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© New Zealand Qualifications Authority, 2014. All rights reserved.No part of this publication may be reproduced by any means without the prior permission of the New Zealand Qualifications Authority.

Level 3 Art History, 201491482, 91483, and 91484

2.00 pm Thursday 20 November 2014

RESOURCE BOOKLET

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

Check that this booklet has pages 2 – 36 in the correct order and that none of these pages is blank.

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

L 3 – A R T R993703

For copyright reasons, the resources in this booklet cannot be reproduced here.

INSTRUCTIONS

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

There are five plates for each of the Level 3 areas of study:• Early Renaissance: Plates 1–5 (pages 3–8)• Late Renaissance to Mannerism: Plates 6–10 (pages 10–14)• Early Modernism 1900–1940: Plates 11–15 (pages 15–19)• Modernist Design and Architecture 1900–1960: Plates 16–20 (pages 20–24)• Modernism to Postmodernism: Plates 21–25 (pages 25–29)• Contemporary Diversity: Plates 26–30 (pages 30–34).

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

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EARLY RENAISSANCE

Plate 1: Ambrogio Lorenzetti, The Effects of Good Government in the City (detail from The Allegory of Good and Bad Government), c. 1338–1339, fresco, 700 × 200 cm

This is part of a series of frescoes located in the Sala dei Nove (Salon of Nine) in the Palazzo Pubblico, Siena, Italy.

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

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Plate 2: Pietro Lorenzetti, The Last Supper, c. 1320, fresco, 240 × 300 cm

The Last Supper shown in situ on the ceiling of the chapel decorated by Pietro Lorenzetti, in the south transept of the Lower Church of San Francesco at Assisi, Italy.

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Plate 3: Masaccio, The Distribution of Alms and Death of Ananias, 1426–1427, fresco, 230 × 162 cm

The Distribution of Alms and Death of Ananias shown in situ in the Brancacci Chapel, Santa Maria del Carmine, Florence, Italy. The works were commissioned by Felice Brancacci.

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Plat

e 4:

Pie

ro d

ella

Fra

nces

ca, T

he P

roce

ssio

n of

the

Que

en o

f She

ba; M

eetin

g be

twee

n th

e Q

ueen

of S

heba

and

Kin

g S

olom

on, 1

452–

1466

, fre

sco,

33

6 ×

747

cm

Part

of a

ser

ies

of fr

esco

es w

hich

nar

rate

The

Leg

end

of th

e Tru

e Cro

ss, c

omm

issi

oned

by

the

Bicc

i fam

ily to

dec

orat

e th

e C

appe

lla M

aggi

ore

of th

e C

hurc

h of

San

Fra

nces

co, A

rezz

o,

Italy

.

6

The

Cap

pella

Mag

gior

e of

the

Chu

rch

of S

an

Fran

cesc

o, A

rezz

o, It

aly,

in w

hich

The

Pro

cess

ion

of th

e Q

ueen

of S

heba

and

the

Mee

ting

betw

een

the Q

ueen

of

Sheb

a an

d Ki

ng S

olom

on a

re lo

cate

d.

7

Plate 5: Paolo Uccello, St George and the Dragon, c. 1470, oil on canvas, 56 × 74 cm

A private commission, now in the National Gallery, London, England.

8

9

This page has been deliberately left blank.The plates continue on the following page.

LATE RENAISSANCE AND MANNERISM

Plate 6: Andrea Mantegna, The Court of Gonzaga, c. 1465–1474, walnut oil on plaster, width c. 800 cm

Part of a series of paintings commissioned by Ludovico Gonzaga, Duke of Mantua, in the Camera degli Sposi of the Palazzo Ducale, Mantua, Italy.

View of the west and north walls and the ceiling oculus of the Camera degli Sposi. The room dimensions are 8.1 × 8.1 × 8.1 m.

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Plate 7: Leonardo da Vinci, Ginevra de’ Benci, 1474–1478, oil and tempera on panel, 38.1 × 37 cm

A private commission given to Leonardo by an unidentified Florentine nobleman. For many years the patron was thought to be Ginevra’s father, Amerigo de’ Benci; however, recent evidence suggests it may have been commissioned by Bernardo Bembo, her admirer.

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Plate 8: Donato Bramante, Tempietto, 1502, marble

A small chapel, commissioned by Ferdinand and Isabella of Spain to mark the site of St Peter’s execution in the courtyard of San Pietro in Montorio, Rome, Italy.

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Plate 9: Giovanni Bellini, San Zaccaria Altarpiece, 1505, oil on panel, 500 × 235 cm

Commissioned for the Church of San Zaccaria, Venice, Italy, to commemorate a politician, Pietro Cappello.

The San Zaccaria altarpiece shown in situ in the Church of San Zaccaria.

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Plate 10: Jacopo Pontormo, The Deposition from the Cross, 1525–1528, oil on wood, 313 × 192 cm

Commissioned by the Capponi family for their chapel in the church of Santa Felicita, Florence, Italy.

The Deposition from the Cross shown in situ in the Capponi Chapel.

14

EARLY MODERNISM 1900–1940

Plate 11: Henri Matisse, Dance (I), 1909, oil on canvas, 259.7 × 390.1 cm

This is the first version of two similar paintings.

15

Plate 12: Ernst Ludwig Kirchner, Five Tarts, 1914, woodcut on blotting paper, 48.5 × 37 cm

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Plate 13: Sonia Delaunay, The Flamenco Singer, 1916, oil on canvas, 71 × 65 cm

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Plat

e 14

: Joa

n M

iró, T

he T

illed

Fie

ld, 1

923–

1924

, oil

on c

anva

s, 6

6 ×

92.7

cm

This

pai

ntin

g sh

ows

a vi

ew o

f Mir

ó’s

fam

ily’s

farm

in M

ontr

oig,

Cat

alon

ia, S

pain

.

18

Brâncuși produced Bird in Space, a series of sculptures, between 1920 and 1940.

Brâncuși in his Paris studio, 1925.Photograph by Edward Steichen.

Plate 15.1: Constantin Brâncuși, Bird in Space, 1923, marble, 144.1 × 16.5 cm

Plate 15.2: Constantin Brâncuși, Bird in Space, 1932–1940, polished brass, 137.2 × 16.5 cm

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MODERNIST DESIGN AND ARCHITECTURE 1900–1960

Plate 16: Marianne Brandt, Self-portrait, 1929, black and white photograph

Brandt has photographed a reflection in a metal ball suspended from the ceiling of her studio at the Bauhaus in Dessau, Germany.

The Studio Building of the Bauhaus, designed by Walter Gropius and built during 1925 and 1926. This building contained studio flats for junior masters and students.

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Plate 17: László Moholy-Nagy, Balconies, 1926, black and white photograph, gelatin silver print, 49.5 × 39.3 cm

The photograph shows an unknown student on a balcony of the Studio Building of the Bauhaus, Dessau, Germany.

The Bauhaus, designed by Walter Gropius and built during 1925 and 1926.

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Plate 18: René Lalique, Suzanne, 1925, moulded yellow glass on an illuminating base, height 22.2 cm

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Plate 19: William Van Alen, The Chrysler Building, 1928–1930, New York City, height 319 m

Commissioned and paid for by Walter P. Chrysler as the head office of Chrysler Corporation.

Detail showing surface ornamentation.

Detail showing neon lighting on spire.

Detail of interior entrance hall, looking towards the street.

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Plate 20: A. M. Cassandre, Cover of Harper’s Bazaar, October 1939, 24.7 × 33 cm

Harper’s Bazaar is an American fashion magazine, aimed at upper-class and upper-middle-class women.

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MODERNISM TO POSTMODERNISM

Plate 21: Jacqueline Fahey, The Birthday Party, 1974, oil on board, 95 × 121 cm

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Plate 22: Jasper Johns, Flag, 1954, encaustic, oil and collage on fabric mounted on plywood, 107.3 × 153.8 cm

Originally in a private collection, the painting was gifted to the Museum of Modern Art, New York, by Philip Johnson.

Flag supported by Leo Castelli, in his gallery in 1960. Also visible are works by Frank Stella, Lee Bontecou, Edward Higgins, and Robert Rauschenberg.

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Plate 23: Roy Lichtenstein, Ohhh Alright, 1964, oil and magma on canvas, 91.4 × 96.5 cm

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Plate 24: Dick Frizzell, Four Four Time, 2009, screen print, signed and numbered, 56 × 76 cm

This is one of several images Frizzell created for The Great New Zealand Songbook project in 2009.

Dick Frizzell, Contacts, 2003, Screenprint, 72 × 52 cm.

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Plate 25: Bill Culbert, Daylight Flotsam Venice, 2013, 150 fluorescent tubes and recycled plastic bottles

One of eight installations by Bill Culbert featured at the Venice Biennale in 2013.

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CO

NT

EM

PO

RA

RY

DIV

ER

SIT

Y

Plat

e 26

: Sha

ne C

otto

n, T

he H

angi

ng S

ky, 2

007,

acr

ylic

on

linen

, 265

× 2

65 c

m

The

face

in th

is w

ork

is b

ased

on

Hon

gi H

ika’

s (N

gā P

uhi)

carv

ed s

elf-p

ortr

ait b

ust.

30

Plat

e 27

.1 a

nd P

late

27.

2: L

isa

Rei

hana

, Mai

i te

aro

ha, k

o te

aro

ha, T

e P

apa,

Wel

lingt

on, 2

008,

two

parts

of a

n in

stal

latio

n m

ade

of s

even

com

pone

nts

usin

g m

ovin

g im

age,

pho

togr

aphy

, tex

tile

desi

gn

Mai

i te

aro

ha, k

o te

aro

ha, m

eani

ng ‘F

rom

lo

ve, c

omes

love

’, w

as c

omm

issi

oned

sp

ecifi

cally

for T

e A

ra a

Hin

e. T

e A

ra

a H

ine

in li

tera

l tra

nsla

tion

mea

ns ‘t

he

path

way

of w

omen

’ and

is th

e in

tern

al

entr

ance

to T

e H

ono

ki H

awai

ki,

Te P

apa’

s M

arae

.

31

Plate 28: Damien Hirst, For the Love of God, 2007, platinum, diamonds, and human teeth, 17.1 × 12.7 × 19.1 cm

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Plate 29: Mariko Mori, Play with Me, 1994, photograph

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Plate 30: Jeff Koons, Pink Panther, 1988, porcelain, height 104 cm

Two views showing one of three identical sculptures made by Jeff Koons. One edition sold for over US$1.8 million in 1999. Another went to auction in 2011 and made nearly US$17 million, although this was less than the expected price of US$20–30 million.

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Acknowledgements

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http://www.wga.hu/art/l/lorenzet/pietro/1/transept.jpg

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BrancacciRight.jpg

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http://www.wga.hu/art/m/mantegna/3/0sposi4.jpg

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atelier5.jpg

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