UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS
in collaboration with
ASSOCIATION OF CAMBRIDGE SCHOOLS IN NEW ZEALAND Advanced Subsidiary Level
HISTORY OF ART (School-based Assessment) 8285/02
Paper 2 Modern Art
Mark Total 50 marks
Additional Materials: Answer Booklet/Paper
Photographic Images
October/November 2010
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 to be used for the comparative analysis in Section B.
This paper co
© UCLES 2010
nsists
of 4 printed pages and 8 photographic images.
[Turn over
SECTION A
Answer only ONE question on ONE option from this Section.
OPTION 1: Towards Abstraction
Q.1 With reference to the work of both Picasso and Braque discuss how the early and analytical cubist styles showed a new approach to subject, colour, form and space.
Q.2 Explain how the new technologies of the early twentieth century had an impact on the production of ONE painting and ONE sculpture by modern artists.
Q.3 Compare the progression towards abstraction of TWO of the following twentieth century artists: Kandinsky, Mondrian, Brancusi.
OPTION 2: Fauvism and Expressionism
Q.4 Discuss the treatment of colour and form in Fauvist painting. Refer to the work of TWO
artists in your answer.
Q.5 How important were religious themes in German Expressionist art? Refer to the work of
TWO artists in your answer.
Q.6 Discuss the importance of printmaking in the development of the Expressionist style in
Germany. Refer to the work of TWO artists in your answer.
OPTION 3: American Art Since 1945
Q.7 Compare and contrast the work of Jackson Pollock and Willem de Kooning in terms of style and content. Refer to specific works in your answer.
Q.8 List what you think were THREE key works of the Pop art movement in America and assess their significance.
Q.9 Compare and contrast ideas and techniques in ONE work by Judy Chicago with ONE work by EITHER Barbara Kruger OR Cindy Sherman.
OPTION 4: Aspects of Modern New Zealand Art
Q.10 Assess the impact of international movements on the work of TWO of the following artists: McCahon, Mrkusich, Hotere, Albrecht. Refer to specific examples in your answer.
Q.11 Compare the treatment of landscape in the work of TWO New Zealand artists. Refer to specific works in your answer.
Q.12 Choose THREE works by a Maori artist and use these to discuss how major themes in their work are explored. Refer to specific works in your answer.
2
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 Fernand Léger, Contrast of Forms, oil on canvas, Museum of Modern Art, New
York, 100.3 x 81.1 cm, 1913.
Figure B Mondrian, Composition 1916, oil on canvas, Solomon R. Guggenheim Museum, New York, 119 x 75.1 cm, 1916.
Q.14 Option 2
Figure C Henri Matisse, The Blue Nude (Souvenir of Biskra), oil on canvas, Baltimore
Museum of Art, Baltimore, 92.1 x 140.1 cm, 1907.
Figure D Ernst Kirchner, Milly Sleeping, oil on canvas, Kunsthalle Bremen, Bremen, 64 x 90.5 cm, 1911.
Q.15 Option 3
Figure E Pollock, Autumn Rhythm (Number 30), enamel on canvas, Metropolitan Museum of
Art, New York, 266.7 x 525.8 cm, 1950.
Figure F Robert Rauschenberg, Estate, oil and silkscreen ink on canvas, Philadelphia
Museum of Art, Philadelphia, 243.8 x 177.8 cm, 1963. Q.16 Option 4
Figure G Robyn Kahukiwa, Te Rangimarie (Peace), oil on material mounted on hardboard, collection Mia Kahukiwa, 880 x 600 cm, 1971.
Figure H Robyn Kahukiwa, Nau i whatu te kakahu he tāniko taku (The cloak is woven before the ornamental border is added), oil on loose canvas, collection C. Pountney, 1145 x 1345 cm, 1985.
End of Questions
3
Acknowledgements
Q.13 Fernand Léger, Contrast of Forms, oil on canvas, Museum of Modern Art, New York, 100.3 x 81.1 cm, 1913.
From www.moma.org
Q.13 Mondrian, Composition 1916, oil on canvas, Solomon R. Guggenheim Museum, New York, 119 x
75.1 cm, 1916.
From www.guggenheim.org
Q.14 Henri Matisse, The Blue Nude (Souvenir of Biskra), oil on canvas, Baltimore Museum of Art, Baltimore, 92.1 x 140.1 cm, 1907.
From www.artchive.com
Q.14 Ernst Kirchner, Milly Sleeping, oil on canvas, Kunsthalle Bremen, Bremen, 64 x 90.5 cm, 1911.
From www.wikimedia.org
Q.15 Pollock, Autumn Rhythm (Number 30), enamel on canvas, Metropolitan Museum of Art, New York,
266.7 x 525.8 cm, 1950. From www.metmuseum.org
Q.15 Robert Rauschenberg, Estate, oil and silkscreen ink on canvas, Philadelphia Museum of Art, Philadelphia, 243.8 x 177.8 cm, 1963.
From www.artchive.com
Q.16 Robyn Kahukiwa, Te Rangimarie (Peace), oil on material mounted on hardboard, collection Mia
Kahukiwa, 880 x 600 cm, 1971.
From The Art of Robyn Kahukiwa, Hilliard, et al., Reed Publishing (NZ) Ltd, 2005.
Q.16 Robyn Kahukiwa, Nau i whatu te kakahu he tāniko taku (The cloak is woven before the ornamental border is added), oil on loose canvas, collection C. Pountney, 1145 x 1345 cm, 1985.
From The Art of Robyn Kahukiwa, Hilliard, et al., Reed Publishing (NZ) Ltd, 2005.
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