UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS
in collaboration with
ASSOCIATION OF CAMBRIDGE SCHOOLS IN NEW ZEALAND Advanced Subsidiary Level
HISTORY OF ART (School-based Assessment) 8285/01
Paper 1 The Renaissance
Mark Total 50 marks
Additional Materials: Answer Booklet/Paper
Photographic Images
October/November 2008
1 hour 30 minutes
READ THESE INSTRUCTIONS FIRST
If you have been given an Answer Booklet, follow the instructions on the front cover of the Booklet. Write your Centre number, index number and name on all the work you hand in.
Write in dark blue or black pen on both sides of the paper. You may use a soft pencil for any diagrams or rough working.
Do not use staples, paper clips, highlighters, glue or correction fluid.
At the end of the examination, fasten all your work securely together.
Answer TWO questions.
Answer ONE ESSAY question from Section A.
Answer ONE PHOTOGRAPH question from Section B.
All questions in this paper carry equal marks.
You should not repeat material or make use of identical material in your answers to separate questions. You are reminded of the need for good English and clear presentation in your answers.
Remember that all questions require you to focus on art works.
Artists other than those listed may be discussed in the essay questions in Section A. Only listed artists are used for the comparative analysis in Section B.
This paper consi
UCLES 2008
sts of
4 printed pages and 8 photographic images.
[Turn over
SECTION A
Answer only ONE question on ONE option from this Section.
OPTION 1: Fourteenth Century Italian Art
Q. 1 A patron is defined as “a protector, benefactor, one who sponsors and supports some person, activity etc” (Collins English Dictionary, Wm.Collins and Sons, 1981).
How did patrons impact on the functions and iconography of 14th century Italian art?
Q. 2 Panofsky referred to Nicola Pisano as the pre-eminent figure of “the classicizing proto-Renaissance of the 12th century”. Discuss this statement in relation to the narrative techniques, content and style of Nicola and Giovanni Pisano
Q. 3 Compare and contrast the painting styles of 14th century Florence and Siena. Refer to specific works in your answer.
OPTION 2: Naturalism and Science in Fifteenth Century Italian Painting
Q. 4 Theories concerning the creation of picture space were an integral element of the development of Early Renaissance painting. Show how these theories are evident in the works of specific 15th century artists.
Q. 5 A key aspect of Renaissance naturalism was the introduction and development of the concept of landscape in painting. Discuss this statement with reference to specific
15th century Italian artists and their works in your answer.
Q. 6 Examine the pictorial techniques used by 15th century Italian artists to portray narrative in painting.
OPTION 3: The High Renaissance
Q. 7 Assess the influence of Classical Antiquity in the work of either Raphael or
Michelangelo.
Q. 8 The development of the independent portrait was a key aspect of the High Renaissance style. Discuss this statement with regard to the technical and artistic innovations made by the artists and methods they used to individualize their sitters.
Q. 9 “The motives of the patron of the arts in the Renaissance were as mixed as human nature. Civic pride, the greater glory of God, the desire for fame and immortality, political psychology, and the sheer love of beauty all played their part” (From Giorgio Vasari; Artists of the Renaissance: An Illustrated selection translated by George Bull: Book Club Associates, London, 1979).
Discuss how these motives may be seen in the work of Raphael and
Michelangelo.
OPTION 4: The Renaissance in Northern Europe
Q. 10 “… In Flanders they paint, … to render exactly and … deceptively the outward appearance of things. The painters choose, by preference, subjects provoking transports of piety, like the figures of saints or of prophets… This art...aims at rendering minutely many things at the same time, of which a single one would have sufficed to call forth a man’s whole application.” (Francisco de Holand, Da Pintura Antigua, 1548).
Discuss the statement in relation to the methods that Northern Renaissance painters used to depict interior and exterior space.
2
Q. 11 Why are the Northern Renaissance painters referred to as “symbolists”? Make reference to the work of TWO artists in your answer.
Q. 12 Analyse the techniques and stylistic features of the portraits of ONE of the following artists:
Jan van Eyck, Rogier van der Weyden, Albrecht Durer.
SECTION B
Answer only ONE question on ONE option from this Section.
Make a careful and comparative analysis of the two plates provided and attempt to place them in their appropriate historical and cultural contexts. Refer to stylistic features and content in your discussion. Refer to the photograph images provided for these questions.
Q. 13 Option 1
Figure A Giotto di Bondone “Crucifixion”, c.1305, fresco, Scrovegni Chapel, Padua
Figure B Giovanni Cimabue “Crucifix”, 1268-71, tempera on wood, 336 x 267 cm, San Domenico, Arezzo
Q. 14 Option 2
Figure C Paolo Uccello “The Battle of San Romano”, tempera on wood panel,
182 x 323 cm, The National Gallery, London. c 1435-1440
Figure D Leonardo da Vinci “The Battle of Anghiari”, 1503/06,(Copy by Rubens c.1615, pen, ink, chalk), 42 x 62 cm, The Louvre, Paris
Q. 15 Option 3
Figure E Michelangelo di Buonarroti “Doni Madonna”, c.1503, panel, diameter
117.5 cm, Galleria degli Uffizzi, Florence
Figure F Raphael Sanzio “Madonna della Sedia”, c.1514 – 1515, oil on panel, diameter 70 cm, Pitti Gallery, Florence
Q. 16 Option 4
Figure G Jan Van Eyck “ The Last Judgment”, oil on panel, 56 x 19.5 cm, Metropolitan Museum, New York. c 1430
Figure H Hieronymous Bosch “ The Last Judgment”, c.1500, Oil on panel, 113 x
127 cm, Akademie der bildenden Kunste, Vienna.
End of Questions
3
Acknowledgements
Q.13 Giotto di Bondone. “Crucifixion”, c.1305, Fresco, Scrovegni
Chapel, Padua.
From www.artchive.com
Q.13 Giovanni Cimabue. “Crucifix”, c.1268 - 71, tempera on wood, 336 x 267 cm, San Domenico, Arezzo.
From www.artchive.com
Q.14 Paolo Uccello. “The Battle of San Romano”, tempera on wood,
182 x 323 cm, The National Gallery, London. c. 1435-1440. From www.artchive.com
Q.14 Leonardo da Vinci. “The Battle of Anghiari”, c.1503 – 1506, From a copy by P.P. Rubens c. 1615, pen,ink,chalk, 42 x 62 cm, The Louvre, Paris.
From www.artchive.com
Q.15 Michelangelo di Buonarroti. “Doni Madonna”, c.1503, panel, diameter 117.5 cm, Galleria degli Uffizzi, Florence.
From www.artchive.com
Q.15 Raphael Sanzio. “Madonna della Sedia”, c.1514 – 1515, oil on panel, diameter 70 cm, Pitti Gallery, Florence.
From Raphael, J.H.Beck, p 156, H.N.Abrams Inc.,New York, 1976
Q.16 Jan Van Eyck. “The Last Judgment”, oil on panel, 56 x 19.5 cm, Metropolitan Museum, New York. c 1430
From The Complete Paintings of the Van Eycks, PlateXL111, Giorgio
T. Faggin, Penguin Books Ltd, Middlesex, England.1968.
Q.16 Hieronymous Bosch. “The Last Judgment”, c.1500, oil on panel, 163 x 127 cm, Akademie der bilden den Kunste, Vienna.
From www.artchive.com
Third party copyright material used in this examination has been reproduced in accordance with the exceptions allowed under Section 3 (49) of the New Zealand Copyright Act 1994.
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