerrit Rietveld, Jacobus Johannes Pieter Oud. BAUHAUS: functionalism; concrete, steel and glass classicism; Walter Gropius, Ludwig Mies van der Rohe. o North American Innovative practice; informed by and reacting to European modernism; Frank Lloyd Wright, Richard Buckminster Fuller. o Independents Wells Coates, Alvar Aalto, Berthold Lubetkin. • Identification of required practitioners and works, and descriptions of works, eg: o Le Corbusier (b. Charles-Édouard Jeanneret, Switzerland, 1887; d. France, 1965), Villa Savoye, Poissy, 1927-31; weekend retreat; severely geometrical flat-roofed concrete dwelling raised off ground on thin columns; horizontal windows; painted white; no applied decoration. o Walter Gropius (1883-1969), Bauhaus Building, Dessau, 1925-26; building complex comprising workshop wing, accommodation and studio block, teaching wing for Dessau Technical College, a ‘flyover’ administrative section, and a block containing an auditorium, theatre and canteen; constructed of reinforced concrete, steel and glass; no applied decoration. o Alvar Aalto (1896-1976), Villa Mairea, Noormarkku, Finland, 1937-38; commissioned as rural retreat and guesthouse for Maire (or Mairea) and Harry Gullichsen; L-shaped two-storey dwelling of brick, concrete, timber, steel and glass enclosing courtyard with curved swimming pool; large open-plan living area; wooded setting;

Understanding • Analysis/interpretation/significance/appraisal, eg: o Le Corbusier: Villa Savoye: defining example of Le Corbusier’s ‘5 points of a new architecture’ (pilotis, free plan, free façade, strip windows and roof terrace/garden); functionalist; idealist and influential but some practical shortcomings; questionable as to ‘homeliness’ of design approach. o Gropius, Bauhaus Building: defining example of modernist non-domestic architecture; reinforced concrete frame with supporting columns set back from the non-structural ‘curtain walls’ of metal-framed windows; building system allowing rapid and economical construction of large, well lit, open-plan spaces; non-symmetrical; functionalist. o Aalto: Villa Mairea: encouraged by his wealthy clients to ‘experiment’; example of Aalto’s ‘organic modernism’; rich combination of Finnish vernacular and modernist forms; courtyard and turfed roofs adaptations of traditional Finnish farmyard and buildings; much use of natural forms and materials - such as rattan-wrapped poles within the entrance hall - and varied textures. • Any other valid content to be identified at the standardising meeting and credited.

AS 2 Section 6 – Three-dimensional craft and design 1850-1918

Question 6: Explain your understanding of the relationship between craft and design, with reference to three or more appropriate practitioners and three-dimensional works from the years 1850-1918. Establish the artistic context(s).

INDICATIVE CONTENT Answers should include the following: Knowledge • Immediate context: o Shaker Anonymous, elegantly functional, well crafted interiors, furniture, boxes and other household artefacts; reflecting religious commitment and values. And/or o Early industrial design Great Exhibition of 1851 highlights poor state of British product design; widespread debate, design reforms; from craft- into batch- and mass-production; Michael Thonet, Christopher Dresser, Josef Hoffmann. And/or o Arts and Crafts Movement Led by textile designer William Morris; reaction to industrialism; craft as art; unresolved agonizing on ethics of craft production seeking mass market; sporadically functionalist, traditional materials and techniques; Philip Webb, Charles F. A. Voysey. And/or o Art Nouveau Fluid lines predominantly; new interior schemes; conspicuous craftsmanship, luxury; application of a decorative motif; Louis Comfort Tiffany, René Lalique, Hector Guimard, Charles Rennie Mackintosh. And in summary o Shaker, Early industrial design, Arts and Crafts Movement and/or Art Nouveau, as not already covered. • Identification of required practitioners and works, and descriptions of works, eg: o Shaker 19thC rocking chair: lightweight rocking chair in native hardwood. o Michael Thonet (1796-1871), Bentwood Chair No. 14, c. 1859: light-weight mass- produced laminated wood chair. o Charles F. A. Voysey (1857-1941), Tempus Fugit aluminium and copper clock, c1895: quite plain, simple lines o René Lalique (1860-1945), Oiseau de Feu lamp, c1925: combination of curvilinear and rectilinear forms.

Understanding • Analyses/interpretation/significance/appraisal: o Shaker 19thC rocking chair: finely crafted, practical, elegant, unostentatious. o Thonet, Bentwood Chair No. 14: functional but comfortable; affordable; curved lines could be linked to Art Nouveau. o Voysey, Tempus Fugit clock: architectonic forms reminiscent of Voysey’s Arts and Crafts architecture. o Lalique, Oiseau de Feu lamp: combination of curvilinear and rectilinear forms indicative of being on cusp between Art Nouveau and Art Deco.

• Craft-design relationship: o ‘Craft’ usually designed and handmade by one person; ‘design’, usually designed by one and made by others and involving extensive machine work; usually craft works unique and design works identical (see 3 Subject content, Structure). o General craft-design relationship; conflict, often unresolved, between aesthetic, social and/or economic principles; tension between art and industry; catering for elite or mass markets. • Any other valid content identified at the standardising meeting to be credited.

AS 2 Section 7 – Three-dimensional craft and design 1918-1945

Question 7: Discuss the influence of other cultures on European 1918-1945 three-dimensional craft and design, establishing artistic contexts and referring to three or more appropriate practitioners and works.

INDICATIVE CONTENT Answers should include the following: Knowledge • Immediate context o Art Deco Cubist, African, Egyptian, South American, Japanese influences; formal simplicity infused with glamour and opulence; Jean Dunand, Eileen Gray, Jacques- Émile Ruhlmann, Maurice Marinot, René Buthaud, Clarice Cliff, René Lalique. And in summary o Modernist. • Identification of required practitioners and works, and descriptions of works, eg: o Eileen Gray (b. Enniscorthy, Co. Wexford, Ireland, 1878; d. Paris, 1976); Irish-born, Paris-based, Art Deco designer; employed Japanese cabinetmaker and lacquerwork expert Seizo Sugawara (or Sougawara) to teach her about lacquerwork. Pirogue [Canoe] sofa, c. 1919-20; lacquer and silver-leaf over wood; day-bed/sofa similar in basic form to a dug-out canoe; raised tapering ends; 10 or so small feet; dark lacquered finish on outside and silver-leaf within. o Jean Dunand (b. near Geneva, Switzerland, 1877; d. 1942); sculptor turned Art Deco designer, based in France; renowned especially for his use of lacquerwork, the craft of which, like Gray, he had learnt from Sugawara (or Sougawara). Vase, 1923-24 (reproduced in Patricia Bayer, Art Deco Source Book, Quantum Books Ltd., 6 Blundell St, London N7 9BH, 1997, 1-84013-047-4, p. 45); approximately spherical (ceramic?) vase with small opening outlined in red; decorated with horizontal bands in coquille d’oeuf (crushed egg shells suspended in lacquer) over dark ground. o René Buthaud (1886-1987); French Art Deco ceramics designer; Negro Figure Stoneware Vase, c. 1931; “…with its exotic Negro figure, Buthaud executed this piece after attending the 1931 Exposition Coloniale in Paris, where much African art had been on display” (Bayer, p. 60; piece also illustrated); black and red stylised figurative design over off-white ground; slightly hourglass form, with two ribbed vertical ‘grips’/handles either side, within the vase’s concave curve.

Understanding • Analysis/interpretation/significance/appraisal/discussion, eg: o Gray, Pirogue sofa: could be argued that Gray’s day-bed/sofa is essentially French in concept, African in form, Japanese in technique, modernist in constraint of applied decoration, and ergonomic in its physical harmony with the recumbent human form. o Dunand, Vase: Japanese influence very apparent in the coquille d’oeuf lacquerwork technique and also in the simplicity of the form and decoration. Certain ‘primitive’ quality also that connects with modernist artists’ general interest in the art and artefacts of African and other pre-Renaissance and non-western cultures. o Buthaud, Negro Figure Stoneware Vase: the known circumstances of its production, plus the imagery used on the vase itself, testify to the contemporary interest, within and beyond the visual arts, in ‘other cultures’. The unusual grips/handles suggest a conscious attempt to depart from European/western precedents. And o Japanese and African artefacts were particularly strong influences on European fine art in the latter half of the 19thC (Impressionism, Post-Impressionism, Symbolism) 49

and first two decades of the 20thC (Fauvism, Cubism, Expressionism…). Any such associations made to be credited. • Any other valid content to be identified at the standardising meeting and credited.

AS 2 Section 8 – Textiles and fashion design 1850-1945

Question 8: In relation to either textiles or fashion design in the years 1850-1945, compare and contrast the works of two designers which, taken together, illustrate the breadth of design approaches within that period. Establish the artistic context(s).

INDICATIVE CONTENT Answers should include the following: Knowledge • Immediate context o Arts and Crafts Movement Favoured sources, plant, bird, animal and other organic forms; Gothic and Japanese influences: William Morris, Liberty. And/or o Bauhaus Ethos of abstraction, formal experiment, functional design; craft with a view to mass-production; Adelgunde (Gunta) Stölzl, Anni Albers, Léna Meyer Bergner (Helene Bergner). And/or o Art Deco Formal simplicity infused with glamour and opulence; Sonia Delaunay, Marion Dorn. And/or o Fashion Earliest practical sewing machines invented 1840s-50s; economic, practical, gender, personal, lifestyle, social, cultural factors; emergence of haute couture; Charles Worth, Paul Poiret, Coco Chanel, Cristobal Balenciaga. And o Arts and Crafts Movement, Bauhaus, Art Deco and/or Fashion, as not already covered. • Identification of required practitioners and works, and descriptions of works, eg: o Charles Worth (b. Bourne, Lincolnshire, 1825; d. 1895); English-born fashion designer based in Paris: an example of his silk ball gowns, c. 1872; curvaceous hourglass form achieved by use of corsetry and bustle; ostentatiously expensive fabrics and trimmings {see, eg, detailed description and illustrations at: "Charles Frederick Worth: Ball gown (C.I.46.25.1a-d)". In Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. http://www.metmuseum.org/toah/hd/wrth/hod_C.I.46.25.1a-d.htm (October 2006)}. o Gabrielle ‘Coco’ Chanel (b. Saumur, France, 1883; d. 1971); an example of her ‘little black dress’, c. 1927; pleated wool jersey dress; finely tailored {see, eg, detailed description and illustration at “Gabrielle ‘Coco’ Chanel: Day ensemble (1984.28a-c)”. In Timeline of Art History. New York: The Metropolitan Museum of Art, 2000-. http://www.metmuseum.org/toah/hd/chnl/hod_1984.28a-c.htm (October 2006)}.

Understanding • Comparison and contrast o Worth, ball gown: extravagant form, colour, materials and decorative treatment, finely and expensively crafted; female form extravagantly exaggerated (using corsetry, bustle and voluminous fabrics) to point where much physical activity and, by implication, female independence is curtailed; Worth’s career coincident with reestablishment of French Empire, under Napoleon III, and the Empress Eugènie his major client. o Chanel, ‘little black dress’: modest form, colour, materials and decorative treatment, finely and expensively crafted; simple clean lines and inconspicuous detailing often

described as ‘classically elegant’; ‘boyish’ lines reflecting new independence and freedom of lifestyle for western women post-WWII, for which Chanel herself was a leading role model. • Any other valid content to be identified at the standardising meeting and credited.

AS 2 Section 9 – Graphic design 1850-1945

Question 9: Give a broad critical appraisal of Post-Impressionist and Art Nouveau graphic design, establishing artistic contexts and referring to three or more appropriate designers and works.

INDICATIVE CONTENT Answers should include the following: Knowledge • Immediate context o Post-Impressionism and Art Nouveau Contemporary art influences; street as gallery; Jules Chéret, Henri de Toulouse-Lautrec, Alphonse Mucha, Aubrey Beardsley. And in summary o Wars and revolution, Modernism • Identification of required practitioners and works, and descriptions of works, eg: o Jules Chéret (1836-1932); often referred to as the ‘father of the modern poster’, producing more than 1,000 over the course of his career; worked for a time in England; Paris-based; helped develop colour lithography. Les Girard – Folies Bergère, colour lithograph poster, 1877; four ginger-haired dancers – three males, in black tails, one female, in black and flowing grey gown – in lively composition against a flat red ground, their forms entwined with the words ‘Folies Bergère’ at the top and ‘Les Girard’ at the bottom; limited palette of red, black, white, off-white, grey and ginger. o Henri de Toulouse-Lautrec (1864-1901); Impressionist/Post-Impressionist painter and graphic designer of minor aristocratic birth (and stunted growth) whose subjects almost exclusively concern the night life scene - concert and dance halls, cafés and brothels – of Paris in the 1890s; produced only 32 posters but is recognised as a major influence on the modern poster. Jane Avril au Jardin de Paris, colour lithograph poster, 1893; dancer top left rather roughly framed by a heavy line connecting to the neck of a double bass, lower right; dancer shown against receding stage boards with the poster text, in white and black, top right; the double bassist’s head, hand and sheet music schematically rendered bottom right; very limited palette of yellow, black and various derived tones, plus the dancer’s lips picked out in red; a splatter-type texture variously applied. o Aubrey Beardsley (1872-98); short-lived but unique and influential English Art Nouveau illustrator specialising in black-and-white images. “The Climax” illustration, first published 1893, to Oscar Wilde’s play Salomé, written in French and first published in English in 1894 (version incorporating text as illustrated in Alan and Isabella Livingston, The Thames and Hudson Dictionary of Graphic Design and Designers, 1998, ISBN 0-500-20259-1, p. 24); black-and-white illustration of Salomé holding head of John the Baptist, top right, the reward she requested from King Herod for pleasing him with her dancing (based on Biblical story); large black areas contrasting with large white areas and also with areas of fine detail; predominantly organic, curvilinear forms; very shallow pictorial space; globules of blood appear to drop from the severed head and an exotic flower grows out of the pooled blood; just below left centre of the composition are the words “J’AI BAISÉ TA BOUCHE/ IOKANAAN/ J’AI BAISÉ TA BOUCHE” (translating from the French as “I have kissed your mouth/ Iokanaan/ I have kissed your mouth”).

Understanding • Analysis/interpretation/significance/appraisal, eg: o Chéret, Les Girard - Folies Bergère: lively, graceful, humorous, inventive, engaging, influential; has been claimed Chéret’s posters helped liberalise attitudes towards female emancipation. o Toulouse-Lautrec, Jane Avril au Jardin de Paris: major influences Degas, Chéret and Japanese prints; curvilinear forms relate to Art Nouveau; acute observation and great economy and inventiveness of means; his physical deformity arguably a factor in his ability to gain insights into the lives of other ‘outcasts’ from polite/ conventional/respectable society. o Beardsley and Wilde leading and controversial players in the Aesthetic movement; widely condemned at time as decadent, perverse, morally corrupt; “The Climax” a prime example of their controversial material; taking theme from the Bible’s New Testament and emphasizing erotic aspects; congruence of sex and death; Japanese prints a major influence; Beardsley a strong influence on French Symbolist painting. • Any other valid content to be identified at the standardising meeting and credited.

AS 2 Section 10 – Automotive design to 1945

Question 10: Who do you consider made the single greatest contribution to pre-1945 automotive design? Briefly establish contexts and critically appraise two or more examples in support of your choice.

INDICATIVE CONTENT Answers should include the following: Knowledge • Immediate context: o Family car From batch- to mass-production; Henry Ford/Ford, Henry Royce/Rolls- Royce, Citroën, Chrysler, Mercedes-Benz, Ferdinand Porsche (Senior), Battista Pininfarina Or o Other Sports/racing cars: Enzo Ferrari, William Lyons/Jaguar, Ettore Bugatti/Bugatti, Aston Martin; Various, Harry Ferguson, Raymond Loewy, Henry Dreyfuss And in summary o Family car or Other, as not already covered. • Identification of required practitioners and works, and description of works, eg: o Henry Ford (1863-1947), Model T, 1908, family saloon; simply and practically designed; in 1913, first car to be mass-produced from standard components on an assembly-line. o Harry Ferguson (b. near Hillsborough, Co. Down, 1884; d. Stow-on-the-Wold, England, 1960), engineer, aviator, inventor, manufacturer; 1909, made first powered flight in British Isles, in an aeroplane of his own design; 1926-28, invented new plough and three-point linkage (the Ferguson System) that revolutionized farming; TC-20 prototype tractor, 1933, in production by David Brown, Huddersfield, 1936, leading, in 1946, to production of TE-20 (“Wee Grey Fergie”) at Coventry; small, economical lightweight tractor with three-point linkage and hydraulics systems enabling safe and efficient operation of very wide range of agricultural tasks, even in hilly conditions.

Understanding • Analysis/interpretation/significance/appraisal, eg: • argument for selected practitioner’s pre-eminent significance: o Ford, Model T; made motoring accessible to the masses, his stated intention that the car be “so low in price that no man making a good salary will be unable to own one”. o Ferguson, TC-20 prototype of the modern tractor, making efficient, adaptable, affordable tractors available to small farmers; significant aid to food production worldwide. • Any other valid content to be identified at the standardising meeting and credited.

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A2 1 Mark Scheme

Candidates’ demonstrated knowledge and understanding of the indicative content will be assessed against the assessment criteria and performance descriptors within the A2 1 Generic Mark Scheme above.

Subject content specifically identified within any particular question and belonging to that particular A2 subject content section will be deemed non-synoptic; all other content, synoptic.

Principal practitioners and works relevant to the examination question should be dated on first mention. Basic biographies should be provided for these principal practitioners.

References below to particular subject content are mostly by title, abbreviations sometimes also being used in the form of ‘AS 1.1’ for AS 1 subject content section 1 and ‘A2 2.5’ for A2 2 subject content section 5.

A2 1 Section 1 – Roman sculpture

Question 1: Identify and discuss the peculiar difficulties in characterising Roman sculpture, establishing the artistic context and illustrating your points by reference to three or more appropriate works.

INDICATIVE CONTENT Answers should include the following: Non-synoptic knowledge • Immediate context o Etruscan and Greek influences Etruscan influences superseded by Greek after 146 BC when Greece falls to Rome; statues, sculptors and, to some extent, ethos imported. o Republican To 27 BC; very few early surviving examples; commemorative, portrait, narrative, public; relief and in the round; triumphal arches, honorific columns and altars. o Imperial From 27 BC; shift towards ostentation; Christian era introduced with Constantine who takes Constantinople (previously Byzantium, now Istanbul) as new imperial capital; western Empire falls 476 AD; commemorative, portrait, narrative, public; relief and in the round. • Identification of required practitioners and works, and descriptions of works, eg: o Practitioner(s) unknown, Aulus Metellus (L’Arringatore), early 1st C BC lifesize bronze; southern Etruscan provenance; left arm with open palm projecting forward; toga (early kind) draped over left shoulder and arm; left foot slightly forward; short- cropped hair; quite naturalistic treatment. o Practitioner(s) unknown, Augustus of Primaporta, c. 20 BC-15 AD; marble, just over lifesize; Vatican Museums, Rome; right hand raised in salute/blessing; left hand holds staff of office; toga wrapped around waist and hanging over left forearm and exposing military breastplate which itself depicts various allegorical scenes; weight on right leg with left leg bent and relaxed; small naked cupid figure at right foot. o Practitioner(s) unknown, Trajan’s Column, 106-113 AD; low-relief sculptured marble narrative (200 m/656 ft long), spiralling around column (38.1 m/125 ft high, including base), of Emperor Trajan’s victories over Dacians; narrative divided into more than 150 episodes; compressed spatial treatment.

Non-synoptic understanding • Analysis/interpretation/significance/appraisal, eg: o Aulus Metellus (L’Arringatore): naturalistic, quite closely and accurately observed and depicted; general pose probably influenced by Greek works such as Doryphorus (Spear Bearer), c. 450-440 BC, by Polyclitus; specific pose/gesture, denoting address/salutation, much used in later Roman portrait statues. o Augustus of Primaporta: idealized hero figure expressing divine or semi-divine status, on cusp between Republican and Imperial; closely modelled on the Aulus Metellus (L’Arringatore) and Greek works such as the Polyclitus Doryphorus; short- cropped hair; face idealized but with sense of believable individual. o Trajan’s Column: monumentally impressive work but seriously flawed as means of conveying a narrative – “beholders must ‘run around in circles like a circus horse’ (to borrow the apt description of one scholar)” (H. W. Janson, History of Art, 1962; Thames & Hudson, 4th edition, 1991, ISBN 0-500-23632-1, p. 237); prosaic military operational detail combined with representations of river and other gods; complex history of Dacian Wars, from Roman perspective, rendered pictorially throughout;

scale/proportions of individuals freely altered according to social status; ground plane tilted towards pictorial plane. • Difficulties o Problems of definition and coverage (geographical, chronological, ethnic, stylistic). o Gradual mergence of Etruscan and Roman cultures. o Limited surviving examples, particularly from Republican era. o Confusion caused by many Greek originals and copies, looted, commissioned or otherwise acquired, in Roman collections from as early as 3rd C BC. o Roman openness to and acceptance of artistic influence from the very wide range of cultures within the Empire. • Characteristics o Strong tendency towards realism, reinforced by use of commemorative sculptures in ancestor worship; old age probably sign of success, hence wrinkled faces celebrated. o Sense of dignity and ‘decorum’. o Heavy market demand created by the fashion for collecting, as with the need for large numbers of imperial sculptural portraits, tended to limit general aesthetic quality, at least relative to Classical Greek production.

Synoptic knowledge and understanding • Referencing one or more of, eg: o Greek sculpture o Roman architecture o Early Renaissance Italian art o Neoclassical painting (AS 1.4) o High Renaissance and Mannerist Italian art. • Any other valid content to be identified at the standardising meeting and credited.

A2 1 Section 2 – High Renaissance and Mannerist Italian art

Question 2: High Renaissance Italian art testifies to the growing influence, within that society, of scientific thinking. Discuss, establishing artistic contexts and referring to three or more appropriate artists and works.

INDICATIVE CONTENT Answers should include the following: Non-synoptic knowledge • Immediate context o High Renaissance painting and sculpture Rome as centre, also Florence and Venice; philosophical, religious, scientific questioning; period of Reformation in Germany; Church patronage; period of technical and artistic mastery; Giovanni Bellini, Leonardo da Vinci, Giorgione (Giorgio Barbarelli), Michelangelo (Buonarroti), Raphael (Raffaello Sanzio or Santi), Titian (Titiano Vecellio). • Identification of required practitioners and works, and descriptions of works, eg: o Giovanni Bellini (c. 1426-1516); Venetian school painter; Madonna of the Meadow (Madonna del Prato), 1505; traditional religious subject of Madonna and Child set against convincing detailed representation of rural scene. o Leonardo da Vinci (1452-1519); Ginevra de’Benci, c. 1474; early head-and- shoulders (possibly betrothal) portrait of young woman framed by a juniper plant; landscape receding into pale distance bottom right. o Michelangelo Buonarroti (1475-1564): Florentine sculptor, painter, architect, poet; David, 1501-04, marble sculpture (4.08 m/ 13ft 5 in high); colossal male nude, acutely observed and realistically rendered, although some criticise hands and feet as over-size.

Non-synoptic understanding • Analysis/interpretation/significance/appraisal, eg: o Bellini, Madonna of the Meadow: early example of carefully observed outdoor scene; capture of natural light particularly effective; comparatively early use of oil paint medium allowing for greater subtlety of effect than available with tempera or fresco. o Leonardo da Vinci: archetypal ‘Renaissance man’; generally recognized as one of history’s great geniuses but also criticised for neglecting his art in favour of very wide ranging research and experiment; few completed paintings but works such as Annunciation, 1472-75, and Ginevra de’Benci, together with several thousand surviving illustrated notebook pages, testify to the artist also being a pioneering observational scientist of rare talent; his interests extending into areas such as human anatomy, optics, botany, hydraulics, civil and mechanical engineering, aeronautics; Ginevra de’Benci. the juniper plant symbolic of chastity, also, in Italian, ginepro, a pun on sitter’s name. o Michelangelo, David: influenced by Classical and Hellenistic sculptures mostly seen and studied in Rome, and also by the work of Florentines Masaccio and Donatello, but new sense of pent up energy and spiritual questioning beneath the generally calm exteriors of his forms; pre-eminent sculptor/carver of the male nude; saw his task as liberating the human form from stone that imprisoned it; scientific accuracy of form almost a prerequisite of his concept of art, as seen in the anatomical detail of muscles and veins on the David.

Synoptic knowledge and understanding • Referencing one or more of, eg: o (Italian) Mannerist painting and sculpture. o Greek sculpture o Roman sculpture o European art Renaissance to Romanticism, in Italy o High Renaissance and Mannerist Italian architecture o French Romantic painting (AS 1.4) o Alongside Humanism and the general reawakening of interest in Classical thought, including the Aristotelian sense of scientific enquiry, improved manufacture of fine glass, mirrors and lenses has been argued a significant factor in the European Renaissance, aiding the work of scientists, artists, scholars, mariners/explorers (see, eg, Alan MacFarlane & Gerry Martin, The Glass Bathyscaphe, Profile Books, 2002, ISBN 186-197-400-0; and also David Hockney, Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters, Thames and Hudson, 2001, ISBN 0-500- 23785-9). • Any other valid content to be identified at the standardising meeting and credited.

A2 1 Section 3 – European art Renaissance to Romanticism

Question 3: Give a detailed critical appraisal of one major example of Spanish painting from the Renaissance to Romanticism period, establishing the artistic context.

INDICATIVE CONTENT Answers should include the following: Non-synoptic knowledge • Immediate context o Spain Mannerism to Realism/Romanticism; period of decline in Spanish power and influence, culminating in French occupation under Napoleon; El Greco (Domenikos Theotocopoulos), Diego Velázquez, Francisco José de Goya. • Identification of required practitioners and works, and descriptions of works, eg: o Velázquez (b. Seville 1599, d. Madrid 1660); Spanish Baroque; court painter to King Philip IV, based in Madrid. o Las Meninas (The Maids of Honour), c1656, large scale oil on canvas showing room in royal palace; includes the infant Princess Margarita, accompanied by various maids of honour, a female court dwarf and a dog; Velázquez himself looks out of canvas on left, in act of painting; small (mirror?) image of King and Queen in background; possible images of works by Rubens in background.

Non-synoptic understanding • Analysis/interpretation/significance/appraisal: o Fluent, masterly brushwork; convincing realism but mirror images do not tally with reality; expresses heightened status of artist; access to various Italian and Flemish influences through royal collection; highly influential.

Synoptic knowledge and understanding • Referencing one or more of, eg: o European art Renaissance to Romanticism in Germany, Holland and/or Italy. o Influence of Rubens (AS 1.3). o Influence of Titian (A2 1.2). o Influence on Manet (A2 1.4). o Influence on Picasso (A2 1.7) o Influence on Bacon (A2 1.7) o Influence on Balenciaga (A2 2.8). • Any other valid content to be identified at the standardising meeting and credited.

A2 1 Section 4 – French painting 1860-1900

Question 4: Technological advances of various kinds impacted on French painting 1860-1900. Identify what you see as the most significant such innovations and relate them to three or more appropriate painters and works, establishing artistic contexts.

INDICATIVE CONTENT Answers should include the following: Non-synoptic knowledge • Immediate context o Impressionism Reaction to academic/salon art; influence of and reaction to photography; outdoors painting; improved painting materials; improved scientific understanding of colour; Japanese influence; Édouard Manet, Claude Monet, Auguste Renoir, Edgar Degas, Berthe Morisot, Henri de Toulouse-Lautrec. o Post-Impressionism Influence of and various reactions to Impressionism; individualism; influence of other cultures, especially Japanese; ‘primitive’ techniques and themes; Paul Cézanne, Vincent van Gogh, Paul Gauguin, Georges Seurat. o Symbolism After Impressionism, return of meaning, imagination, fantasy; Odilon Redon, Paul Gauguin, Gustave Moreau. • Technological advances, eg: o Photography, c. 1838-39; a new way of looking at and recording the visible world, and one eventually available to almost all, with technical and economic limitations gradually reduced. o New synthetic dyes, greatly extending range of colours available to painters, from mid 19thC. o Mass production of artists’ paints, with the new artificial dyes, encourages experimental, profligate painting techniques. o Collapsible paint tube, invented c. 1841 by English firm of Winsor & Newton; facilitating outdoors – plein air – painting directly from the landscape motif; previously paints had to be painstakingly mixed in studio and then transported in such as pigs’ bladders. o Improved artists’ brushes. o Portable easels, facilitating outdoors painting. o Improvements in public transport, encouraging travel to previously less accessible parkland, rural and coastal scenery. o Improved postal/carriage services enabling painters’ materials and finished works to be more easily transported to and from remote parts of the country. • Identification of required practitioners and works, and descriptions of works, eg: o Claude Monet (1840-1926); leader of mainstream Impressionism; Poplars on the Banks of the Epte, 1891; curving line of tall poplar trees receding from left to right; warm summer sun out of picture, low on left; bright blue sky with a few high wispy white clouds; distinct brushmarks of strong yellows, blues, reds and oranges in the foliage. o Vincent van Gogh (1853-90); Peach Trees in Blossom, 1889; warm Mediterranean- type view looking down on a yellow wooden fence with an orchard of blossoming peach trees beyond; some isolated pale yellow houses with terracotta roofs in the middle distance, and a low line of blue hills in the far distance; the slightly cloudy sky depicted with distinct horizontal pale blue brushmarks; heavy application of paint throughout the work.

o Henri de Toulouse-Lautrec (1864-1901), At the Café La Mie, c. 1891; watercolour and gouache on paper, mounted on millboard and panel; Museum of Fine Arts, Boston; woman on left, moustached man with bowler-type hat on right, seated at small café table; ‘Bohemian’-types; wine bottle, glasses, plate and knife on table; rapid, sketchy quality.

Non-synoptic understanding • Analysis/interpretation/significance/appraisal, eg: o Monet, Poplars on the Banks of the Epte: example of plein air use of newly expanded colour range available to artists through development of synthetic dyes; pre-19th C, most strong blues, for instance, were derived from the lapis lazuli semi- precious stone and had to be used circumspectly, hence the typical sunny Impressionist landscape painting would have been very difficult and/or expensive to achieve earlier. o Van Gogh, Peach Trees in Blossom: mass production of artists’ oil paints using new synthetic dyes, with a consequent fall in the cost of materials, encouraged experimentation in the way paint was applied, in van Gogh’s case, so thickly, straight from the tube, that it acquires a distinctive physical presence, adding significantly to the overall expressive effect, especially when allied to his characteristic use of vortice-like brushwork; the collapsible lead paint tube, invented c. 1841, also facilitated working outside the studio. o Toulouse-Lautrec, At the Café La Mie: photograph source available (see, eg, Carolyn M. Bloomer, Principles of Visual Perception, 1976; 2nd. ed., Herbert Press, London, 1990, ISBN 1-871569-20-6, p. 163); illustrating how even as gifted a draftsman as Toulouse-Lautrec sometimes made use of photographic sources; Courbet, Manet and Degas are among other major painters of the time known to have on occasion used photographic sources.

Synoptic knowledge and understanding • Referencing one or more of, eg: o French painting 1780-1870 o Lens-based art 1850-1945 o Painting 1880-1945 o Architecture 1835-1918 o Three-dimensional craft and design 1850-1918. • Any other valid content to be identified at the standardising meeting and credited.

A2 1 Section 5 – British painting 1850-1900

Question 5: Give a broad critical appraisal of Pre-Raphaelite painting, establishing the artistic context and referring to three or more painters and works.

INDICATIVE CONTENT Answers should include the following: Non-synoptic knowledge • Immediate context: o Pre-Raphaelitism Active c. 1848-53 but influential to c. 1900: influenced by Nazarenes, writings of John Ruskin, and Romantic literature; HEIGHTENED REALISM, naturalism; technical developments; John Everett Millais, William Holman Hunt. MEDIEVALISM, Dante Gabriel Rossetti, Edward Burne-Jones. • Identification of required practitioners and works, and descriptions of works, eg: o John Everett Millais (1829-96), Christ in the House of His Parents, 1849-50; naturalist portrayal of young Christ in Joseph’s carpentry shop, heavy with portentous symbolism. o William Holman Hunt (1827-1910), The Awakening Conscience, 1851-53; naturalist portrayal of a ‘kept’ woman rising from her lover’s knee as she begins to regret her way of life. o Dante Gabriel Rossetti (1828-82), Beata Beatrix, 1864-70; dreamy, drug-influenced, religiously symbolic portrayal of artist’s - at the time, dead - wife as Dante’s Beatrix. And/or o Edward Burne-Jones (1833-98), The Beguiling of Merlin, 1873-74; elongated, idealised female form in a dreamy, claustrophobic mythical setting.

Non-synoptic understanding • Analysis/interpretation/significance/appraisal, eg: o Biblical and Romantic literary influences and symbolism; tension between realist/naturalist and medievalist PRB strands; ferociously/insanely exact observation versus dreamy, eroticised escapism.

Synoptic knowledge and understanding • Referencing one or more of, eg: o Victorian Realism, Fin de Siècle. o Arts and Crafts Movement architecture. o Arts and Crafts Movement three-dimensional craft and design. o Arts and Crafts Movement textiles. o French Symbolist painting (A2 1.4) o Eclectic Romantic architecture (A2 2.3). o Early 19thC Britain saw certain general revival of religious feeling but, in second half of 19thC, challenges of Darwinism and new interpretations of fossil and geological records; advances of science, technology, and industry; advances of British imperialism and colonialism; questioning of established social/political orders. • Any other valid content to be identified at the standardising meeting and credited.

A2 1 Section 6 – Lens-based art 1945-present

Question 6: Compare and contrast the work of two film directors, active after 1945, whose work you think reveals very different attitudes to the Classical Hollywood style. Establish artistic contexts.

INDICATIVE CONTENT Answers should include the following: Non-synoptic knowledge • Immediate context o Selected film directors Various challenges to Classical Hollywood Cinema; John Ford, Alfred Hitchcock, Carol Reed, Akira Kurosawa, Federico Fellini, Stanley Kubrick, Ridley Scott, Steven Spielberg, Martin Scorsese; Animation and Computer Generated Imagery (CGI), Nick Park, Tim Burton • Identification of required practitioners and works, and descriptions of works, eg: o John Ford (1895-1973), Stagecoach, 1939, or The Searchers, 1956, westerns and Stanley Kubrick’s (1928-99) 2001: A Space Odyssey, 1968, science fiction film Or o Steven Spielberg (1947-), Jaws, 1975, action film, and Federico Fellini (1920-93), Roma, Città Aperta, c. 1945-46, neo-realist film, or Akira Kurosawa (1910-98), Ran, 1985, interpretation of Shakespeare’s King Lear.

Non-synoptic understanding • Comparison and contrast, eg: o Ford: chronological cause-and-effect narratives in his Stagecoach, 1939, or The Searchers, 1956, westerns contrasting with the abrupt shifts in time and space in Kubrick’s 2001: A Space Odyssey, Ford’s coming to a resolution and Kubrick’s to an enigma. Or o Spielberg’s Classical Hollywood Jaws, 1975, contrasting with the richly chaotic Italian surrealism of Fellini’s Roma, Città Aperta, or Kurosawa’s distinctively Japanese treatment of a western classic (Shakespeare’s King Lear) in Ran.

Synoptic knowledge and understanding • Referencing one or more of, eg: o Selected photographers. o Lens-based Art 1850-1945 - “Classical Hollywood (or ‘continuity style’) cinema, and studio and star systems, fictive narratives working from enigma to resolution through chronological cause-and-effect conventions; variously defined genres” (AS 1.6). o Interdisciplinary collaboration, eg, Surrealist artist Salvador Dali’s (AS 1.8) collaboration in Alfred Hitchcock’s (1899-1980) Spellbound, 1945, or graphic designer Saul Bass’s (A2 2.9) collaboration in Hitchcock’s Psycho, 1960. o Aftermath of WWII; Einstein/Relativism and Bohr/Quantum Theory challenges to Newtonian physics/certainties; beginning of nuclear age; beginning of Cold War and Space Race between USA and USSR super-powers, representing forces of Liberal Capitalism and Communism respectively; television; youth culture… • Any other valid content to be identified at the standardising meeting and credited.

A2 1 Section 7 – Painting 1945-1970

Question 7: Critically appraise two 1945-1970 paintings by one major Pop artist, establishing the artistic context.

INDICATIVE CONTENT Answers should include the following: Non-synoptic knowledge • Immediate context: o Pop ‘Neo-Dada’, ‘New Realism’; Anglo-American axis; consumerism after post- war austerity; low-art subjects and techniques inserted into high-art context; Richard Hamilton, Peter Blake, David Hockney, Robert Rauschenberg, Jasper Johns, Andy Warhol, Roy Lichtenstein • Identification of required practitioners and works, and descriptions of works, eg: o David Hockney (b. Bradford 1937); studied at Royal College of Art 1959-62 and achieved critical acclaim whilst still a student; loosely associated with British Pop art. o A Bigger Splash, 1967; magazine illustration-type representation of Californian swimming pool; emphasised artificiality of splash, water, sky, modernist (pink) building, and palm trees. o Mr and Mrs Clark and Percy, 1970-71; large double portrait of fashion designer Ossie Clarke and his wife Celia Birtwell, either side of open French windows, with Percy the white cat on Ossie Clark’s knee; richly minimalist modernist room, with off-white shag-pile rug.

Non-synoptic understanding • Analysis/significance appraisal: o Illustrative representation connects with graphic design/commercial art, rather than fine art of, in particular, immediately preceding Abstract Expressionism; accentuated blandness of the Californian scene; subjects contemporary/ fashionable.

Synoptic knowledge and understanding • Referencing one or more of, eg: o Abstract Expressionism, Independents o Pop sculpture o Dada sculpture o Surrealist painting/sculpture o Three-dimensional craft and design 1945-1970 o Textiles and fashion design 1945-present o Graphic design 1945-present o Affluence after austerity of immediate WWII period; Cold War and Space Race between USA and USSR super-powers, representing forces of Liberal Capitalism and Communism respectively; television; youth culture. • Any other valid content to be identified at the standardising meeting and credited.

A2 1 Section 8 – Painting 1970-present

Question 8: Give a broad critical appraisal of post-1970 European and North American painting, establishing artistic contexts and referring to three or more painters and works.

INDICATIVE CONTENT Answers should include the following: Non-synoptic knowledge • Immediate context o Super/Photo-realism Fascination with convention of photographic realism; concern with method; Chuck Close, Malcolm Morley, Richard Estes, Gerhard Richter. o Postmodernism Sensitive to Modernism’s distancing from a general public but unsure how to reconnect; classical references, irony, scepticism, pastiches, parodies; Carlo Maria Mariani, Sandro Chia, Francesco Clemente, Paula Rego. o School of London Francis Bacon, Lucian Freud, Frank Auerbach, R. B. Kitaj, Howard Hodgkin, David Hockney, Allen Jones. • Identification of required practitioners and works, and descriptions of works, eg: o Chuck Close (b. Monroe, Washington, USA, 1940), Phil III, 1982; over lifesize copy of head and shoulders black and white photograph of minimalist composer Philip Glass, using cast handmade grey paper. o Paula Rego (b. Lisbon, Portugal, 1935); London-based figurative painter and printmaker; early influences Mantegna, Goya, Surrealism; wholly accessible and readable images, although with mysterious and often disturbing meanings implied. The Family, 1988; a man in suit and tie is seated on the foot of a bed on the left; a young girl behind him and another in front appear to be about to remove his jacket; on the right, another young girl in front of a sunlit window observes the scene, casting her shadow toward the other three figures; back right, on what is perhaps some kind of wardrobe, is a small image of what appears to be two female figures, one about to strike with a sword something or someone on the ground under her foot. o Francis Bacon (b. Dublin 1909; d. Madrid 1992), Three Figures and a Portrait, 1975; oil and pastel on canvas, Tate Gallery, London; semi-abstract depiction of four figures within a shallow, predominantly sand-coloured, space; centre foreground, a whitish bird-like form, with human mouth, on a white cubic frame; middle distance, two male nudes, each with his head within a black circle, displayed on a curved yellow armature structure; centre background, an orange panel with a painted portrait head, on a black ground, ‘pinned’ to the panel by a nail.

Non-synoptic understanding • Analysis/interpretation/significance/appraisal, eg: o Close, Phil III: one of a series on Glass in which different approaches to copying photographic images are taken (earlier as: part of Close’s black and white series, 1969; a watercolour, 1977; and an image produced with stamp pad and fingerprints, 1978); photograph and canvas are gridded, and individual cells masked and copied, emulating mechanical reproduction and minimizing ‘artistic interpretation’; various degrees of reproductive detail according to chosen method. o Rego has been described by leading art critic Robert Hughes as “the best painter of women’s experience alive today” and she herself, in both her work and interviews, emphasizes a female perspective. The Family is typical of the sinister and disturbing quality she brings to her pictorial narratives, often within a family home context but raising issues of sex, violence, religion and personal or political persecution.

o Bacon, Three Figures and a Portrait: photographic sources, of various kinds, often used as point of departure in Bacon’s paintings. The nude flesh and exposed spine of the left male nude, for instance, contrasted with the ‘normal’ view of same figure’s head, and a white collar, framed within one of the large circles. One of Bacon’s recurring photographic sources was a book on radiography. In this painting, he reverses the convention used in the book by offering ‘x-ray’ views of forms outside circles. The trampled upon, torn and paint-bespattered photographs in his studio he referred to as his “image compost”.

Synoptic knowledge and understanding • Referencing one or more of, eg: o Painting 1880-1945 o Painting 1910-1945 o European art Renaissance to Romanticism o Painting 1945-1970 o Sculpture 1945-present o Affluence after austerity of immediate WWII period; Cold War and Space Race between USA and USSR super-powers, representing forces of Liberal Capitalism and Communism respectively; television; youth culture; rise of Feminism. • Any other valid content to be identified at the standardising meeting and credited.

A2 1 Section 9 – Sculpture 1945-present

Question 9: Which movement in your view has contributed most to post-1945 European and North American sculpture? Establish artistic contexts and critically appraise works by three or more sculptors in support of your choice.

INDICATIVE CONTENT Answers should include the following: Non-synoptic knowledge • Immediate context o Pop and Super/Hyper-realism POP: Eduardo Paolozzi, Edward Kienholz, Louise Nevelson, Claes Oldenburg. HYPER-REALISM: Duane Hanson, John de Andrea. o Conceptualism and Minimalism CONCEPTUALISM: Sol LeWitt, Richard Serra, Michael Craig-Martin. MINIMALISM: Anthony Caro, Donald Judd, Carl André. o Earthworks and Land Art Robert Smithson, Richard Long, Christo, Andy Goldsworthy. o Kinetic Art Alexander Calder, George Rickey, Jean Tinguely. o Performance and Postmodernism PERFORMANCE: Joseph Beuys, George Segal, Stuart Brisley, Jim Dine, Gilbert and George. POSTMODERNISM: Ian Hamilton Finlay, Robert Graham, Jeff Koons. o Independents Niki de Saint Phalle, Elisabeth Frink, Antony Gormley, Damien Hirst, Rachel Whiteread • Identification of required practitioners and works, and descriptions of works, eg: o Claes Oldenburg (b. Stockholm, Sweden, 1929; naturalised American), Lipstick Ascending on Caterpillar Tractor, 1969, reworked 1974; red, gold and black painted fibreglass, aluminium and steel body, height approximately 6.7 m/ 22 ft. o Robert Smithson (1938-73), Spiral Jetty, 1970; some 6,500 tons of basalt, salt and earth in Great Salt Lake, Utah; large-scale landscaping to form a spiral jetty, without practical purpose. o Damien Hirst (1965-); The Virgin Mother, 2005; partly painted bronze, 10.3 m/ 33.75 ft high; The Lever House Art Collection, New York; colossal bronze figure of nude young pregnant woman, in left profile, as seen from public thoroughfare (Park Avenue); right side, from mid-thigh upwards, ‘flayed’, exposing polychromatic muscles, skull, foetus and flaps of turned back skin.

Non-synoptic understanding • Analysis/interpretation/significance/appraisal, eg: o Oldenburg, Lipstick Ascending on Caterpillar Tractor: good-natured satirizing of American consumerism and gender stereotypes through manipulation of scale and conjunction of gender-associated products. o Smithson, Spiral Jetty: early example of Land Art; influenced by monuments of antiquity; desire to reconnect with nature and the landscape, and effort to escape gallery system and notion of art as consumer product. o Hirst, The Virgin Mother: figure modelled on Degas’ Little Dancer Aged 14, 1880, sculpture, but nude rather than dressed in a (real) tutu, colossally oversized, heavily pregnant, partly ‘flayed’, partly coloured; stressed religious and art historical associations and comment on social issue of underage sex.

Synoptic knowledge and understanding • Referencing one or more of, eg: o Sculpture 1870-1945 o French painting 1860-1970 o Painting 1945-1970 o Painting 1970-present. o Affluence after austerity of immediate WWII period; Cold War and Space Race between USA and USSR super-powers, representing forces of Liberal Capitalism and Communism respectively; television; youth culture; rise of Feminism. • Any other valid content to be identified at the standardising meeting and credited.

A2 1 Section 10 – Irish art 1945-present

Question 10: Who in your view has contributed most to post-1945 Irish art? Establish artistic contexts and critically appraise works by three or more artists in support of your choice.

INDICATIVE CONTENT Answers should include the following: Non-synoptic knowledge • Immediate context o Painting Tom Carr, Colin Middleton, William Scott, Gerard Dillon, Louis Le Brocquy, T. P. Flanagan, Basil Blackshaw, David Crone, Joe McWilliams, Jack Pakenham, Neil Shawcross, Carol Graham, Rita Duffy. o Other media F. E. McWilliam, Alastair MacLennan, Carolyn Mulholland, John Aiken, John Kindness, Willie Doherty, Paul Seawright. • Identification of required practitioners and works, and descriptions of works, eg: o Neil Shawcross (b. Kearsely, Lancashire, 1940); 1962-2004, taught art at Ulster Polytechnic/University of Ulster and to children; widely admired and inspirational teacher and painter. Nude, 1993, pencil and watercolour on paper (reproduced http://www.fineart.ac.uk/works/ul0007/index.html); delicately and loosely painted image of female nude, seen from the back, lying on red bed against a green background. o Jack Pakenham (b. Dublin, 1938), self-taught as painter; Peace Talks, 1992; horizontal format with crowded, conflated urban landscape and indoor scenes; scientific perspective clearly rejected, with ground plane tilted towards pictorial plane; various seemingly allegorical figures, including a female figure on left whose upper body is separated from her lower, and some masked figures. o F. E. McWilliam (b. Banbridge 1909, d. 1992), sculptor, joining English surrealist group in 1938; Kneeling Woman, 1947; cast stone, National Galleries of Scotland; commissioned by Surrealist artist and collector Roland Penrose; naturalistic drapery, head, arms and legs but torso omitted.

Non-synoptic understanding • Analysis/interpretation/significance/appraisal, eg: o Shawcross, Nude: line and wash; typical of the artist’s direct and rapid painting technique, whether in watercolour or oils; elimination of all unnecessary detail; strong red lends warmth to the nude form, and green background adds vivacity to composition; both set off by the minimalist underlying drawing. o Pakenham, Peace Talks: example of the artist’s long-term engagement with the N. Ireland conflict as subject; quoted as saying “Over these years, I have tried to convey through a poetic language of metaphor, symbol, allegory and ambiguous narrative some of my concerns and anxieties, to use visual language to expose and comment’ (http://www.artscouncil-ni.org/collection/artists/art131.htm; accessed 28 Aug. 2007); masks and puppets recurring features. o McWilliam, Kneeling Woman: missing torso can be seen as affirming Surrealist association; also contrasts with the many sculptures of human form from Antiquity that have limbs and heads missing; the fragment long recognized as peculiarly affecting and stimulating to the imagination, but other less happy connotations as well; play between solids and space/void also recurring feature of work by other leading British sculptors of the time, Henry Moore and Barbara Hepworth.

Synoptic knowledge and understanding • Referencing one or more of, eg: o Irish art 1900-1945 o Painting 1880-1945 o Painting 1910-1945 o Greek sculpture o Roman sculpture o Sculpture 1870-1945 o Painting 1945-1970 o Painting 1970-present. • Any other valid content to be identified at the standardising meeting and credited.

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A2 2 Mark Scheme

Candidates’ demonstrated knowledge and understanding of the indicative content will be assessed against the assessment criteria and performance descriptors within the A2 2 Generic Mark Scheme above.

Subject content specifically identified within any particular question and belonging to that particular A2 subject content section will be deemed non-synoptic; all other content, synoptic.

Principal practitioners and works relevant to the examination question should be dated on first mention. Basic biographies should be provided for these principal practitioners.

References below to particular subject content are mostly by title, abbreviations sometimes also being used in the form of ‘AS 1.1’ referring to AS 1 subject content section 1 and ‘A2 2.5’ referring to A2 2 subject content section 5.

A2 2 Section 1 – Roman architecture

Question 1: Give a detailed critical appraisal of the Pantheon in Rome, establishing its artistic context.

INDICATIVE CONTENT Answers should include the following: Non-synoptic knowledge • Immediate context: o Civic and religious Cross-continental scale; town planning; military factor; civil engineering; aqueduct, public baths (thermae), theatre, amphitheatre; temple; major examples. • Identification of required practitioners and works, and descriptions of works: o Architect(s) unknown, Pantheon (‘Temple to all the gods’), Rome; original building commissioned by Emperor Agrippa, c. 27-25 BC; destroyed in fire 80 AD; reconstructed under Emperor Domitian; reconstructed in present form under Emperor Hadrian, c. 118-125 AD. o Domed circular temple of brick and concrete; could perfectly enclose a sphere 43.4 m/142.5 ft in diameter; interior at ground level has four rectangular columned recesses interspersed with three semi-circular niches flanked by colonnettes, plus rectangular entrance passage; coffered walls progressively thinner towards open ‘oculus’ (diameter 8.2 m/27 ft) at top; aggregate in the concrete progressively lighter towards top; rotunda attached to earlier Greek-style portico, erected by Agrippa, eight monolithic unfluted Egyptian granite Corinthian columns wide and four deep.

Non-synoptic understanding • Analysis/interpretation/significance/appraisal: o Best preserved and arguably most significant surviving example of Roman architecture; one of the world’s greatest domed buildings; exceptional demonstration of structural use of concrete. o Apart from the doors, oculus provides only natural lighting, thus sunlight moves around building in way that reflects Roman belief in more than one god.

Synoptic knowledge and understanding • Referencing one or more of, eg: o Greek and Etruscan influences; portico and Corinthian order derived from Greeks; arch and its derivatives, including dome, from Etruscans. o Materials and methods o Domestic o Greek architecture o Greek sculpture o Roman Sculpture o High Renaissance and Mannerist Italian architecture o European architecture Baroque to Romanticism. • Any other valid content to be identified at the standardising meeting and credited.

A2 2 Section 2 – High Renaissance and Mannerist Italian architecture

Question 2: Give a broad critical appraisal of Mannerist Italian architecture, establishing the artistic context and referring to three or more appropriate works, by different architects.

INDICATIVE CONTENT Answers should include the following: Non-synoptic knowledge • Immediate context: o Mannerism Rome as centre, also Florence, Mantua and Venice; traumatic time for Italy with war and religious upheaval; Spanish Habsburgs in control 1529-59; Counter-Reformation; ostentation, exaggeration, experimentation; realised and unrealised projects of Michelangelo (Buonarroti), Giulio Romano, Giacomo Barozzi da Vignola; classical tendency within Mannerism, Andrea Palladio. • Identification of required practitioners and works, and descriptions of works, eg: o Michelangelo (1475-1564), Laurentian Library, S. Lorenzo, Florence, 1524-30; long horizontal reading room contrasting with vertical forms of vestibule; curved central staircase. o Giulio Romano (c. 1499-1546), Palazzo del Te, Mantua, 1524-34; main building single-storey but with a visually compressed mezzanine floor; use of Roman Doric order and rustication. o Andrea Palladio (1508-80), Villa Capra (or Rotonda), near Vicenza, c.1566-70; country villa comprising four colonnaded porticoes arranged symmetrically around a domed rotunda.

Non-synoptic understanding • Analysis/interpretation/significance/appraisal, eg: o Michelangelo, Laurentian Library; pilasters and certain other architectural forms disengage from any structural logic; play with architectural forms; sculptural force to curved central staircase. o Romano, Palazzo del Te; proportions, Roman Doric order, and rustication conspicuously at odds with Classical and High Renaissance precepts. o Andrea Palladio, Villa Capra; contrasts with the Michelangelo and Romano examples in adhering to Classical aesthetic and structural precepts.

Synoptic knowledge and understanding • Referencing one or more of, eg: o High Renaissance o Early Renaissance Italian architecture o European architecture Renaissance to Rococo o Early Renaissance Italian art o European art Renaissance to Rococo o High Renaissance and Mannerist Italian art. • Any other valid content identified and/or points made to be credited.

A2 2 Section 3 – European architecture Baroque to Romanticism

Question 3: Give a broad critical appraisal of Baroque to Romantic European architecture, establishing artistic contexts and referring to three or more appropriate architects and works.

INDICATIVE CONTENT Answers should include the following: Non-synoptic knowledge • Immediate context o Baroque Italy Italy politically divided, effectively, within Spanish Empire; Counter-Reformation and papal patronage; Pietro da Cortona, Gianlorenzo Bernini, Francesco Borromini. o Neoclassical Britain Age of Enlightenment; the Grand Tour; influence of Palladio; Colen Campbell, William Kent, Robert Adam. o Eclectic Romanticism The ‘battle of styles’; influence of writings of Pugin and Ruskin; CLASSICAL TENDENCY, John Nash, John Soane; GOTHIC REVIVAL, Charles Barry, George Gilbert Scott. • Identification of required practitioners and works, and descriptions of works, eg: o Gianlorenzo Bernini (1598-1680), architect and sculptor; Church of S. Andrea al Quirinale, Rome, 1658-70; exterior façade dominated by simplified but monumental orders and tympanum; entrance canopy supported on only two columns; central-plan domed church with oval interior; opposite entrance, double-columned altar niche with oversized sculpted figure of the saint’s martyrdom above the pediment. o Robert Adam (1728-92), architect, decorator and interior designer, assisted by his brothers James and William; extended influence through various self-publicising architectural treatises beginning in 1773; Kedleston, Derbyshire (1760s); basic design of central block and four wings taken over from Matthew Brettingham and James Paine; only two wings, one for family use and other for state apartments, constructed; Adam responsible for south front Corinthian portico inspired by Arch of Constantine, great hall flanked by Corinthian columns, and rotunda/saloon inspired by the Pantheon in Rome. o George Gilbert Scott (1811-78), Albert Memorial, Kensington Gardens, London, 1863-72; national memorial to Queen Victoria’s consort, Prince Albert; extravagant example of Gothic Revival; enormous shrine containing seated portrait sculpture of Albert.

Non-synoptic understanding • Analysis/interpretation/significance/appraisal, eg: o Bernini, Church of S. Andrea al Quirinale; Bernini here adopts oval plan he was already using for St. Peter’s Square (he was also restoring the circular-planned Pantheon at the time); dramatic use of sculpture, scale, proportion and lighting. o Adam, Kedleston; both Classical and Romantic tendencies apparent, as can be seen also in the views of ancient ruins recorded by Giovanni Battista Piranesi (1720-78) and Charles-Louis Clérisseau (1721-1820), both of whom Adam had befriended on a 4-year Grand Tour in Italy beginning in1754; opportunity to study ancient ruins at first hand during this stay and to expand upon the Palladian formal and decorative vocabulary. o Scott, Albert Memorial; ‘battle of styles’ between Classical and Gothic which each carried considerable weight of complex religious, social and political associations (essentially - Classical, secular/civic/pagan; Gothic, religious/Catholic/Romantic).

Synoptic knowledge and understanding • Referencing one or more of, eg: o European architecture Renaissance to Rococo o Greek architecture o Early Renaissance Italian architecture o Architecture 1835-1918 o Three-dimensional craft and design 1850-1918 o Roman architecture o High Renaissance and Mannerist Italian architecture o British painting 1850-1900 o For Scott, eg; general religious revival in Britain in early 19th C. but full Catholic emancipation only granted in 1829; mid-century, challenges to religious belief through Darwinism and new interpretations of geological and fossil records; advances of science, technology, and industry; advances of British imperialism and colonialism. • Any other valid content to be identified at the standardising meeting and credited.

A2 2 Section 4 – Architecture 1945-1970

Question 4: Compare and contrast two major examples of 1945-1970 domestic architecture (“domestic” can include mass housing). Establish the artistic context(s).

INDICATIVE CONTENT Answers should include the following: Non-synoptic knowledge • Immediate context o Post-war modernism Ludwig Mies van der Rohe, Le Corbusier, Richard Neutra, Eero Saarinen; BRUTALISM, Louis Kahn, Ernö Goldfinger, Alison and Peter Smithson. And/or o Independents Frank Lloyd Wright, Alvar Aalto, Luis Barragán, Kenzo Tange, Felix Candela, Jørn Utzon. • Identification of required practitioners and works, and descriptions of works, eg: o Ludwig Mies van der Rohe (1886-1969), Farnsworth House, Plano, Illinois, USA, 1946-51; weekend retreat in wooded setting, near the Fox River; single-storey, horizontal rectangular structure of glass and white-painted steel; house raised on eight steel uprights, providing some protection from the Fox River’s tendency to flood the site; no applied decoration; a white terrace-platform provides transition from house to ground; open-plan interior exposed except for a curved wooden core containing kitchen and bathroom. o Alison and Peter Smithson (1928-93 and 1923-2003), The House of the Future, Daily Mail Ideal Home Show, London, 1956; concept building mock-up designed, primarily by Alison Smithson, to be mass-produced and factory preassembled out of plastic; novel features for the time also included curved transitions between walls and floors, to aid cleaning; self-cleaning bath, and remote controls for television and lighting.

Non-synoptic understanding • Analysis/interpretation/significance/appraisal, eg: o Mies van der Rohe, Farnsworth House; rectangular steel-frame unit provides Mies’ modernist design/aesthetic solution for both domestic and non-domestic architectural commissions, later extended vertically and horizontally in skyscrapers such as his Lake Shore Drive Apartment Blocks, Chicago, 1948-51 (domestic), and Seagram Building, New York, 1954-58 (non-domestic). o Smithsons, The House of the Future; attempt to apply modern materials and methods, and economies of scale and mass production, to domestic architecture; cross-over between architecture and product design; radical rejection of historicism. • Comparison and contrast, eg: o Both designs use modern materials and methods but Mies’ attention to aesthetic considerations (proportions, fine finish/detailing, expensive materials…) arguably links to the past and the Classical tradition whilst the Smithsons’ strict functionalism breaks with almost all past aesthetic traditions.

Synoptic knowledge and understanding • Referencing one or more of, eg: o Post-war modernism or Independents, as not already covered. o Architecture 1835-1918 o Architecture 1900-1945

o Painting 1880-1945 o Painting 1910-1945 o Three-dimensional craft and design 1918-1945 o Textiles and fashion design 1850-1945 o Graphic design 1850-1945 o Painting 1945-1970 o Sculpture 1945-present o Affluence after austerity of immediate WWII period; Cold War and Space Race between USA and USSR super-powers, representing forces of Liberal Capitalism and Communism respectively; television; youth culture. • Any other valid content to be identified at the standardising meeting and credited.

A2 2 Section 5 –Architecture 1970-present

Question 5: Compare and contrast two major examples of post-1970 non-domestic architecture (religious, institutional, municipal, commercial or industrial). Establish the artistic context(s).

INDICATIVE CONTENT Answers should include the following: Non-synoptic knowledge • Immediate context o Late modernism Richard Rogers, Renzo Piano, Norman Foster. And/or o Postmodernism Sensitive to Modernism’s distancing from a general public but unsure how to reconnect; classical references, irony, scepticism, pastiches, parodies; Charles Moore, Robert Venturi, James Stirling, Michael Graves, Philip Johnson, Ieo Ming Pei. And/or o New directions Frank O. Gehry, Daniel Libeskind, Will Alsop, Zaha Hadid. • Identification of required practitioners and works, and descriptions of works, eg: o Norman Foster (1935-), Sainsbury Centre for the Visual Arts, University of East Anglia; large cuboid aluminium-clad steel structure, with one end almost entirely glass, on sloping grassland site; large open-plan interior with structural steelwork exposed. o Robert Venturi (b. 1925, Philadelphia, USA), Postmodernist architect and theorist, Sainsbury Wing of the National Gallery, London, 1987-91; wing/extension blends with pre-existing Neoclassical building, and neighbouring buildings, but with structural and aesthetic anomalies.

Non-synoptic understanding • Analysis/interpretation/significance/appraisal, eg: o Foster, Sainsbury Centre; one of the architect’s first major commissions and representing a further development of functionalism and modernists’ interest in new building materials and methods/techniques, sometimes adapted from industrial or civil engineering sources, hence such work sometimes being referred to as ‘Hi-tech’; building probably most resembles an aircraft hangar; open-plan interior means partitions have to be installed for hanging artworks. o Venturi arguably leading theorist of Postmodern architecture; coined phrase “less is a bore” to characterize contrast with functionalist modernism and Mies van der Rohe’s “less is more” epithet; Sainsbury Wing of the National Gallery clearly refers to Neoclassical architectural heritage but denies the structural logic behind these forms, as over the main entrance where ‘blocks’ of Portland stone are actually merely cladding over a hidden steel frame, or where the Corinthian pilasters gradually change in form to more closely match those of the neighbouring building. • Comparison and contrast, eg: o Late modernist structural integrity and ‘truth to materials’ against postmodernist structural ‘deceit’/fiction/playfulness; aesthetic rigor/austerity against aesthetic laxness/indulgence.

Synoptic knowledge and understanding • Referencing one or more of, eg: o Late modernism, Postmodernism and/or New directions, as not already covered o Architecture 1835-1918

o Architecture 1900-1945 o Architecture 1945-1970 o Painting 1880-1945 o Painting 1910-1945 o Three-dimensional craft and design 1918-1945 o Textiles and fashion design 1850-1945 o Graphic design 1850-1945 o Painting 1945-1970 o Sculpture 1945-present o Affluence after austerity of immediate WWII period; Cold War and Space Race between USA and USSR super-powers, representing forces of Liberal Capitalism and Communism respectively; television; youth culture. • Any other valid content to be identified at the standardising meeting and credited.

A2 2 Section 6 – Three-dimensional craft and design 1945-1970

Question 6: Explain your understanding of the dictum ‘truth to materials’, supporting your explanation by reference to three or more appropriate works of 1945-1970 three-dimensional craft and/or design. Establish the artistic context(s).

INDICATIVE CONTENT Answers should include the following: Non-synoptic knowledge • Immediate context o Craft Hans Wegner, James Krenov, Kilkenny Design Workshops. And/or o Post-war British modernism UTILITY FURNITURE, Gordon Russell. FESTIVAL STYLE: Ernest Race, Robin Day. CRAFT TO DESIGN: cutlery, street furniture, table- and kitchen-ware; David Mellor. And/or o Post-war European and American modernism Less ascetic interpretations of ‘functionalist’ and ‘truth to materials’ precepts; Alvar Aalto, Arne Jacobsen, Charles and Ray Eames, Eero Saarinen. And/or o Streamlining to Pop STREAMLINING: Raymond Loewy, Henry Dreyfuss; POP: George Nelson, Ettore Sottsass, Verner Panton, Eero Aarnio, Joe Colombo. • Identification of required practitioners and works, and descriptions of works, eg: o Hans Wegner (b. 1914, Tønder, Denmark; d. 2007), a leading practitioner of Scandinavian design; son of a master cobbler and served carpentry and furniture making apprenticeships before working with leading Scandinavian designer Arne Jacobsen; Model No. JH50 Peacock chair, designed for manufacturer Johannes Hansen, 1947; finely crafted hardwood chair with turned legs and rails; large rounded backrest with flat sections in middle of the radiating slats. o Robin Day (b. 1915, High Wycombe, Buckinghamshire), Polyprop stacking chair, designed for manufacturer Hille International, 1962-63; self-coloured injection- moulded polypropylene seat mounted on tubular steel legs. o George Nelson (b. 1908, Hartford, Connecticut; d. 1986, New York), Marshmallow sofa, designed 1956 for manufacturer Herman Miller; set of (usually 18) round pill/marshmallow-shaped cushions individually mounted on open steel frame to form a sofa; the cushions detachable, allowing easy cleaning, rotation to alleviate wear, or changes of colour/pattern/fabric.

Non-synoptic understanding • Analysis/interpretation/significance/appraisal, eg: o Wegner, Model No. JH50 Peacock chair; informed by modernism but, as with most 20thC Scandinavian design, softening the geometrical and mechanical in the direction of organic/natural forms, and maintaining traditional high standard of craftsmanship; variation on traditional English Windsor chair; the chair back mindful of a peacock’s display. o Day, Polyprop chair; ubiquitous design mass-produced in millions and spawning many further variations and imitations, it has been described as “one of the most democratic modern designs of the 20th century” (Charlotte and Peter Fiell, design of the 20th Century, Taschen, Cologne, 1999, ISBN 3-8228-7039-0, p. 192); practical, economical and hard wearing. o Nelson, Marshmallow sofa; early example of Pop design; modernism with quirky humour; functional; economical to produce; innovative. 85

• ‘Truth to materials’: o Tenet of modernism extending into art, architecture, craft and design, that the nature of the chosen or given material should not be hidden; thus, eg, bronze should not be disguised to appear like human flesh, or plaster like cut stone, or pine wood like ebony; it follows that the practitioner has a responsibility to choose the most appropriate material within the conditions pertaining. o All three cited examples exhibit ‘truth to materials’, the Wegner within a fine handcraft tradition, the Day and Nelson within a modernist design one, open to use of man-made materials and mass production methods.

Synoptic knowledge and understanding • Referencing one or more of, eg: o Craft, Post-war British modernism, Post-war European and American modernism and/or Streamlining to Pop, as not already covered o Three-dimensional craft and design 1918-1945 o Architecture 1945-1970 o Painting 1945-1970 o Sculpture 1945-present o Affluence after austerity of immediate WWII period; Cold War and Space Race between USA and USSR super-powers, representing forces of Liberal Capitalism and Communism respectively; television; youth culture. • Any other valid content to be identified at the standardising meeting and credited.

A2 2 Section 7 –Three-dimensional craft and design 1970-present

Question 7: Critically appraise two examples of post-1970 craft work, establishing the artistic context(s), and discuss the role of post-1970 fine craft production.

INDICATIVE CONTENT Answers should include the following: Non-synoptic knowledge • Immediate context: o Craft Role of craft in post-industrial age; craft as art; James Krenov, John Makepeace. • Identification of required practitioners and works, and descriptions of works, eg: o John Makepeace (b. 1939, Solihull, West Midlands); apprenticeship under Keith Cooper, 1957; Parnham House, Dorset, acquired 1976 and established as craft studio, workshop and school. o Millennium 3 Chair, 1988; curvilinear latticed armchair, native hardwood o Rhythm Chair, 1992; softly curved chair of native hardwood.

Non-synoptic understanding • Analysis/interpretation/significance/appraisal, eg: o Millennium 3 Chair; conspicuous display of fine craftsmanship. o Rhythm Chair; conspicuous display of fine craftsmanship; legs and back from woodland thinnings (small-diameter trees cleared to allow others to grow to maturity) normally used as firewood or pulped, thus materials/methods of ecological significance (paraphrasing Charlotte and Peter Fiell, Design of the 20th Century, Taschen, 1999, ISBN 3-8228-7039-0, p. 442; see also p. 182) o Craft as art; seen against general culture of growing affluence, multi-national corporations, mass production, rapid product obsolescence.

Synoptic knowledge and understanding • Referencing one or more of, eg: o Late modernist design, Postmodernist design, New directions o Three-dimensional craft and design 1918-1945 o Three-dimensional craft and design 1850-1918 o Three-dimensional craft and design 1945-1970 o Architecture 1945-1970 o Architecture 1970-present. • Any other valid content to be identified at the standardising meeting and credited.

A2 2 Section 8 – Textiles and fashion design 1945-present

Question 8: Explain your understanding of the term ‘fashion’, and give a broad critical appraisal of Haute Couture design from 1945 to the present, establishing artistic contexts and referring to three or more designers and works.

INDICATIVE CONTENT Answers should include the following: Non-synoptic knowledge • Immediate context o Haute couture Economic, practical, technological, gender, personal, lifestyle, social, cultural factors; Cristobal Balenciaga, Christian Dior, Issey Miyake, Yves Saint Laurent, Karl Lagerfeld, Vivienne Westwood, Jean-Paul Gaultier, John Galliano. • Identification of required practitioners and works, and descriptions of works, eg: o Christian Dior (b. 1905, Granville, Normandy; d. 1957); 1935, began working as fashion illustrator; 1938, joined couture house of Robert Piquet, followed by that of Lelong in 1942; opened his own in 1946; Corolle Line, more popularly known now as the New Look, 1947; large pleated skirts to below the knee, lined with tulle to create volume; tiny waists; usually with hats worn to side of head. o Cristobal Balenciaga (b. Guetaria, near San Sebastian, in Basque region of Spain, 1895; d. Spain 1972); his mother a seamstress; a local patron sponsored his tailoring training in Madrid; his fashion designs met early success but the Spanish Civil War forced him to move operations to Paris, his first fashion show there in 1937; rapidly recognized as revolutionizing force in fashion; example of his ‘Sack’ day dress, 1955-56, “tubular, calf-length day dress of dark brown wool jersey, chemise-cut and tapering towards hem” (http://www.metmuseum.org/TOAH/HD/bale/hod_C.I.64.4.3.htm; see also weblink for illustration). o Vivienne Westwood (b. Vivienne Isabel Swire, Glossop, Derbyshire, 1941); with Malcolm McLaren (b. 1946), major creator of Punk fashion; ‘Bondage’ suit, 1976; black cotton jacket trousers and ‘over-kilt’, with bondage straps between the knees, metal fittings (for illustration and detailed description see http://www.metmuseum.org/toah/hd/vivw/hod_2004.15a,b.htm).

Non-synoptic understanding • Analysis/interpretation/significance/appraisal, eg: o Dior, New Look: return to ‘hourglass’ profile; reaction to Chanel’s ‘Classically elegant’ boyish look, and also to the austerity of WWII wear; return to femininity and Romanticism; criticised for its extravagance and ostentation, particularly as rationing had not yet ended, in Britain at least; criticised by Chanel and others for what was seen as regressive attitude to women. o Balenciaga, ’Sack’ day dress; creates a new female profile, elongated bodice hangs unfitted from shoulder to mid-thigh; neckline has a wide, rolled, stand-away collar, influenced by Japanese kimono collar; fluid effect of the chemise anticipates the 1960s shift (paraphrasing http://www.metmuseum.org/TOAH/HD/bale/hod_C.I.64.4.3.htm). o Westwood, ‘Bondage’ suit; associating with street culture; anti-establishment; “…sado-masochistic look promoted at the time for its shock value. Pushing this traumatic aesthetic to its obvious conclusion creates the feel of a straightjacket and plays with all the implications of the insane” {"Vivienne Westwood and Malcolm McLaren: 'Bondage' suit (2004.15a,b)". In Timeline of Art History. New York: The 88

Metropolitan Museum of Art, 2000-. http://www.metmuseum.org/toah/hd/vivw/hod_2004.15a,b.htm (October 2006)}. • ‘Fashion’: o “Fashion is a mobile, changing reflection of the way we are and the times in which we live. Clothes reveal our priorities, our aspirations, our liberalism or conservatism. They go a long way towards satisfying simple or complex emotional needs, and they can be used consciously or unconsciously to convey subtle or overt sexual messages. Clothes contribute colour and shape to our environment and give form to our feelings…” (Georgina O’Hara Callan, The Thames and Hudson Dictionary of Fashion and Fashion Designers, Thames and Hudson, London, 1998, ISBN 0-500- 20313-X, p. 8).

Synoptic knowledge and understanding • Referencing one or more of, eg: o Textiles, Ready-to-wear o Textiles and fashion design 1850-1945 o Lens-based art 1850-1945 o Painting 1880-1945 o Painting 1910-1945 o Sculpture 1870-1945 o Architecture 1900-1945 o Lens-based art 1945-present o Painting 1945-1970 o Painting 1970-present o Sculpture 1945-present o Affluence after austerity of immediate WWII period; Cold War and Space Race between USA and USSR super-powers, representing forces of Liberal Capitalism and Communism respectively; television; youth culture; Feminism. • Any other valid content to be identified at the standardising meeting and credited.

A2 2 Section 9 – Graphic design 1945-present

Question 9: With respect to one graphic designer active since 1945, discuss the relationship between art and graphic design, referring to two or more examples of works. Establish the artistic context.

INDICATIVE CONTENT Answers should include the following: Non-synoptic knowledge • Immediate context: o Posters, title sequences Abram Games, Saul Bass, Robert Brownjohn Or o Typography Jan Tschichold, Robert Brownjohn, Adrian Frutiger, Alan Fletcher, Derek Birdsall, Matthew Carter, Neville Brody Or o Information systems ROAD SIGNAGE: Jock Kinneir and Margaret Calvert. SOFTWARE: Microsoft Corporation, Apple Mackintosh (Mac) Computer. • Identification of required practitioners and works, and descriptions of works, eg: o Jan Tschichold (b. 1902 Leipzig, Germany; d. 1974 Locarno, Switzerland), typographer and book designer. o Penguin Books cover design development, 1947-49; orange and black over white paperback cover, featuring penguin logo; symmetrical typography. o The Pelican History of Art prospectus cover, 1947, with Pelican symbol drawn by Berthold Wolpe; symmetrical typography. Non-synoptic understanding • Analysis/interpretation/significance/appraisal, eg: o Penguin Books cover design development; books priced for British mass market of the time and designed accordingly; departure from his earlier asymmetrical, modernist, typography but using modernist sans serif typeface. o The Pelican History of Art prospectus cover; traditional symmetrical typography, serif typeface and symbol; departure from his earlier, modernist, asymmetrical, sans serif typography; catering or more elite market. • Relationship between art and design: o Art, mysterious, uncertain of outcome, discovered through making: design, working to a brief, others involved in the making (see also Major Terms and Concepts study note). Synoptic knowledge and understanding • Referencing one or more of, eg: o Posters, title sequences, Typography and/or Information systems, as not already covered o Graphic design 1850-1945 o Lens-based art 1850-1945 o Painting 1910-1945 o Lens-based art 1945-present o Painting 1945-1970 o Painting 1970-present o Tschichold, German-born, working in England immediately post-WWII; national war debts, rationing and other austerity measures; pressing need for mass public housing and new national infrastructure. • Any other valid content identified and/or points made to be credited.

A2 2 Section 10 – Automotive design 1945-present

Question 10: Some car manufacturers have built their success on styling: others, on sustained engineering development. Discuss the merits and demerits of these broad approaches, referring to appropriate post-1945 examples and establishing artistic contexts.

INDICATIVE CONTENT Answers should include the following: Non-synoptic knowledge • Immediate context o Family car Citroën, BMW, Mercedes-Benz, Volkswagen, Raymond Loewy, Pininfarina, William Lyons/Jaguar, Alec Issigonis, Giorgio Giugiaro. And/or o Other Off-road or utility; sports/touring and/or bus: Land Rover/Range Rover, Raymond Loewy, Enzo Ferrari, William Lyons/Jaguar, BMW, Aston Martin, Ferry Porsche/Porsche, Lamborghini, Colin Chapman/Lotus. And/or o New directions Issues, needs, desires, problems, and possible solutions in automotive design; local, global; concept vehicles. • Identification of required practitioners and works, and descriptions of works, eg: o Raymond Loewy (American industrial designer b. Paris, France 1893; d. 1986), Studebaker Avanti saloon car, 1961-63; in 1961, as commissioned design consultant, Loewy assembled and headed small team given 40 days to style and produce scale model of a saloon car for launch in 1963; to be styled with younger buyers in mind; generally flowing lines; front wings project forward of bonnet and headlight assembly, and angular front bumper accentuates this. o Colin Chapman (b. London 1928; d. 1982), designer, inventor, car manufacturer and Formula One racing team boss; studied structural engineering; brief experiences of flying and aeronautical engineering; Lotus 7, 1957; two-seater open-top sports car available fully assembled or as kit of parts for self-assembly; extremely lightweight tubular steel spaceframe chassis with stressed aluminium body panels; could be used on the public road or for club racing on short tracks; Caterham Cars still manufacturing a version as the Caterham Seven.

Non-synoptic understanding • Analysis/interpretation/significance/appraisal, eg: o Loewy, Avanti: general continuity with his earlier ‘streamlined’ designs for locomotives, coaches and cars, but angular treatment of front serves no aerodynamic purpose; seemingly, rather, for styling/image reasons; it thus connects with the inappropriate ‘aerodynamic’ streamlining he gave to domestic products, such as refrigerators and vacuum cleaners. o Chapman, Lotus 7: small, simple, lightweight, reasonably affordable, innovatively engineered, high performance, arguably the earliest true Lotus car; Chapman sometimes expressed his design philosophy of paring everything to the minimum (and beyond, some critics have said) in the words of one of his university tutors, “Any fool can build a bridge that doesn’t fall down. It takes an engineer to build a bridge that just won’t fall down”; clear dangers/disadvantages also to such an approach. • Styling and engineering o “Styling involves the application of surface effects to a product after the internal mechanism has been design. The intention can be either to disguise or to enhance the

relationship between form and function. Invariably it is used as a device for stimulating consumer demand. While styling may be seen as an ‘optional extra’ in terms of engineering, it is nevertheless important in terms of taste and style” (Guy Julier, The Thames and Hudson Encyclopaedia of 20th Century Design and Designers, 1993, ISBN 0-500-20269-9, p. 182)

Synoptic knowledge and understanding • Referencing one or more of, eg: o Family car, Other and/or New directions, as not already covered o Automotive design to 1945 o Architecture 1900-1945 o Architecture 1945-1970 o Painting 1945-1970 o Sculpture 1945-present • Any other valid content to be identified at the standardising meeting and credited.