UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS in collaboration with ASSOCIATION OF CAMBRIDGE SCHOOLS IN NEW ZEALAND Advanced Subsidiary Level HISTORY OF ART

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 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 used for the comparative analysis in Section B.























This paper consi

© UCLES 2010
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 What was the religious function of art in fourteenth century Italy? How was iconography used to support this function? Refer to specific examples in your answer.

Q.2 Select one narrative scene by Nicola Pisano and one by Giotto and compare the content and style employed by each artist.

Q.3 Compare and contrast Florentine and Sienese approaches to EITHER interior OR
exterior space in the fourteenth century. Refer to specific examples in your answer.



OPTION 2: Naturalism and Science in Fifteenth Century Italian Painting

Q.4 With reference to ONE work by Uccello and ONE work by Piero della Francesca, explain how each artist was influenced by Alberti’s theories on perspective in painting.

Q.5 Discuss ways in which Leonardo da Vinci approached landscape in his paintings.
Refer to THREE artworks in your discussion.

Q.6 Examine the narrative techniques used by EITHER Masaccio in his Brancacci Chapel fresco cycle in Florence, OR Piero della Francesca in his fresco cycle in San Francesco, Arezzo.



OPTION 3: The High Renaissance

Q.7 Discuss how the study of classical antiquity influenced the work of Michelangelo in the High Renaissance. Refer to specific works in your answer.

Q.8 Examine the techniques used to characterise the sitter in the portraiture of EITHER Leonardo OR Raphael. Refer to specific works in your answer.

Q.9 Assess the importance of papal patronage for developments in Raphael’s work in the
Vatican Stanze. Refer to specific works in your answer.



OPTION 4: The Renaissance in Northern Europe

Q.10 In what ways did Dϋrer’s trips to Italy impact on his depiction of landscape? Refer to specific examples in your answer.
Q.11 Discuss the use of symbolism in ONE work by EITHER Bosch OR Jan van Eyck. Q.12 Identify the characteristics of the Northern approach to portraiture. Refer to THREE
works in your answer.








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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, Lamentation, detail from the cycle Scenes from the Life of the Virgin and Christ, fresco, Capella Scrovegni, Padua, 200 x 185 cm, c.1304-6.

Figure B Duccio, The Deposition, detail from the Maestá, tempera and gold leaf on panel, Museo dell’Opera del Duomo, Siena, 213 x 396 cm, 1308-11.

Q.14 Option 2

Figure C Masaccio, Madonna with Child and Angels, central panel of the Pisa
Altarpiece, tempera on panel, National Gallery, London, 135 x 73 cm, 1426.

Figure D Piero della Francesca, Enthroned Madonna and Saints Adored by Federico da Montefeltro, oil on panel, Pinacoteca di Brera, Milan, c.1472-74, 251 x
172cm. Q.15 Option 3
Figure E Raphael Sanzio, The Fire in the Borgo, fresco, Stanza dell’Incendio, Vatican
Palace, Rome, width at base: 670 cm, 1514.

Figure F Michelangelo Buonarroti, The Deluge, fresco, Sistine Chapel, Vatican, Rome,
280 x 570cm, 1508-9. Q.16 Option 4
Figure G Van Der Weyden, Adoration of the Magi, central panel of the St Columba Altarpiece, oil on panel, Alte Pinakothek, Bayerische Staatsemäldesammlungen, Munich, 138 x 153 cm, c.1455.



Figure H Bosch, Adoration of the Magi, central panel of the Triptych of the Epiphany, Museo del Prado, Madrid, 138 x 72 cm, c.1510.



End of Questions
















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Acknowledgements


Q.13 Giotto, Lamentation, detail from the cycle Scenes from the Life of the Virgin and
Christ, fresco, Capella Scrovegni, Padua, 200 x 185 cm, c.1304-6. From www.wga.hu
Q.13 Duccio, The Deposition, detail from the Maestá, tempera and gold leaf on panel, Museo dell’Opera del Duomo, Siena, 213 x 396 cm, 1308-11.

From www.wga.hu

Q.14 Masaccio, Madonna with Child and Angels, central panel of the Pisa Altarpiece, tempera on panel, National Gallery, London, 135 x 73 cm, 1426.

From www.wga.hu

Q.14 Piero della Francesca, Enthroned Madonna and Saints Adored by Federico da
Montefeltro, oil on panel, Pinacoteca di Brera, Milan, c.1472-74, 251 x 172cm. From www.wga.hu
Q.15 Raphael Sanzio, The Fire in the Borgo, fresco, Stanza dell’Incendio, Vatican Palace, Rome, width at base: 670 cm, 1514.

From www.wga.hu

Q.15 Michelangelo Buonarroti, The Deluge, fresco, Sistine Chapel, Vatican, Rome, 280 x
570cm, 1508-9. From www.wga.hu
Q.16 Van Der Weyden, Adoration of the Magi, central panel of the St Columba Altarpiece, oil on panel, Alte Pinakothek, Bayerische Staatsemäldesammlungen, Munich, 138 x
153 cm, c.1455. From www.wga.hu
Q.16 Bosch, Adoration of the Magi, central panel of the Triptych of the Epiphany, Museo del
Prado, Madrid, 138 x 72 cm, c.1510. From www.wga.hu


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.